Introduction

The spread of contemporary commercial culture to East Asia has opened up novel opportunities as well as the dangers of drawbacks for the task of negotiating between conventional and modern values. For instance, sexual awakening has enchanted young people with prospects and freedoms of sexual life with multiple partners while simultaneously exerting hazardous influences in the social morals. Technology and modernity have enhanced the spread of the sexual revolution to Asian youth as they embrace alternative sexual discourses, and formation sexual behaviors that were not common in the region. Through the western influences, the young people of this region are more liberal concerning their sexual relationships. The heterosexual, gay, and lesbian Asians are engaging in these relationships. Globalization has transferred sexual liberalization and a bonanza of pop cultural behaviors and products to the Asian youth influencing and altering their behaviors on the process. Furthermore, the East Asian movie industry is tackling the issue and themes of sexual relationships by highlighting factors such as marriage, loyalty, and trust among others. Several directors who seek to entertain their audience and educate them have highlighted the theme of sexual relationship by highlighting the issues, which encompass this issue. Movies such as Chingking express directed by Wong Kar-wai and The personals directed by Chen Kuo-fu as well as Oasis, which is directed by Lee Changdong are among the movies from the East Asia culture, which tackle the theme of sexual relationships in  society.

Lee Chang-dong‘s Oasis is among the remarkable Korean romance dramas which succeeds in portraying triumph over the challenging circumstances. This movie depicts two people who are rendered powerless because of their mental and physical restrictions. The Oasis film is an affectionate tale, which involves two ostensibly forsaken people who would otherwise be destined to lifetime of isolation, if fate had not intervened to alter their fortunes. The two chief characters in the movie are Jong-du and Gong-ju. Jong-du is a social misfit and reject who is fidgety and inappropriate. He behaves as if his mentally incapacitated. He is introduced in the movie as having released from prison after being wrongly jailed for manslaughter. He is seeking for a way to contact his family, who constantly altered their residential homes. He is not striking people as the most romantic person at the surface, but inside the discomfited peripheral, he has the heart and spirit of a true hero.

Similarly, Gong-ju is a social segregate who is suffering from cerebral palsy, which renders her unable to leave her home on her own. She used to live with her brother and his wife who was pregnant, but they moved out recently for a better home. She stays alone mostly, except for the time when neighbors check in on her, twice daily. However, this changes when Jong-du arrives with a basket full of fruits. Their preliminary encounter commenced on a tiring note and slowly. During the encounter, Jong-du takes advantage of her and fondles her incongruously before departing. However, in shocking occurrence, she decides to phone him after some days asking him to visit her. The families reject the relationship on the basis that the two are persons who require special needs and could not belong together (Dir. Lee, 2002).

These two social isolates soon become friends as Jong-du takes her out of her apartment to the streets of Korea to see the world. The two of them are in love, but both their families reject their relationship. The couple is happy together, but because of their traditions, their families resist their relationship. The traditional beliefs are restricting them from finding their happiness after shunning from having a social life. They do not have any friends, and when they find someone they care about, their families blatantly reject them. The film highlight that love can make people perform wonders as exhibited by Gong-ju who despite her handicap, which confines her in her apartment, is able to communicate and dance similar to any normal people. It highlights the theme of sexual relationship by tackling the issue of love of two strives to find compassion acceptance and love in society. The movie highlights how love aids the couple to overcome their confines.

 Jong-du is inspired by love to overcome the restrictions of her uncontrollable body while Gong-ju overcomes the tribulations of post jail existence. This is a simple love story of originality and full of optimism. The movie assesses a society, which is uncompassionate and controlled by self-interest where the essentials of life offer a moral justification for the absence of love. The film highlights the painful truths, which asks the audiences to assess their own perspectives of the universe and how they treat their neighbors. It advocates the notion of love and forgiveness and how always people renounce the gifts of grace instead of conforming to prejudices, by which society defines people’s correlations (Dir. Lee, 2002).

 Comparably, The Personals, which is directed by Chen Kuo-fu is another Asian based movie, which tackled the issue of love, and the theme of sexual relationships. The movies central character is Dr. Du Jiazhen who was a successful eye doctor in Taiwan. She decided to quit her job, and placed an advert in a newspaper seeking a partner who she could share a sexual relationship. After the advert is published she starts to meet and interact with some of the over 100 respondents at her preferred teahouse in a Taipei suburb. Similar to the characters in the Oasis movie, she is a lonely character who is yearning for connection and interaction, which is a trait also exhibited by most of her suitors. Her suitors hail varied ranges of classes and lifestyles in society including a restaurant supervisor, a well-travelled individual, a forlorn father and a 17-year-old, as well as a phobic and ascetic adolescent boy whose mother is attempting to marry him off among other suitors (Dir. Chen, 1999).

The film utilizes lighting design that is exceptional. The lighting has prevailing subdued, soft blue and whites, which select Liu, immersed in a pale and luminous universe where she resembles a fish in an aquarium, which is displayed for pleasure viewership. This highlights the films main concerns, which are the pleasures or joys or threats of watching or being watched. From the opening scene, the camera captures an image of Liu undressing in the bathroom. This clearly identifies the viewer as a voyeur. Furthermore, the movie articulates a complicated system founded on voyeurism. Du is at the hub as both the subject and object of the voyeuristic gaze, whereby the view angles seem to either empower or victimize her. Du listens to the numerous suitors who join her in her favorite restaurant while enjoying the intimate revelations. She even imagines her life under the similar situations of being monitored and manipulated.

 This movie exhibits that there are a hidden powers or eyes watching people. Du aid to understand that there is power in people viewing in manipulating supervision, as well as a therapeutic power in inverting this correlation. When du recognizes that someone had being monitoring the calls she makes to her lover who never returns her calls she is transformed into a different person. The phone calls she made allowed the wife of her lover to recognize the deep lover and dedication Du displayed, which enabled her to overcome her husband’s loss. These occurrences aided Du to cone into self-recognition that she had completed a chapter in her life, and it was time to advance. The realization aided her recognize that she been searching for herself all along, and this what she finally accomplished in the film. The movie highlights how Du consistently transverse into other peoples space unawares. Voyeurism is a contemporary culture behavior, which has been adopted from the west through technology and globalization (Dir. Chen, 1999).

Similarly, Chingking express directed by Wong Kar-wai conceptualizes the theme of sexual relationships as the other two. Although the movie contains stylistic devices of action, noir, tension, thriller, and slapstick humor, overall it is a clear romance movie at heart. The film does not only feature two narrations, which speak to the unanticipated and momentary temperament of love and relationships, but it is a note to the metropolitan region of Hong Kong. The movie had two varied stories whereby the first one involves Cop 223, He Qiwu, and the puzzling, enthralling, and drug-trafficking splendor woman blond Wig who fall for each other. The other anecdote also involves an unidentified police officer known as Cop 663 and Faye the baffling snack bar attendant. The film tackles the aspect of change as a component of love. The movie highlights the aspect of intertextuality and identity.

The movie’s first story tackles the idea of one nightstand as Cop 223 spends a platonic evening with a baffling woman who is drug peddler. The other story highlights a lovelorn Cop 663 who is oblivious that Faye has fallen for him. Co 6663 has a tendency of speaking to inanimate household materials. The movie as the other two highlights the idea of love and loneliness in people. The movie if full of western culture, which involves travelling and the women, pop culture. It is more inclined to western culture than the local Asian culture as depicted by the two women in the film (Dir. Wong, 1994).

Conclusion

These films are vital in highlighting the transformation and integration of traditional and western culture in the East Asia region. They highlight the theme of sexual relationships by describing love anecdotes, which highlight the realities of sexual relationships in the region. It highlights the adaptation of sexual aspects such as voyeurism and fetish as well as love and their impacts on people’s lives. They also tackle the influences of culture on those relationships. Therefore, these movies are enjoyable romantic love stories that I would recommend to audiences.

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