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If we investigate the different nar-rative images of the historic and heroic personage Genghis Khan , the creation of these different iden-tities show a “unity of personality and commonali-ty” .The narratives of both films , Genghis Khan ( chengji sihan) directed by Zhan Xiangchi in 1986 and The Great Man, Genghis khan ( yidai tiaojiao chengji sihan ) directed by Saifu and Mai Lisi in 1997 show us that in the creation of their subject , there is a common quality in the image of Genghis Khan, and an emphasison the theme of unifica-tion.However , if we do a deeper study , we notice that there are obvious difference in the two films ’ narratives, differences in their characterization of Genghis Khan and in the details .When we look at the identity of the directors -Zhang Xiangchi is a Han Chinese , while Sai Fuso and Mai Lisi are Mongolian-we find that there is more meaningful research space to do a comparative study of the two films.This is obvious if we are analyze how two generations with different ethnic identities , such as Han and Mongolia , portray the film image of Geng-his Khan , a man who holds a supreme position in the heart of Mongolia .We can see how the cultural identity of the film director influences the creation of a film based upon a minority cultural theme . The analysis of such a text not only has a relevance to the creation of films with minority themes , but also serves as an important model for the study of history, imagination, and identity in cultural an-thropology .
1.Differences and Identity Cognition
The historical realities of the two films basi-cally come from the menggu mishi ( The Secret History of Mongolia).However, both of them have reconstructed “imagination”, which reflects the self-identity cognition of the Han and Mongolian directors.Genghis Khan directed by Zhan Xiang-chi, is grounded more in historical fact and image-ry style.The important events and many of the de-tails in the film come from menggu mishi.The gaze of its camera language is relatively conservative , which depicts the film from the more obvious standpoint of an onlooker .On the contrary , The Great Man, Genghis khan directed by Sai Fu and Mai Lisi includes only a few basic historical facts , while its plot has more traces of subjective imagina-tion, especially with its use of the “aside” presen-ted in the first person .The film contains a lot of subjective imagery which gives the film a strong personality and sense of lyricism .It is a mark of the “self identification” of the Mongolian directors that they use the first person “I” to refer to Geng-his Khan , who is respected by the Mongolians as a god.It can be said that collective memory of an-cestor and the great narrative are expressed by Saifu and Mai Lisi, the two Mongolia directors , through a kind of personality and subjective way in the film named The Great Man, Genghis khan.
2 .Choice of Themes and Positioning of the Self
The two films have evidently chosen different themes.Genghis Khan, directed by Zhan Xiang-chi, makes a narrative based upon menggu mishi, and is mainly a description of Genghis Khan ’ s expedition to unify Mongolia grasslands .The key focus of the film is to show Genghis Khan ’ s great talent as a military strategist , and its major point of
view is“the affair of unification”.Genghis khan is the center of the whole narrative , and although there are plenty of other figures , most of them are very vague.However, The Great Man, Genghis khan directed by Saifu and Mai Lisi focuses on the development and maturing of Genghis Khan , and its major point of view are the themes of “love and forgiveness”, namely two core virtues of Mongolian culture.The film specially fabricates a plot in which a Tartar leader helps to deliver the baby Te-mujin ( Genghis Khan ’ s name ) .When Temujin killed the enemy who helped to deliver him , and strictly punished the Tartar group of this leader by driving their survivors into the grassland prairies without water , it snowed unexpectedly in the golden time of autumn .Thus, through the use of the first person , the theme of love and forgiveness rises to a higher level .
3.Characterization and Rebuilding of the I-magination .
Although it is a common thread that both films preserve the image of Genghis Khan , there are ob-vious differences in the construction of the main figure.The image of Genghis Khan in the film Genghis Khan, who was portrayed from the point of view of an onlooker , is more complex .This film not only shows his resourcefulness and bravery , but also illustrates his murderousness nature and cunningness .Due to the addition of subjective e-motion and inner monologue , the image of Genghis Khan in The Great Man, Genghis khan is a more perfect being.In this film, Genghis khan had ade-quate reasons for each war , and each of his actions were aboveboard .Even the cruelty of shooting his brother when he was only a teenager received the audience ’ s understanding , and as such , the ele-ment of imagination is even more obvious .In addi-tion, the way the two films shape images of woman also shows that the directors with different ethnic i-dentities have different understandings regarding the culture of the grasslands .The physical images of the female figures in Genghis Khan are relatively paler, especially the figure of Madam Bei ’ ertie ( Genghis Khan ’ s wife ) whose character presen-tation is extremely weak .
On the wedding night of Genghis khan and Bei ’ ertie , the Mie ’ erqi group suddenly at-tacked Genghis Khan , Bei ’ ertie fell down from the horseback in disarray .The image of Bei ’ ertie is weakened in order to maintain the strong image of Genghis Khan .Although the image of the moth-er Ho’ elun is clearer than Bei ’ ertie, the image of the mother is still not very fully described .Es-pecially, after the death of Yesugei , Ho’ elun al-so fought for the position of Khan for Temujin , and tried to stop Ta ’ erhutai from leading his tribe a-way.However, the film also shows the weakness and panic of Ho ’ elun, which is not reflected in The Great Man, Genghis khan.Saifu and Mai Lisi show the audience that Ho ’ elun is always a strong mother all the time , and her image is not in-ferior to Genghis khan .The image of Bei ’ ertie is a female image who is next only to the mother Ho ’ elun in The Great Man, Genghis khan.She is an important figure who conveys the dignity and re-sponsibility of Temujin .Obviously , the emphasis on a strong woman image is deeply related to the cultural prototype of “mother” in the grasslands .
4 .Setup of the Details and Culture Expres-sion
The two films ’ different ways of dealing with the event of the capture of Bei ’ ertie, and the dif-ferent ways in presenting the images of Sulvding , show the differences in the creators ’ understanding of grassland ’ s culture . The objective point of view of Genghis Khan allows the creators intention-ally to avoid possible emotional conflict .However , The Great Man, Genghis khan, with its strong sub-jective style , makes the event of Bei ’ ertie ’ s pregnancy more outstanding and obvious , and through it shows the process of the spiritual growth of the Great Man , Genghis khan .In addition , Sul-vding is also a key figure who has a strong symbolic significance in The Great Man, Genghis khan.Sul-vding appears twice in the film Genghis Khan, but she is emphasized neither in the narrative nor the view point.
In conclusion , the above comparative analyses from different perspectives show a simple fact , namely, it is indeed important to investigate the awareness of the identity and cultural conceptions of directors when studying the different narrative strategies about the same theme .Due to the engag-ment of different identities and perspectives , the aspect of diversity of minority films is shown as more prominent .
1.Differences and Identity Cognition
The historical realities of the two films basi-cally come from the menggu mishi ( The Secret History of Mongolia).However, both of them have reconstructed “imagination”, which reflects the self-identity cognition of the Han and Mongolian directors.Genghis Khan directed by Zhan Xiang-chi, is grounded more in historical fact and image-ry style.The important events and many of the de-tails in the film come from menggu mishi.The gaze of its camera language is relatively conservative , which depicts the film from the more obvious standpoint of an onlooker .On the contrary , The Great Man, Genghis khan directed by Sai Fu and Mai Lisi includes only a few basic historical facts , while its plot has more traces of subjective imagina-tion, especially with its use of the “aside” presen-ted in the first person .The film contains a lot of subjective imagery which gives the film a strong personality and sense of lyricism .It is a mark of the “self identification” of the Mongolian directors that they use the first person “I” to refer to Geng-his Khan , who is respected by the Mongolians as a god.It can be said that collective memory of an-cestor and the great narrative are expressed by Saifu and Mai Lisi, the two Mongolia directors , through a kind of personality and subjective way in the film named The Great Man, Genghis khan.
2 .Choice of Themes and Positioning of the Self
The two films have evidently chosen different themes.Genghis Khan, directed by Zhan Xiang-chi, makes a narrative based upon menggu mishi, and is mainly a description of Genghis Khan ’ s expedition to unify Mongolia grasslands .The key focus of the film is to show Genghis Khan ’ s great talent as a military strategist , and its major point of
view is“the affair of unification”.Genghis khan is the center of the whole narrative , and although there are plenty of other figures , most of them are very vague.However, The Great Man, Genghis khan directed by Saifu and Mai Lisi focuses on the development and maturing of Genghis Khan , and its major point of view are the themes of “love and forgiveness”, namely two core virtues of Mongolian culture.The film specially fabricates a plot in which a Tartar leader helps to deliver the baby Te-mujin ( Genghis Khan ’ s name ) .When Temujin killed the enemy who helped to deliver him , and strictly punished the Tartar group of this leader by driving their survivors into the grassland prairies without water , it snowed unexpectedly in the golden time of autumn .Thus, through the use of the first person , the theme of love and forgiveness rises to a higher level .
3.Characterization and Rebuilding of the I-magination .
Although it is a common thread that both films preserve the image of Genghis Khan , there are ob-vious differences in the construction of the main figure.The image of Genghis Khan in the film Genghis Khan, who was portrayed from the point of view of an onlooker , is more complex .This film not only shows his resourcefulness and bravery , but also illustrates his murderousness nature and cunningness .Due to the addition of subjective e-motion and inner monologue , the image of Genghis Khan in The Great Man, Genghis khan is a more perfect being.In this film, Genghis khan had ade-quate reasons for each war , and each of his actions were aboveboard .Even the cruelty of shooting his brother when he was only a teenager received the audience ’ s understanding , and as such , the ele-ment of imagination is even more obvious .In addi-tion, the way the two films shape images of woman also shows that the directors with different ethnic i-dentities have different understandings regarding the culture of the grasslands .The physical images of the female figures in Genghis Khan are relatively paler, especially the figure of Madam Bei ’ ertie ( Genghis Khan ’ s wife ) whose character presen-tation is extremely weak .
On the wedding night of Genghis khan and Bei ’ ertie , the Mie ’ erqi group suddenly at-tacked Genghis Khan , Bei ’ ertie fell down from the horseback in disarray .The image of Bei ’ ertie is weakened in order to maintain the strong image of Genghis Khan .Although the image of the moth-er Ho’ elun is clearer than Bei ’ ertie, the image of the mother is still not very fully described .Es-pecially, after the death of Yesugei , Ho’ elun al-so fought for the position of Khan for Temujin , and tried to stop Ta ’ erhutai from leading his tribe a-way.However, the film also shows the weakness and panic of Ho ’ elun, which is not reflected in The Great Man, Genghis khan.Saifu and Mai Lisi show the audience that Ho ’ elun is always a strong mother all the time , and her image is not in-ferior to Genghis khan .The image of Bei ’ ertie is a female image who is next only to the mother Ho ’ elun in The Great Man, Genghis khan.She is an important figure who conveys the dignity and re-sponsibility of Temujin .Obviously , the emphasis on a strong woman image is deeply related to the cultural prototype of “mother” in the grasslands .
4 .Setup of the Details and Culture Expres-sion
The two films ’ different ways of dealing with the event of the capture of Bei ’ ertie, and the dif-ferent ways in presenting the images of Sulvding , show the differences in the creators ’ understanding of grassland ’ s culture . The objective point of view of Genghis Khan allows the creators intention-ally to avoid possible emotional conflict .However , The Great Man, Genghis khan, with its strong sub-jective style , makes the event of Bei ’ ertie ’ s pregnancy more outstanding and obvious , and through it shows the process of the spiritual growth of the Great Man , Genghis khan .In addition , Sul-vding is also a key figure who has a strong symbolic significance in The Great Man, Genghis khan.Sul-vding appears twice in the film Genghis Khan, but she is emphasized neither in the narrative nor the view point.
In conclusion , the above comparative analyses from different perspectives show a simple fact , namely, it is indeed important to investigate the awareness of the identity and cultural conceptions of directors when studying the different narrative strategies about the same theme .Due to the engag-ment of different identities and perspectives , the aspect of diversity of minority films is shown as more prominent .