PLAGIARISM FREE WRITING SERVICE
We accept
MONEY BACK GUARANTEE
100%
QUALITY

Scholars Argument Over Qin Shi Huang Dis Legacy Record Essay

Scholars argument over Qin Shi Huang Dis legacy that he kept after his reign. Before, he had been regarded as a disillusioned, power-hungry, tyrannical man whose lust for immortality he looked for brought about the creation of a massive tomb filled with a large number of clay, life-like characters that must took years of genuine design and manpower to create. However, within the last 50 years or so, his history has been re-analyzed into a colossus of your historical shape in Chinese background whose historical impact was equal to both Alexander the Great and Caesar blended. By ruthless power of will, he destined warring states along and knit them into a securely centralized governmental system, standardized China's terms and law, and built major set ups such as the early composition of the Great Wall structure of China that might be extended by later dynasties. Even the design of his cash, a metallic circle with a rectangular- shaped opening through the middle that could let people easily bring coins, lasted well in to the dawn of Communist rule. However, these feats pale compared to his most significant legacy, the establishment of your bureaucracy that could endure for more than 2, 000 and would be "the major on earth, staffed by informed men and attaining to the cheapest peasant in the land" (Lumber). The view presented by the european public shows the darker aspects of his life. Despite his substantial reforms in the economic and politics systems of China, he also garnered the reputation of being an oppressive and borderline psychotic ruler, the mostly cited example being the Great Wall of China, that was built with hundreds of thousands of conscripted personnel in such a little timeframe that thousands were overworked with their deaths. (Several workers are thought to be actually buried within the fantastic Wall membrane) Perhaps one of the greatest tales that personified these psychotic and tyrannical tendencies is one regarding his obsession with immortality. So that they can have the fabled elixir of life, he dispatched thousands of men and women to Penglai pile. Because he received failure so inadequately (execution), not a man dared to come back. Determined not to fail, he created another band of three heroes to capture this elixir. The three men delivered with only a frightening report of any "gigantic fish" that guarded the elixir. He made the decision that the best answer is always to hunt this "gigantic seafood" himself with a gatling-gun like crossbow (repeating crossbow). Despite his best tries, the elixir persisted to elude him (for obvious reasons). His next shot at immortality was the synthesis of immortality pills made of mercury, an exceptionally toxic aspect, would lead to his loss of life. The dynasty he previously envisioned continuing for thousands of years would scarcely struggle through ten years. The root of China's current alteration of the notion of Qin Shi Huang Di roots from the similarities derived between Qin Shi Huang Di and Mao Ze Dong. Both were inspirational leaders who united China in their times of need. Qin Shi Huang Di united China following a 200 yr period, known as the Warring Claims period, developing a politics entity recognizable as the China we realize today. Similarily, Mao Ze Dong united a war-torn China following the collapse Qing dynasty, controlling to create stableness in a land which was used as World Warfare II's battlefield. However, the similarities do not end there. Qin Shi Huang Di was also know for his large public works projects, often recruiting hundreds of thousands of personnel at the expense of tens of thousands of lives to complete great anatomist marvels like the Great Wall membrane of China, the Lingqu Canal, and the Mausoleum of the First Emperor. Mao Ze Dong in the same way ordered huge community works tasks, such as dams, canals and other infrastructure assignments, which millions of peasants and prisoners have been compelled to toil on and perhaps die for. However, these assignments often proved pointless as they had been built with no insight of trained designers, whom Mao possessed rejected on ideological grounds. Other procedures set out during Mao's reign parallel Qin Shi Huang Di's activities during his reign. For instance, both were extremely well known for his or her persecution of intellectuals in their empires that Mao would later be quoted as bragging: "He [Qin Shi Huang Di] buried 460 scholars alive; we've buried 46, 000 scholars alive. " (Edwards). As Tun Dun, the musical composer for Crouching Tiger Hidden Dragon and Hero, would input it, ""Qin Shi Huang Di was just about like Mao Zedong. He unified China. He made the words, made the measuring system, made the currency. " With these similarities, it could come as no surprise that the Communist party, just as it includes protected the trustworthiness of Mao to be able to defend both the legitimacy of his authority and the foundation of the Communist government in China, would protect the reputation of Qin Shi Huang Di in the same way lest Mao be compared to Qin Shi Huang Di in a historical sense.

The Communist government has commonly censored foreign videos, a practice almost completely alien to Americans. Rather than a "free conversation" clause in their equal Constitution, the Communist government is allowed completely control over the mass media world of China. Point out Supervision of Radio, Film and Tv set, or SARFT for short, is the leading censorship administration in China. Following the ban of a fairly popular recent film, SARFT released a list of conditions that censors must follow. The guidelines that directors "must not produce videos that depict hardcore sexual activity, rape, prostitution or nudity" (Coonan) were in response to the film that premiered. "Vulgar dialogue or music and sound effects with a erotic connotationmurder, assault, horror, evil spirits and devils and excessively terrifying scenes, interactions, background music and sound effects [distortion of] the civilisation and record of China or other nations. . . tarnish[ing] the image of cutting edge leaders, heroes, important traditional characters, participants of the military, law enforcement and judicial body reconstruction of crimes or motion pictures that reveal police force investigatory techniques, [advocation of] nihilism, environmental harm, animal mistreatment and the record or killing of rare family pets" (Coonan) were also included onto this list.

If failing to meet these strict requirements, the movie is typically banned from the country. While the Communist government has long possessed a stronghold on overseas motion pictures and has gained a strong reputation recently for its restriction of international films, the home film examination process can be an even more intensive procedure that will require multiple interactions with the censorship office in order to produce changes to a typically already finished product. Because of this strict verification process, it could be easily assumed that many of China's poorer filmmakers wouldn't even trouble setting up a movie that wouldn't easily clear the censorship department due to the high costs of creating even lower budget videos. Even China's more visible filmmakers won't try out such ploys unless they know they have garnered a significant fan base globally speaking. As the Internet and China's famous black market for pirated films has had helped destabilize the energy kept by the censorship administrations in China, the damage is already done. The high cost issues and the obstacles that must be overcome merely to create a questionable movie is a task that few in the Chinese movie industry are prepared to take.

As the federal government controls a lot of the major mass media within China today, Qin Shi Huang Di's legacy and current notion is altered based on his portrayal in modern multimedia outlets. Filmography is perhaps the simplest way to attain major audiences. A modern marvel that can instantly reach millions of viewers at once in just days, it involves no real surprise that Qin Shi Huang's greatest performances in modern press are in videos. The newest movie to portray Qin Shi Huang Di or reference him would be The Mummy Results: The Tomb of the Dragon Emperor. However, this movie will not be discussed due to the fact that it is an totally Western-Based movie and thus, involving no immediate effect from the Chinese language government and Chinese language directors. It is interesting to note that in this movie, a lot of Emperor Han's "signature" aspects such as terra cotta warriors or obsession with immortality are founded from Qin Shi Huang Di. The Misconception, the next latest mainstream Chinese language movie to feature Qin Shi Huang Di is definitely directed by a Chinese language (Hong Kong) director. However, Qin Shi Huang Di likewise plays a hardly accommodating role (his persona not even being seen once in the complete film). However, his obsession with immortality and his large mausoleum are referenced as well.

Hero, the third latest movie to feature Qin Shi Huang Di actually features the emperor on a fairly important level. It tells the storyline of three assassins likely to wipe out the Emperor of China through three different perspectives. The first point of view is the assassin's take on the plan as he recounts the happenings in front the emperor. The second perspective is the emperor's reanalysis of the assassin's report in attempt to discover the true plan. The 3rd perspective tells what actually occurred that can be compared against the two earlier perspectives. Finally, the assassin won't get rid of the emperor on ideological grounds and it is carried out. In at least two ways, "Hero" obscures the reality behind Qin Shi Huang Di's life. First, is the long-held people's notion of Qin Shi Huang Di, (which includes lasted for thousands of years) that Qin Shi Huangdi was a tyrant, and that tyrants should be condemned. Although the aspiration for a benevolent ruler implied in this view is still a longing under autocratic rule, the condemnation of tyranny is general. However, the movie "Hero" almost straight embodies the recent objective to reverse the public view towards Qin Shi Huangdi by attempting to change him from a tyrant to a benevolent ruler. That is best embodied by the emperor's personal ambition that "the globe under heaven" is the earth ruled by the "son of heaven, " and that account of the benefits of "the entire world under heaven" is the account for the benefit for the "son of heaven" and is made no solution in this film, as expressed from the mouth area of Qin Shi Huangdi: I didn't expect that "the one who understands me best, ""the soul mate" who "echoes my wants and mind" is the one "wandering the wilderness". Zhang Yimou, the director of Hero, doesn't even work with taking ideas or perceptions from the common men surviving in Qin Shi Huang Di's period. Instead, it revolves around the thoughts from a tiny group of powerful, fighting techinques using, ruling top notch which may have little to no experience with people they rule over, but idealistically value the each day lives of the men they control. This perspective (already flawed at best in the manner it is carried out), while dealing with an "interesting" look on Qin Shi Huang Di's personal goals and motives, reaches best, unilateral in its approach. Because this movie takes place during Qin Shi Huang Di's endeavors at unifying China, a period where he might have been an charismatic young man, it fails to actually describe the actual deeds of Qin Shi Huang Di later in his reign (such as the thousands wiped out in the building of the fantastic Wall membrane, obsession with immortality, etc) and almost makes the viewer to bottom his/her judgements of Qin Shi Huang Di on a little portion of his lifespan, which is unfair to the finish product of his guideline. Just as much dictators in the present day day may experienced almost positive, idealistic moments in their early on job, their negative portrayals today are only based from their net actions during their guideline. Second, is the movie's mixture of Qin Shi Huang Di's ideals with Communist ideals. This is best personified by the last translation of Tian Xia, another name for China. Of all translations of such a name, the most typical and literal one being under the heavens, the companies of Hero chose to instead convert it as "Our land", to justify Qin Shi Huang Di's conquests. "Our Land", is the idea that the land is shared by the normal person and that it was Qin Shi Huang Di's responsibility to unify China for the only real sake of protecting the common person could have been alien in Ancient Chinese culture. The loan consolidation of power into a single family has been the whole basis of Chinese background (dynasties). It is not since the start of Communist rule where in fact the common person's ideals and welfare was truly looked out for by the federal government. There could have been no reason behind Hero to be censored by the Communist authorities. The positive portrayal of the ruler similar in many ways to Mao fused numerous core Communist ideals fused right into the storyline would have easily made its way through China's censorship process.

Chen Kaige's epic episode, the Emperor and the Assassin, gets close and personal with Qin Shi Huang Di's life. The movie is a five take action long piece that focuses on the details of Qin Shi Huang Di's life and his interactions with his favorite concubine whom he has delivered to the Yan express for an complicated plot that allows him to salary warfare on the an opponent state. Rather than the common one dimensionality of his other portrayals, Qin Shi Huang Di's aspect grows throughout the film. The physique of Qin Shi Huang Di is first portrayed as good and just with the objective of uniting most of China peacefully and leading it toward years of prosperity. In the end, his lust for vitality, beliefs behind his ancestral mandate, and the pressure behind the throne he occupies ends up consuming his personality, creating him to betray all of his initial intentions in a paranoia-induced fervor. Chen Kaige presents Qin Shi Huang Di's makes an attempt at bringing peacefulness as a foil to the hazards that involve much electricity consolidated into one man's hands. Eventually, Qin Shi Huang Di's situation becomes unmanageable and in almost Shakespearean proportions, the same people he was endeavoring to help are the ones who end up battling. Unlike Hero, where only a little part of Qin Shi Huang Di's life is taken and used to create the audience's thoughts and opinions on the ruler, the Emperor and the Assassin takes the reality of his life, lays them out in a neat and orderly collection, and creates a personality to fit these events within an imaginative fashion. This movie does actually show some areas of Qin Shi Huang Di's tyranny, including at one point leading to the massacre a group of mere children, attributing these to the deterioration of Qin Shi Huang Di's deteriorating moral compass. However, the initial "good" attributes counter balances his tyrannical ones, allowing not only a more balanced view on Qin Shi Huang Di, but also causes him to become a much more relatable and understandable figure. Especially since this movie portrayal of Qin Shi Huang Di and his life could be observed as a parallel toward Mao Zhe Dong's and his actions during the Cultural Trend (where Mao began to take on progressively more tyrannical aspects), the movie was primarily "rejected by the censors; approximately 30 minutes of footage reportedly were excised to make it more "regime friendly. " (Filmreference. com)

"The Emperor's Shadow" is an extravagant take on living and times of Qin Shi Huang Di. Throughout the friendly marriage between a musician and the Emperor and luxurious models, it paints an epic picture of Qin Shi Huang Di's climb to electric power. Realistically speaking, taking right out the historical information and the luxurious backgrounds, the movie is absolutely nothing more than the altogether familiar (and relatable) history of two childhood-best friends from differing backgrounds and their ideological differences that separate both. Although portrayed as a ruthless and brutal conqueror, Qin Shi Huang Di's "concern with the symbols and personal information of the new Qin Dynasty, and the way these new symbols will come to represent all of China, and become accepted by folks"(Nepstad) cause a redemptive quality that allows the audience believe that he will still have "good of the individuals" in mind. As a result of this concern, he handles the press within the time period. While it will give some empathy towards his cause, the movie attributes with the musician as he refuses to write an anthem for an emperor he deems oppressive and is also tortured and required into writing it for the emperor, presenting an negative aura into the audience's view on the thought of censorship. It comes as no real surprise that after being briefly released in a few cities, it was banned by SARFT. The idea that art cannot be manipulated by the advertising (a practice historically supported by Qin Shi Huang Di during his reign) was also well backed by Mao. The movie's criticisms of the limitation of media in order to regulate the intellectual in China for both schedules, was received very badly by the SARFT, and in a swift work of irony, red-flagged and consequently prohibited the film. However, it should be of remember that the film was generally well received by the Western public. For whatever reason, it offered as an actual enthusiasm for the musical "The First Emperor". However, again, this was indeed a American production and so possible on Qin Shi Huang Di' s rule, which is not relevant to the thesis of this paper.

Based upon the few films portraying Qin Shi Huang Di, it can figured the Chinese authorities has altered Qin Shi Huang Di's understanding in modern Chinese culture as a benevolent (if not heroic) physique that directly issues the nature of his history to be able to bring parallels to and support the Communist federal due to numerous of the similarities between the Chinese Communist party Mao and the emperor by only allowing such movies to be produced. Films that either seem to issue with Qin Shi Huang Di's ideals that coincide with Communist party agenda seem to become red flagged by Chinese censors and eventually altered or restricted. However, it definitely must be mentioned that this research of the role of the Communist federal government in Qin Shi Huang Di's is bound for the reason that the oldest movie with Qin Shi Huang Di with a mainland Chinese language film director was made in the 90s. However, this might only further highlights the ease of the use Qin Shi Huang Di as a parallel to Mao as a politics commentary of the Communist authorities in a positive or negative light as it would seem to point that Qin Shi Huang Di was too very sensitive of a subject to work upon until the advancement of the 90s when the Chinese language government relatively relaxed their censorship laws.

More than 7 000 students trust us to do their work
90% of customers place more than 5 orders with us
Special price $5 /page
PLACE AN ORDER
Check the price
for your assignment
FREE