Peter High wrote:
Fushimizu Osamu’s immensely successful China Nights works the rich metaphorical possibilities afforded by the commonplace image of China as a disreputable “woman” in need of redemption. As early as 1911, popular historian Yamaji Aizan had characterized the nation as “not a powerless country like a single woman, but an infelicitous one like a prostitute.” Although it’s discretely muted, the film’s first scene introduces Ri Koran’s character as something perilously close to a “fallen woman”.Read More »