Momyer, Genre, Identity, and Ethnic Representation
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question the entire nature of ethnicity as a possible form of identity despite the
associations with an “ethnic” genre.
For example, the multitudes of dead Japanese are scripted into the Samurai
plot that orders the protagonist, Beatrix Kiddo, to be capable of surviving a mass
attack. She must be able to get through in order to face her legitimate and
worthy enemy. It is also essential to note that this form of extremely unrealistic
violence that includes bodily mutilations and the severing of several arms and
heads is only associated with the genre of Oren. Blood spewing only takes place
in Japan.
Aside from the unrealistic violence, Kill Bill adheres to the conventions of
the Samurai code and a genre where death of the protagonist is not always
avoidable. In this case, there are two protagonists: Beatrix Kiddo and Oren Ishii.
For the film, the Bride is the leading protagonist. But for the chapters three and
five, Oren is developed into a leading character. From chapter three, the
audience learns of the death of her parents and she quickly elicits our sympathy.
Though she may be one of the best female assassins in the world by the age of
20, we feel that we have an understanding of her. Oren, like a Samurai, has
developed her own moral code. And while death is impending on one of the two
women, they maintain mutual respect for each other. They are worthy opponents
who live by their own codes. But in the genre of the Samurai, the protagonist is
not always the victor because life does not always work that way. This notion of
realism may seem to contradict the presentation of violence in the film, but as
Price argues, the notion of the real is important in themes such as death and
emotions. The means for obtaining the entry into the discussion of these topics
remains open.
One may then respond that of my two so-called protagonists, the white
woman survives while the Asian woman does not. And to this concern, I can
only say that the Asian woman is not as Asian as she may physically appear, and
the film constantly reminds us of this fact. In other words, the issue stems
mostly from Oren’s appearance as ethnic, yet the film reminds us that she is
very American.
Oren’s American nature shows through in several telling ways. Her birth
and nationality are quickly acknowledged and several of her mannerisms
suggest a level of cross-nationalism and ethnicity that complicates any simple
statement that could be made regarding presentation of ethnicity in Kill Bill.
While she aligns herself with a Japanese identity and the film’s genres align her
with a Japanese aesthetic, other characters, particularly Boss Tanaka, question
her rightful place within the Japanese crime council due to her questionable
ethnic and national identity. He refers to her presence as head of the council as
“a perversion” and Oren quickly responds by running atop the table at which
they are seated to Tanaka’s seat where she stands over him and decapitates him
with her sword. While the form, or genre, of the film may use ethnicity as an
aesthetic construct, the content of the narrative addresses more political