148:, marriage, and love. The film is named for a village proverb that reflects gender roles: "To give birth to a boy is considered a big happiness. To give birth to a girl is a small happiness." The older women of the village reflect on the old customs such as foot binding as "horrors of another world," with one explaining how she was forced to smother her own baby due to famine pre-revolution. However, gender roles are not yet equal, with a woman testifying that she had to stop driving a tractor because it was not considered "convenient" for men and women to work together. Furthermore,
114:
to work), the new system creates problems as collectively purchased farming equipment becomes useless on small, privately owned plots. In this way, agriculture also becomes feminized, as women are left to tend to their husband's fields while the men take higher paying jobs. A vegetable farming entrepreneur in the village is one of the only people happy about the changes, stating that "everyone has to make some money- I'll make more and they'll make less." Another man, more bitter over the prospects, remarks that "When times get difficult, people will think of the collective and
181:, he is considered an important member of the community by other villagers and garners respect. In addition to interviews regarding Catholicism, medical ethics, rural health care, and traditional medicine, the film also includes scenes of Christian prayer services. Dr. Shen also in part served as the inspiration for the trilogy as a whole, having helped solidify the focus of the films on religion, family, and medicine.
152:, despite being more lenient in rural areas, affects women deeply, who are socially pressured to give birth to sons over daughters. A focal point of the film is a marriage scene, in which the bride begrudgingly takes part in a ceremony to honor the groom's ancestors, being heckled by his friends and family for the duration.
108:
The first film discusses the religious and cultural traditions of the community in Long Bow
Village, including a funeral, a country fair, and an open air opera performance. Although nominally about religion and culture, large parts of the film consist of interviews where village residents discuss the
113:
to individual farming in China and the effects on the community. Long Bow prospered under collective management, which led to resistance when economic reforms dismantled the system. Although villagers agree the old system had problems with motivation (with workers getting paid merely for showing up
68:
Although her father had worked extensively with the villagers of Long Bow, Carma Hinton did not have the idea of making films about the village until she witnessed villagers performing on stilts in 1977. Afterwards, she worked with
Richard Gordon to make a 28-minute film titled
77:. The reception to this film inspired further interest in filming the villagers, leading to the inception of the trilogy. The topics of each part of the trilogy were chosen, in part, based on the topics of interviews with the subject of the third film, Dr. Shen Fasheng.
85:
Narration throughout the films is kept to a minimum, with emphasis placed on the testimony of people living in the village. The films were produced over three years, with the chronological production order being
201:, as many people mentioned in Hilton's works are depicted and interviewed in the films. Due to the significant emphasis placed on oral testimony, the film trilogy has been the subject of interest and review by
118:." The resurgence in private personal wealth in the village has led to more lavish weddings, funerals, and festivals, many of which were prohibited in their traditional forms during the
408:
398:
403:
393:
43:
170:
133:
162:
In contrast to the first two films, the third film focuses largely on one individual: Dr. Shen
Fasheng, a
388:
137:
119:
229:
317:
270:
110:
53:
357:
309:
174:
149:
24:
202:
193:
and has become a common classroom film, especially when shown after assigned readings of
166:
74:
35:
382:
190:
141:
145:
115:
34:
and
Richard Gordon. The films focus on a variety of topics, but all depict life in
31:
345:
344:
Blatti, Jo; Walter, Ann; Young, Marilyn; May, Lary; Frisch, Michael (1987).
178:
361:
163:
274:
258:
321:
300:
Shue, Vivienne (1987). "The Long Bow Film
Trilogy – A Review Article".
48:
27:
140:, including interviews with village women who discuss topics such as
39:
313:
177:. Although Dr. Shen is a minority in the village as a practicing
132:
The second film focuses on the advances and limitations of
259:"The Long Bow Films: AN INTERVIEW WITH CARMA HINTON"
38:(translated as Long Bow Village), a village in the
189:The film trilogy was well received by scholars in
56:. Many of the people mentioned or interviewed for
8:
346:"One Village in China: A Review Symposium"
224:
222:
220:
218:
214:
295:
293:
291:
339:
337:
335:
333:
331:
252:
250:
46:often known as the topic of the book
7:
144:and customs, the criminalization of
409:English-language documentary films
14:
122:, and all are shown in the film.
71:Stilt Dancers of Long Bow Village
16:Chinese documentary film trilogy
157:Part Three: To Taste 100 Herbs
1:
399:Documentary films about China
404:1980s English-language films
302:The Journal of Asian Studies
171:traditional Chinese medicine
425:
103:Part One: All Under Heaven
52:by Carma Hinton's father,
44:People's Republic of China
175:Western medical practices
127:Part Two: Small Happiness
150:government birth control
134:women's rights in China
394:1986 documentary films
73:in collaboration with
257:Wang, Norman (1986).
60:appear in the films.
362:10.1093/ohr/15.2.115
350:Oral History Review
138:cultural revolution
120:cultural revolution
230:"LONG BOW TRILOGY"
111:collective farming
96:To Taste 100 Herbs
54:William H. Hinton
416:
373:
372:
370:
368:
341:
326:
325:
297:
286:
285:
283:
281:
254:
245:
244:
242:
240:
226:
109:transition from
92:All Under Heaven
42:province of the
25:documentary film
21:Long Bow Trilogy
424:
423:
419:
418:
417:
415:
414:
413:
379:
378:
377:
376:
366:
364:
343:
342:
329:
314:10.2307/2057104
299:
298:
289:
279:
277:
256:
255:
248:
238:
236:
228:
227:
216:
211:
203:oral historians
187:
160:
130:
106:
88:Small Happiness
83:
66:
30:co-directed by
17:
12:
11:
5:
422:
420:
412:
411:
406:
401:
396:
391:
381:
380:
375:
374:
356:(2): 115–135.
327:
308:(4): 843–848.
287:
246:
213:
212:
210:
207:
186:
183:
169:who practices
159:
154:
129:
124:
105:
100:
82:
79:
65:
62:
36:Zhangzhuangcun
15:
13:
10:
9:
6:
4:
3:
2:
421:
410:
407:
405:
402:
400:
397:
395:
392:
390:
387:
386:
384:
363:
359:
355:
351:
347:
340:
338:
336:
334:
332:
328:
323:
319:
315:
311:
307:
303:
296:
294:
292:
288:
276:
272:
268:
264:
260:
253:
251:
247:
235:
231:
225:
223:
221:
219:
215:
208:
206:
204:
200:
196:
192:
191:Asian studies
184:
182:
180:
176:
172:
168:
165:
158:
155:
153:
151:
147:
143:
142:birth control
139:
135:
128:
125:
123:
121:
117:
112:
104:
101:
99:
97:
93:
89:
80:
78:
76:
72:
63:
61:
59:
55:
51:
50:
45:
41:
37:
33:
29:
26:
22:
365:. Retrieved
353:
349:
305:
301:
278:. Retrieved
269:(4): 36–38.
266:
262:
237:. Retrieved
233:
198:
194:
188:
161:
156:
146:foot binding
131:
126:
116:Chairman Mao
107:
102:
95:
94:(1985), and
91:
87:
84:
75:GEO magazine
70:
67:
57:
47:
32:Carma Hinton
20:
18:
234:Ronin Films
173:as well as
389:1986 films
383:Categories
209:References
136:after the
64:Background
23:is a 1986
185:Reception
179:Christian
275:41686825
263:Cinéaste
164:Catholic
98:(1986).
90:(1984),
367:16 July
322:2057104
280:14 July
239:14 July
199:Shenfan
195:Fanshen
58:Fanshen
49:Fanshen
28:trilogy
320:
273:
167:doctor
40:Shanxi
318:JSTOR
271:JSTOR
81:Films
369:2021
282:2021
241:2021
197:and
19:The
358:doi
310:doi
385::
354:15
352:.
348:.
330:^
316:.
306:46
304:.
290:^
267:14
265:.
261:.
249:^
232:.
217:^
205:.
371:.
360::
324:.
312::
284:.
243:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.