Yin and yang viewed as parts of an oneness that is expressed in the Tao. The term "dualistic-monism" or dialectical monism has been coined in an attempt to express this fruitful paradox of simultaneous unity and duality. Yin and yang can be thought of as complementary (rather than opposing) forces that interact to form a dynamic system in which the whole is greater than the assembled parts. According to this philosophy, everything has both yin and yang aspects (for instance, shadow cannot exist without light). Either of the two major aspects may manifest more strongly in a particular object, depending on the criterion
Yang ± Yin: Gender in Chinese Cinema in spite of social conservatism and government censorship. Chia-Chi Wu writes, 'In its queering of Chinese-language film– reclaiming or recreating Chinese texts for queer interpretation – "Yang±Yin" undercuts heteronormativity and patriarchy foundational to nationalist discourses of Chinese communities and creates a queer imaginary that is ‘pan-Chinese’.' Kwan draws attention to the coded or subtle queerness of Chinese cinema. For example, director Zhang Che describes, 'possible 'Freudian' readings' of his film "The Slaughter In Xi'an" (1990), thus, according to Fran Martin, 'validating the power of the spectators agency and never denying the erotic tensions bubbling beneath supposedly chaste canons of Confuscian