Center
8.6
Crouching Tiger, Hidden Dragon
(2000)
Political: Center
Diversity: Moderate
Female Combat: Yes
The Magical Flying Swordsman (1951)
Bias Rating
Analyzing...
Leans Progressive
Viewer Rating
Not Rated
Overview
Jin Tieyi has been learning martial arts from his master Zhang Tianxi since he was a child, and has practiced martial arts with Tianxi's children Wenlan and Daxiong. One day, Tieyi followed his master's order to travel around the world. On the way, he was attacked by corpses in a strange temple. Fortunately, he was saved by the Taoist Leng Tianhun. Tianhun and Tianxi were enemies, so he pretended to accept Tieyi as his apprentice and use him.
Starring Cast
Bias Dimensions
Political: Strong Left
Diversity: Moderate
LGBTQ: Neutral
Overview
Jin Tieyi has been learning martial arts from his master Zhang Tianxi since he was a child, and has practiced martial arts with Tianxi's children Wenlan and Daxiong. One day, Tieyi followed his master's order to travel around the world. On the way, he was attacked by corpses in a strange temple. Fortunately, he was saved by the Taoist Leng Tianhun. Tianhun and Tianxi were enemies, so he pretended to accept Tieyi as his apprentice and use him.
Starring Cast
Detailed Bias Analysis
Analyzing...
Leans Progressive
Primary
The film's central thesis explicitly critiques oppressive societal traditions, patriarchal structures, and class barriers, championing individual freedom, choice, and defiance, which aligns with progressive ideology.
The film features culturally appropriate casting for its Chinese folk tale origin, without explicit DEI-driven race or gender swaps of traditionally white roles. Its narrative subtly critiques traditional societal norms and gender roles prevalent in ancient China, highlighting the challenges faced by women within those structures.
Secondary
The film features a woman disguising herself as a man, leading to a man falling in love with 'him.' While this introduces a theme of perceived same-sex attraction, the narrative resolves it as heterosexual love. The story uses cross-dressing as a plot device for a tragic romance, neither affirming nor denigrating queer identity.
This film does not contain any discernible transsexual characters or themes. Therefore, it has no impact, positive or negative, on the portrayal of transsexual identities.
The movie does not contain any action or adventure elements.
The film adapts the classic legend where Zhu Yingtai, a woman, disguises herself as a man. This in-plot gender disguise does not alter her canonical gender, which remains female. No other major characters have their canonical gender changed.
The film is an adaptation of a classic Chinese folk tale. The characters Liang Shanbo and Zhu Yingtai are canonically Chinese, and the 1951 Hong Kong production portrays them as such, with no change in their established racial identity.
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