A semiotic view of symbol and identity in the film Farewell My Concubine

Adapted by Li Bihua and Lu Wei and directed by Chen Kaige, Farewell My Concubine was first released in mainland China and Hong Kong in 1993. It gained strong momentum and went on to break the box office for mainland Chinese literary films in the USA. Against the background of traditional Peking Opera culture, the film spans nearly half a century and follows the love–hate relationship between Cheng Dieyi, played by Leslie Cheung, and Duan Xiaolou, played by Zhang Fengyi. It shows the changes in human nature and the rise and fall of classical art in the city of Beiping in different eras. Taking “symbols” as the entry point, this paper analyses and explores the characteristics of the cultural symbols and metaphors that accompany the main narrative line of the film so as to further trace and understand the multiple interpretations that “anti-identity construction” brings to the film, as well as the ethical implications reflected in the symbols.