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Mao's Last Dancer
Will Maion 14 February 2013
Transcript of Mao's Last Dancer
White Knight Rotation
The Power of Ballet
East Meets West Li & Elizabeth (Liz)
- Talent Appreciation
- Chinese Value vs American Value
Li & Mary
- Talent Appreciation = Meritocracy
- Fantasy about the Orient Li & Liz - Talent Appreciation
- Different Values (Love & Career) Li & Mary - Meritocracy
- The Oriental Fantasy White Knight -Three characters embodying one white knight: Mr. Foster
Dilworth -All three expose Li to the ideals of America and protect him at different times during the movie
- Unique presentation of the white knight Li's transformation and his return to China The Ballet Scenes In Mao's Last Dancer, ballet is used to show the formation of Cold War Orientalist linkages between the U.S. and communist China. These scenes are also used to inform the viewer of Li's emotional state as well as foreshadowing future events. This can be seen in:
- The European and Communist ballet scenes
- "Die Fledermaus" Don Quixote
- The Nightmare ballet
- Ballet in the Crystal Cave Li's Transformation from Peasant #59 to "Big Ballerino" Li in China
-Beijing • "The ties that bind" (Family Foundation)
• Blindly Obedient to Eagerly Independent East Meets West Lighting and Color
Contemporary Thought Relations We see the white knights exercising their economical and social power to help Li throughout the movie Li in America
-Houston • Material Memory (Photo, Video)
• Ideological changes indicative in clothing As well as political and physical power to protect Li Mr. Foster contacts a Judge, coordinates with the FBI and even the white house ...and now, Dilworth offers up some thoughts to ponder... Dilworth attempts to save Li with physical power -Li returns to China as a white knight, to help those less fortunate than himself Any questions? Comments? Overpowering love for the Chairman Meow scene?