《大紅燈籠高高掛》是以山西的喬家大院為拍攝場景，在電影裏喬家大院是一個資源豐富的文化載體，是承載整個中國文化的縮影，而大院建築的特徵正好可以反映出中國文化傳統的禮教體制，所有妻妾奴僕，皆在禮教封閉的結構中受其約束。以「燈籠」為符號象徵的一系列點燈、捶腳、點菜活動，其實就是一種被「禮教化」的崇火信仰與禁忌。「大紅燈籠」在不斷的強化與重複下，形成了與主題相關的特殊「符碼」，亦是禮教與規矩的另一種「隱喻」。「規矩」在電影之中實際上是禮教與權力的象徵，在不斷的重複之下，將隱藏於情節背後那個禮教的主題明確的突顯出來，大宅院的一切活動，皆無法逃離「規矩」的掌控之外。挑戰權力結構與干犯禁忌，事實上是一種心靈上自我完成的歷程。在挑戰權力結構與干犯禁忌之中，頌蓮或梅珊能由其中享受從未經驗的快樂，那一種快樂來自於自我與禮教的脫離。脫離了禮教的束縛，即意味著自我認知的覺醒，在擺脫囚禁、操控、欺凌之後，突然找到了自己存在價值。

The story of “Raise the Red Lantern” is set upon the scene of the Joe’s Mansion, which serves not only as a container with abundant cultural resources, but also as a miniature of the whole Chinese culture. The features of the Mansion exactly represent the cultural tradition of courtesy cultivation: all the wives, maids and servants are regulated within this enclosed structure. Symbols derived from the lantern such as lighting the lantern, massaging the feet, and meal ordering are treated as special codes related to the theme of cultivation as well as a metaphor of the cultivation and rules. The concealed theme of courtesy cultivation is exposed through the continuous enhancement and repetition of the rules and the symbol of the cultivation and power. All activities in the mansion can never escape from the domination of the rules. To challenge the power structure and go against the taboo is in fact the process of self-fulfillment in spirit. While doing this, Song-Lian or May-Shan can have the joy never being experienced. Moreover, they eventually find their values of existence through shaking off the bounds of the courtesy cultivation.