Gender are universally more religious than men. They believe that the difference in religiosity between genders is due to biological differences, for instance usually people seeking security in life are more religious, and as men are considered to be greater risk takers than women, they are less religious. Although religious fanaticism is more often seen in men than women. In Taoism, yin and yang are considered feminine and masculine, respectively. The Taijitu and concept of the Zhou period reach into family and gender relations. Yin is female and yang is male. They fit together as two parts of a whole. The
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