Farewell My Concubine (film)

Farewell My Concubine
Theatrical release poster
Chinese name
Traditional Chinese	霸王別姬
Simplified Chinese	霸王别姬
Literal meaning	The Hegemon-King Bids Farewell to His Concubine
Transcriptions Standard Mandarin Hanyu Pinyin Bà Wáng Bié Jī
Directed by	Chen Kaige
Screenplay by	Lu Wei Lilian Lee
Based on	Farewell My Concubine by Lilian Lee rewritten from Qiuhaitang (秋海棠) by Qin Shouou (zh:秦瘦鷗)
Produced by	Hsu Feng
Starring	Leslie Cheung Zhang Fengyi Gong Li
Cinematography	Gu Changwei
Edited by	Pei Xiaonan
Music by	Zhao Jiping
Production companies	Beijing Film Studio China Film Co-Production Corporation Tomson Films Maverick Picture Company
Distributed by	Miramax Films (US)
Release dates	1 January 1993 (1993-01-01) (Hong Kong) 15 October 1993 (1993-10-15) (United States)
Running time	171 minutes
Country	China
Language	Mandarin
Budget	$4 million
Box office	Over $30 million (Worldwide)

Farewell My Concubine is a 1993 Chinese-Hong Kong epic historical drama film directed by Chen Kaige, starring Leslie Cheung, Gong Li and Zhang Fengyi. Adapted for the screen by Lu Wei, based on the novel by Lilian Lee, the film is set in the politically tumultuous 20th-century China, from the early days of the Republic of China to the aftermath of the Cultural Revolution. It chronicles the troubled relationships amongst two lifelong friends, the Peking opera actors Cheng Dieyi (Cheung) and Duan Xiaolou (Zhang), and Xiaolou's wife Juxian (Gong).

The film's themes include confusion of identity and blurred lines between real life and the stage, portrayed by the revered opera actor Dieyi, whose unrequited love for Xiaolou persists throughout. Commentators also noted themes of political and societal disturbances in 20th-century China, which is typical of the Chinese Fifth Generation cinema.

Farewell My Concubine premiered on 1 January 1993, in Hong Kong. Upon release the film received generally positive reviews from contemporary critics, and jointly won the Palme d'Or at the 1993 Cannes Film Festival, becoming the first Chinese-language film to achieve the honour. It won further accolades, including a Golden Globe for Best Foreign Language Film and a BAFTA for Best Film Not in the English Language, and received two nominations at the 66th Academy Awards for Best Cinematography and Best Foreign Language Film.

A few weeks following its China release, the politburo demanded changes to be made to the film due to themes against traditional values and political reasons. While allowing a premiere in Beijing, the government objected to the representation of homosexuality, the suicide of a leading character and a description of the turmoil during the 1960s.

The film was allowed to resume public showings in September 1993, less than a year after its original release. Upon its return the Chinese censors had made numerous cuts, removing 14 minutes. Chinese officials felt that a re-release, as opposed to maintaining a full ban, would silence an ever-growing international backlash and also help their bid to host the Olympic Games in Beijing in 2000.

Farewell My Concubine is considered one of the landmark films of the Fifth Generation movement that brought Chinese film directors to world attention. In 2005, the film was selected as one of the "100 Best Films in Global History" by Time magazine.

Plot

A young boy, Douzi, is abandoned by his prostitute mother to a Peking opera troupe supervised by Master Guan. There, Douzi befriends another boy about his age, Shitou.

A teenage Douzi is trained to play dan (female heroine roles), while Shitou learns jing (male hero roles). When practicing the play "Dreaming of the World Outside the Nunnery", Douzi misstates the line "I am by nature a girl, not a boy" with "I am by nature a boy, not a girl," for which he receives severe physical punishment. Douzi and another student, Laizi, attempt to run away, but Douzi decides to pursue acting seriously after witnessing an opera performance. Upon returning, they find the whole troupe being punished for their desertion, and Douzi is beaten. As a result, Laizi hangs himself.

An agent who provides funding for opera plays comes to the troupe to seek potential actors. When Douzi repeats the same mistake in front of the agent, Shitou commands him to start over. Douzi finally delivers the entire monologue successfully and secures the agent. The troupe is invited to perform for eunuch Zhang. Shitou and Douzi are brought to Zhang's house where they find a finely crafted sword, which Shitou promises to one day gift to Douzi, as the hero would do for his concubine. Zhang asks to meet Douzi in his room and sexually assaults him. Shitou implicitly knows what happened although Douzi does not speak of the assault. On their way home, Douzi rescues an abandoned baby, who later comes under Master Guan's training.

Memorabilia from the film exhibited at "The Art of Leslie Cheung's Movie Images", April 2013, Hong Kong Central Library.

Years later, Douzi and Shitou have become Peking opera stars, taking the names Cheng Dieyi and Duan Xiaolou, respectively. Their signature performance is the play Farewell My Concubine, where Cheng Dieyi plays Consort Yu and Duan Xiaolou plays the hero Xiang Yu. Their fame attracts the attention of Yuan Shiqing, a reputable person who attends their performances. Yuan Shiqing has come to possess the sword which was once in Eunuch Zhang's house and gifts the sword to Dieyi. The adult Cheng Dieyi is in love with Duan Xiaolou; when Xiaolou marries Juxian, a headstrong courtesan at an upscale brothel, Dieyi and Xiaolou's relationship begins to fall apart. The love triangle between Dieyi, Xiaolou, and Juxian leads to jealousy and betrayal, which is further complicated by the successive political upheavals following the Second Sino-Japanese War. When Master Guan dies, the abandoned baby, now Xiao Si, comes under Dieyi's training to continue learning dan roles.

When the communist forces win the civil war, Xiao Si becomes an avid follower of the new government. Dieyi's addiction to opium negatively affects his performances, but he ultimately rehabilitates with the help of Xiaolou and Juxian. Xiao Si nurtures resentment against Dieyi because of his rigorous teachings and usurps his role in Farewell My Concubine during one performance, without anyone telling Dieyi beforehand. Devastated by the betrayal, Dieyi secludes himself and refuses to reconcile with Xiaolou. As the Cultural Revolution continues, the entire opera troupe is put on a struggle session by the Red Guards where, under pressure, Dieyi and Xiaolou accuse each other of counterrevolutionary acts. Dieyi also tells the guards that Juxian was a prostitute. To protect himself from further prosecution, Xiaolou swears that he does not love her and will "make a clean break" with her. Juxian is heartbroken and returns the sword to Dieyi before committing suicide. Afterward, Xiao Si is caught by the Red Guards when he is singing Consort Yu's lines to the mirror alone in a practice room.

In 1977, Dieyi and Xiaolou reunite, seeming to have mended their relationship. They once again practice Farewell My Concubine. During a break, Xiaolou begins reciting the line "I am by nature a boy," to which Dieyi makes the same mistake of finishing with "I am not a girl." The film ends with both of them finishing the rehearsal, but Dieyi takes Xiaolou's sword and cuts his own throat, paralleling the concubine's final act in the opera.

Cast

Actor	Character
Leslie Cheung	Cheng Dieyi (程蝶衣, Pinyin: Chéng Diéyī) / Douzi (小豆子, Pinyin: Xiǎo Dòuzi)
Yin Zhi	Cheng Dieyi (teenager)
Ma Mingwei	Cheng Dieyi (child)
Zhang Fengyi	Duan Xiaolou (段晓楼) / Xiaoshitou (小石头)
Zhao Hailong	Duan Xiaolou (teenager)
Fei Yang	Duan Xiaolou (child)
Gong Li	Juxian (菊仙 Júxiān)
Ge You	Yuan Shiqing (袁世卿 Yuán Shìqīng)
Lü Qi	Master Guan (Simplified: 关师傅, Traditional: 關師傅, Pinyin: Guān Shīfu)
Ying Da	Na Kun (那坤 Nā Kūn)
Yidi	Eunuch Zhang (Simplified: 张公公, Traditional: 張公公, Pinyin: Zhāng Gōnggong)
Zhi Yitong	Saburo Aoki (青木 三郎, Chinese Pinyin: Qīngmù Sānláng, Japanese: Aoki Saburō)
Lei Han	Xiaosi
Li Chun	Xiaosi (teenager)
Li Dan	Laizi (Simplified: 小癞子, Traditional: 小癩子, Pinyin: Xiǎo Làizǐ)
Yang Yongchao	Laizi (child)
Jiang Wenli	Mother of Xiaodouzi
Wu Dai-wai	Red Guard (Simplified: 红卫兵, Traditional: 紅衛兵, Pinyin: Hóngwèibīng)

Production

Chen Kaige was first given a copy of Lilian Lee's novel in 1988, and although Chen found the story of the novel to be "compelling", he found the emotional subtext of the novel "a bit thin". After meeting with Lee, they recruited Chinese writer Lu Wei for the screenplay, and in 1991 the first draft of the screenplay came about. The director chose the heroic suicide of Dieyi over the original story's banality in order to present the "Lie nu" image of Dieyi, to emphasize the women's liberation which was commonly found in the Fifth Generation films.

Jackie Chan was originally considered for the role of Cheng Dieyi, but he declined the offer. John Lone later lobbied for the role but failed to progress past contractual negotiations with producer Hsu Feng.

Hong Kong actor Leslie Cheung was used in the film to attract audiences because melodramas were not a popular genre. It was believed that it was the first film where Cheung spoke Mandarin Chinese. However, for most of the movie Cheung's voice is dubbed by Beijing actor Yang Lixin. Director Chen left Cheung's original voice in two scenes, where Cheung's voice is distorted by physical and mental distress. Due to Gong Li's international stardom, she was cast as one of the main characters in the film.

Historical background

The historical background of the film is multi-layered and complicated, which contributes to the motif and the form of the film. The 1990s period saw China trying to improve country's image after controversial protests that students, workers, and foreign government agency involved. David Shambaugh talks about the government's new agenda that focused on "restoring the appearance of unity in the leadership, ensuring the loyalty of the military, reestablishing social order, reasserting central control over the provinces, recentralizing and retrenching the economy, and redefining China's role in a post-Cold War international environment". In addition to the mentioned changes in the political climate, at the time of the film's release, the atmosphere around the criticism of Cultural Revolution shifted. As Luo Hui notes "criticizing the Cultural Revolution had become permissible, even fashionable", allowing the film to highlight the devastation in the world of art, as well as other aspects of Chinese society like medicine and education, suffered at the hands of the Cultural Revolution movement.

Release

Release in China

The film premiered in Shanghai in July 1993 but was removed from theatres after two weeks for further censorial review, and subsequently banned in August. Because the film won the Palme d'Or at the 1993 Cannes Film Festival, the ban was met with international outcry. Feeling that there was "no choice" and fearing the ban hurt China's bid for the 2000 Summer Olympics, officials allowed the film to resume public showings in September. This release was censored; scenes dealing with the Cultural Revolution and homosexuality were cut, and the final scene was revised to "soften the blow of the suicide".

Box office and reception

The film was released to three theaters on 15 October 1993, and grossed $69,408 in the opening weekend. Its final grossing in the US market is $5,216,888.

In 2005, some 25,000 Hong Kong film-enthusiasts voted it their favorite Chinese-language film of the century (the second was Wong Kar-wai's Days of Being Wild).

International audience

The international perspective was put into question by critics who are concerned that the film's visual and artistic settings are too culturally inherent. On the other hand, the contents are internationally applicable. The enriching contexts, symbols and political icons are turned into colorful Oriental spectacles that arouse Westerner's fantasies. China's image is used as an object of signification, a cultural exhibition on display and a major selling point. Thus, they charge the film for dancing to the tunes set forth by the Western cultural imaginary about China.

Some critics point to the fact that Chen had engineered the film to fit domestic and international audiences' taste, as Chen understands the international audience's perceptions and attitudes towards Chinese history, and sexuality.

Miramax edited version

At Cannes, the film was awarded the highest prize, the Palme d'Or. Miramax Films mogul Harvey Weinstein purchased distribution rights and removed fourteen minutes, resulting in a 157-minute cut. This is the version seen theatrically in the United States and United Kingdom.

According to Peter Biskind's book, Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film, Louis Malle, Cannes jury president that year, said: "The film we admired so much in Cannes is not the film seen in this country [the U.S.], which is twenty minutes shorter – but seems longer because it doesn't make any sense. It was better before those guys made cuts."

The uncut 171-minute version has been released by Miramax on DVD.

4K re-release

In the fall of 2023, distributor Film Movement released the 4K restoration of the film theatrically in celebration of its 30th anniversary. It was the first time the uncut version was released in North American theaters.

The Criterion Collection later announced a 4K Ultra HD/Blu-ray package for a July 2024 release.

Music and soundtrack

External videos
當愛已成往事 - YouTube
歌唱祖國 - YouTube
中国人民解放军进行曲 - YouTube
大海航行靠舵手 - YouTube

Song Type	Name	composer	lyrics	singer
Theme song	Bygone Love	Jonathan Lee	Jonathan Lee	Original Singer: Sandy Lam; Jonathan Lee MV Director: Xueer Qu Leslie Cheung covered the theme song "When Love Has Gone" in 1995.
Episode	Don't get it	Jonathan Lee	Lin Huang	Jonathan Lee MV Director: Kaige Chen "Don't get it" does not appear in this film, but is only included in "Farewell My Concubine Movie Soundtrack".
Episode	Ode to the Motherland	Xin Wang	Xin Wang
Episode	March of Chinese PLA	Lvchen Zheng	Mu Gong
Episode	Sailing the Seas Depends on the Helmsman	Shuangyin Wang	Yuwen Li

L'homosexualité et la fluidité de genre dans "Adieu ma concubine" : L'entrelacement du personnel, de la culture et de la société

Le film Adieu ma concubine explore, à travers la scène de l'opéra de Pékin, les relations complexes d'homosexualité et de fluidité de genre entre Cheng Dieyi et Duan Xiaolou. Ces relations ne se limitent pas à une simple dépendance à l'égard des liens traditionnels entre frères d’armes, mais s’étendent à une expression amoureuse empreinte de nuances homosexuelles, qui entre en conflit avec les normes de genre et le contexte politique de l’époque, devenant ainsi le cœur de la tragédie de Cheng Dieyi.

L'expression des sentiments homosexuels dans le film est intimement liée à la culture traditionnelle de l'opéra de Pékin, qui montre le conflit entre l'identité de genre et le regard social. Dans l'opéra de Pékin, la présence des rôles de "dan" (hommes jouant des rôles féminins) confère aux acteurs masculins une identité féminine. Cette performance de genre dépasse la simple interprétation scénique pour devenir une identité profondément intériorisée. Cheng Dieyi n’est donc pas seulement représenté comme un "homosexuel", mais pourrait être vu comme un "transgenre" façonné par son environnement. Dès le début du film, lorsque sa mère lui coupe le sixième doigt avec un couteau, cet acte est interprété par les psychologues comme une forme de "castration" mentale.

Depuis son plus jeune âge, Cheng Dieyi a été formé à jouer des rôles féminins, et, à travers la violence, l'oppression psychologique et la répétition incessante des performances, il en est venu à brouiller les frontières entre réalité et théâtre, ce qui a rendu floue sa compréhension de l'identité de genre. Cette confusion alimente ses sentiments pour Duan Xiaolou, accentuant encore plus son trouble identitaire. Judith Butler, dans sa théorie selon laquelle "le genre est une performance", soutient que l'identité de genre n'est pas figée, mais qu'elle est constamment construite et reconstruite à travers les normes sociales et les pratiques comportementales (Butler, 1990). Michel Foucault, dans Surveiller et punir, propose que le regard, en tant que forme de pouvoir, impose aux individus d’intérioriser les normes sociales par le biais d’une surveillance invisible (Foucault, 1975). Ce "regard" ne provient pas seulement de la surveillance directe, mais aussi d’une forme de discipline sociale qui façonne les comportements individuels, conduisant à une aliénation des sujets. Dans Adieu ma concubine, Cheng Dieyi, en tant que "dan", est constamment sous le regard de la scène et de la société. Ce pouvoir de surveillance vient de son maître, des mécènes, de Yuan Shiye, et même des eunuques. Finalement, il s’immerge totalement dans le rôle de Yu Ji, jusqu'à ce que la célèbre phrase du film, "le roi est un faux roi, mais Yu Ji est la véritable Yu Ji", devienne réalité. Comme le souligne Foucault, le regard, en tant que forme de pouvoir patriarcal, façonne progressivement l'identité de genre de Cheng Dieyi. L'amour de Cheng Dieyi pour Duan Xiaolou est omniprésent dans le film, une passion qui ne se limite pas à la scène, mais qui s'étend à sa vie personnelle.

Cependant, si l’acteur masculin jouant un rôle féminin est accepté sur scène, ce n’est pas le cas dans la vie réelle. La crise d’identité de genre de Cheng Dieyi entre en conflit avec la perception sociale rigide des rôles de genre. Berry (2001) souligne que l’inconfort de Duan Xiaolou face à l’expression féminine de Cheng Dieyi reflète la répression sociale de la diversité de genre.

Lorsqu’il joue Yu Ji, Cheng Dieyi ne fait pas seulement preuve d’un engagement émotionnel sur le plan artistique, mais il projette également son amour pour Duan Xiaolou dans ce rôle, créant ainsi une métaphore de leur relation dans la réalité. Cet amour est répressif et contradictoire. Fong note que l’amour de Cheng Dieyi ne peut être exprimé ouvertement, mais est suggéré à travers ses performances et son immersion dans le rôle de Yu Ji. Ce sentiment homosexuel caché est à la fois un reflet de la répression intérieure de Cheng Dieyi et une tragédie de l'époque (Fong, 2010).

La réponse de Duan Xiaolou à Cheng Dieyi est tout aussi complexe. Bien qu'il réagisse à certains égards aux sentiments de Cheng, sa réponse se situe davantage dans une amitié fraternelle que dans une véritable relation amoureuse. Cui (2003) note que la froideur émotionnelle de Duan Xiaolou n’est pas seulement un choix personnel, mais aussi une conséquence de la répression sociale des sentiments homosexuels. Dans une société traditionnelle où les normes de genre et d'orientation sexuelle sont strictement définies, Duan Xiaolou ne peut accepter l’amour profond de Cheng Dieyi et finit par épouser Juxian pour échapper à cette relation non réciproque. Ce choix met en lumière l’importance sociale accordée au mariage hétérosexuel et la marginalisation des relations homosexuelles.

Adieu ma concubine relie également les questions de genre au contexte politique, en particulier l'influence de la Révolution culturelle sur les représentations de genre. Dans la seconde moitié du film, l’histoire se déroule sous le régime de la Révolution culturelle, une période de bouleversements politiques où toute déviation par rapport aux normes établies était perçue comme une menace pour l’ordre social. La Révolution culturelle n’était pas seulement un mouvement politique, mais aussi une reconfiguration de l'identité individuelle. À cette époque, toute "déviation" de l’identité individuelle, et en particulier toute forme d’expression "non orthodoxe" liée au genre et à l’orientation sexuelle, pouvait être politisée et réprimée. La fluidité de genre et les sentiments homosexuels de Cheng Dieyi furent gravement réprimés et attaqués sous cet arrière-plan politique, renforçant encore la répression sociale. À travers le personnage de Cheng Dieyi, le film montre comment, dans une époque marquée par un collectivisme extrême, les sentiments individuels et les identités de genre furent avalés par les intérêts collectifs et les bouleversements politiques, conduisant finalement à la perte et à la destruction de l’identité individuelle.

Zhang Zhen (2007) a analysé les tensions entre le genre, l'art et la politique pendant la Révolution culturelle, notant que, dans ce climat politique hautement sensible, toute expression "déviant" des normes pouvait être marquée comme contre-révolutionnaire. Cela signifie que toute déviation dans l'expression de genre pouvait être politisée et réprimée. Comme le montre le film avec Cheng Dieyi, sa fluidité de genre n’est pas seulement une crise d’identité personnelle, mais aussi une forme de résistance tacite contre les normes de genre dans ce contexte politique. À travers ce personnage, le film révèle les interactions complexes entre le genre et la politique, ainsi que la vulnérabilité et l’impuissance des individus face aux changements historiques.

En conclusion, l’amour homosexuel entre Cheng Dieyi et Duan Xiaolou n’est pas seulement une expression personnelle, mais illustre également les tensions entre la fluidité de genre, la culture traditionnelle et les bouleversements politiques. À travers le personnage de Cheng Dieyi, le film remet en question les normes de genre traditionnelles et les tabous sociaux, tout en montrant la fragilité et l’impuissance des sentiments personnels dans un contexte historique plus vaste. Adieu ma concubine illustre ainsi l’interaction entre genre, culture et politique, et montre la complexité et la tragédie de la construction de l’identité personnelle.

Références :

• Template:Berry, C. (2001). A Nation T(w/o)o: Chinese Cinema(s) and Nationhood(s). Positions: East Asia Cultures Critique, 9(1), 155-179.
• Template:Butler, J. (1990). Gender Trouble: Feminism and the Subversion of Identity. Routledge.
• Template:Cui, S. (2003). Gendered Bodies: A Queer Analysis of Chinese Cinema. Journal of Chinese Cinemas, 1(1), 53-68.
• Template:Fong, G. (2010). Embodied Memories, Immortal Silhouettes: Performances of Gender and Sexuality in Farewell My Concubine. East Asian Cinemas, 9(2), 71-84.
• Template:Foucault, M. (1975). Surveiller et punir: Naissance de la prison. Gallimard.
• Template:Zhang, Z. (2007). Mediating Time: The 'Fifth Generation' and the 'Avant-Garde'. Duke University Press.

Critical reception

Roger Ebert awarded the film four stars, praising the plot as "almost unbelievably ambitious" and executed with "freedom and energy". The New York Times critic Vincent Canby hailed it for "action, history, exotic color", positively reviewing the acting of Gong Li, Leslie Cheung and Zhang Fengyi. In New York, David Denby criticized the "spectacle" but felt it would be worthy of excelling in international cinema, portraying a triumph of love and culture despite dark moments. Hal Hinson, writing for The Washington Post, highlighted "its swooning infatuation with the theater- with its colors, its vitality and even its cruel rigors". Desson Howe for the same publication was less positive, writing that the first half had impact but gives way to "novel-like meandering", with less point.

The film was included in The New York Times's list of The Best 1000 Movies Ever Made in 2004 and Time's list of Best Movies of All Time in 2005. It was ranked No. 97 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010, and No. 1 in Time Out's "100 Best Mainland Chinese Films" feature in 2014. The film has a 90% approval rating on Rotten Tomatoes based on 52 reviews, with an average rating of 7.80/10. The critics consensus reads, "Chen Kaing's epic is grand in scope and presentation, and, bolstered by solid performances, the result is a film both horrifying and enthralling." The BBC placed the film at number 12 on its 2018 list of the 100 greatest foreign language films. It ranked at number 55 on the Hong Kong Film Awards Association (HKFAA)'s list of the Best 100 Chinese-Language Motion Pictures in 2005. The public ranked Farewell My Concubine atop a 2005 poll of the most beloved films in Hong Kong conducted by Handerson ArtReach.

Year-end lists

• 6th – Joan Vadeboncoeur, Syracuse Herald American
• Top 10 (not ranked) – Dennis King, Tulsa World

Accolades

At the Cannes Film Festival, the film tied for the Palme d'Or with Jane Campion's The Piano from New Zealand. Farewell My Concubine is the first, and as of 2023 remains the only, Chinese-language film to win the Palme d'Or at Cannes.

Year	Award	Category	Recipient(s)	Result	Ref(s)
1993	Boston Society of Film Critics	Best Foreign Language Film	Chen Kaige	Won
1993	Camerimage	Silver Frog	Gu Changwei	Won
1993	Cannes Film Festival	Palme d'Or	Chen Kaige	Won
		FIPRESCI Prize		Won
1993	Los Angeles Film Critics Association	Best Foreign Language Film	Chen Kaige	Won
1993	National Board of Review	Best Foreign Language Film	Chen Kaige	Won
		Top Foreign Language Films		Won
1993	New York Film Critics Circle	Best Foreign Language Film	Chen Kaige	Won
		Best Supporting Actress	Li Gong	Won
1994	Academy Awards	Best Foreign Language Film	Chen Kaige	Nominated
		Best Cinematography	Gu Changwei	Nominated
1994	British Academy Film Awards	Best Film not in the English Language	Hsu Feng, Chen Kaige	Won
1994	César Awards	Best Foreign Film	Chen Kaige	Nominated
1994	Golden Globe Awards	Best Foreign Language Film	Chen Kaige	Won
1994	London Film Critics' Circle	Best Foreign Language Film	Chen Kaige	Won
1994	Mainichi Film Awards	Best Foreign Language Film	Chen Kaige	Won

See also

• Cinema of China
• Cinema of Hong Kong
• List of submissions to the 66th Academy Awards for Best Foreign Language Film
• List of Hong Kong submissions for the Academy Award for Best Foreign Language Film

Further reading

• Braester, Yomi (17 March 2010). Painting the City Red: Chinese Cinema and the Urban Contract. Rey Chow, Harry Harootunian, Masao Miyoshi. Durham [NC]: Duke University Press. p. 335. ISBN 9780822392750. Retrieved 3 February 2016 – via Google Books.
• Clark, Paul (2005). Reinventing China: A Generation and Its Films. Hong Kong: The Chinese University Press.
• Braester, Yomi. Farewell My Concubine: National Myth and City Memories. In Chinese Films in Focus: 25 New Takes, edited by Chris Berry, 89–96. London: British Film Institute, 2003.
• Leung, Helen Hok-Sze (2010). Farewell My Concubine: A Queer Film Classic (Large Print 16pt). Vancouver: Read How You Want, Arsenal Pulp Press. ISBN 978-1459608368.
• Kaplan, Ann. Reading Formations and Chen Kaige's Farewell My Concubine. In Sheldon Lu, ed., Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University of Hawaiʻi Press, 1997.
• Larson, Wendy. The Concubine and the Figure of History: Chen Kaige's Farewell My Concubine. In Sheldon Lu, ed., Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University of Hawaiʻi Press, 1997; also published as Bawang bieji: Ji yu lishi xingxiang, Qingxiang (1997); also in Harry Kuoshu, ed., Chinese Film, ed. Bloomington: Indiana University Press, 2000.
• Lau, Jenny Kwok Wah. Farewell My Concubine': History, Melodrama, and Ideology in Contemporary Pan-Chinese Cinema. Film Quarterly 49, 1 (Fall, 1995).
• Lim, Song Hwee. The Uses of Femininity: Chen Kaige's Farewell My Concubine and Zhang Yuan's East Palace, West Palace. In Lim, Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas. Honolulu: University of Hawaiʻi, 2006, pages 69–98.
• Lu, Sheldon Hsiao-peng. "National Cinema, Cultural Critique, Transnational Capital: The Films of Zhang Yimou." In Transnational Chinese Cinema, edited by Sheldon Lu, 105–39. Honolulu: University of Hawaiʻi Press, page 199.
• McDougall, Bonnie S. "Cross-dressing and the Disappearing Woman in Modern Chinese Fiction, Drama and Film: Reflections on Chen Kaige's Farewell My Concubine." China Information 8, 4 (Summer 1994): pages 42–51.
• Metzger, Sean. "Farewell My Fantasy." The Journal of Homosexuality 39, 3/4 (2000): pages 213–32. Rpt. in Andrew Grossman, ed. Queer Asian Cinema: Shadows in the Shade. New York: Harrington Press, 2000, pages 213–232.
• Xu, Ben. "Farewell My Concubine and Its Western and Chinese Viewers." Quarterly Review of Film and Television 16, 2 (1997).
• Zha, Jianying (1995). China Pop : How Soap Operas, Tabloids, and Bestsellers Are Transforming a Culture. New York: The New Press, W.W. Norton. ISBN 9781565842496.
• Zhang, Benzi. "Figures of Violence and Tropes of Homophobia: Reading Farewell My Concubine between East and West." Journal of Popular Culture: Comparative Studies in the World's Civilizations 33, 2 (1999): pages 101–109.

External links

• Farewell My Concubine at IMDb
• Farewell My Concubine at AllMovie
• Farewell My Concubine at Box Office Mojo
• Farewell My Concubine at Rotten Tomatoes
• A film review with emphasis on the relationship between the play and the film Archived 4 March 2016 at the Wayback Machine