Analysis Of Gender Awareness In The Fifth-generation Chinese Director Zhang Yimou's Movie And The New Generation Of Director Lou Ye

Abstract: The article, centering on the narrative language mode of film texts, which taking Zhang Yimou's films, as individual case of the NO.5 generational directors, as against Louye's as the newborn generational directors, is analyzed three tactics involving in the textual construction as follows: different cultural contextual construction and textual time and space construction, image perspectives and language right, pointing out that these tricks don't overthrow the traditional male-dominated language right, named phallocentrism, instead that telling a totally different story, so that only repeating and intensified the phallocentrism rather than undermined. The director Zhang wisely even cunningly to some extent distances his films from the long-rooted and ubiquitous phallocentrism through a superficial alienation with the help of the placement of the oriental female recognizable narrative center in the narrative surface, which not only does it caters to the current popular anti-phallocentrism trend, but satisfies the trend of post-modern language context, and also pays more attentions to "marginal group" in the aid of superficial visual position-the voices of marginal community in our society. Therefore, the western audience is attracted by both female marginal community and oriental culture charm located in the post-colony language context in the comparison with the stronger western cultural center. Also, the director Zhang carefully from visual, feeling and hearing sense fabricates a cultural context full of oriental exotic features, using many elements filling with distinguished oriental characteristics such as Chinese opera, folk songs with local diversities and bright red lanterns, cheongsams, bridal sedans in the visual sense, and unique social and cultural phenomenon of polyandry and men superior to women from cultural perspective at the same time. It's on the oriental stage that a series of oncoming and dormant Oedipus tragedies-incest tragedies, with which the westerners are so familiar regardless of performance on the somewhere strange stage, are highlights, so that the western spectators not only can enjoy the different exotic cultural charms, but from the commanding perspective fell the superiority of their own culture in this fabricated cultural context featured with backward, isolation and far from the reality. In addition, Zhang prefers to the method of time lagging in the film text formation, so that the textual times usually drag back to the past on purpose such as 1930s, 1940s, per-anti-Japanese war period as well as 1960s and 1970s; apart from this, the far-off areas far from the cultural center are chosen as the film space, all which get together to set up a static, stagnate and hiding Chinese traditional cultural context symbolized by backward, barbarousness and ignorantness to satisfy the male desire. Nevertheless, the real author's ideology is disguised by the tactics including the female visual recognizable center combined with another trick-hiding meaning in the process of the film text interpretation which the director Lou of the newborn generation, embarks on another rewriting method-paying more attentions to the marginal group such as manslaughters and part-time guys sending express delivery to make his film stand off the phallocentrism, which can be classify as follows: firstly, he places the marginal community comprised of manslaughters, part-time guys sending the express delivery and female marginal group lack of decent jobs dissociated in the margin area of the society in the modern society, particular in the modern city in the center of film superficial narrative structure, to fight against the strong to fight against the strong collective memory, particular in the nostalgic narration related to the Shanghai city since 1990s, His camcral lens always aim at the long negligent margin area in the city-the eastem Shanghai or the northern part to Suzhou river, a narrative blank region long forgotten by the unconscious memory, so the world in the cameral lens is relatively linking different social communitics. In his films, Lou picks up the margin arca-the northern part of Suzhou River in Shanghai from 1930s to 1990s as the film time and space position, and show us that an unknown story of Shanghai through a series of imageries of deserted buildings, crowding and dark houses, winding and dirt lanes in the prosperous city of Shanghai. Obviously, it seems that his intention is to make another kind of voice out of the deep water, which makes it fight against traditional phalloccntrism; while also entangle on the male dcsire peering at female bodies in his narrative words, using the supposing visual center in the film picture to disguise the ubiquitous male desire peering at female bodies, all which embody the desire to close the western cultural center regardless of the picture handling and cameral lens cutting.Finally, he spends every strain to alleviate visual pressure and catering to the visual feeling of the western audience using narrative tactics, while the real intention to fight for language right with traditional phallocentrism. So it's safe to say that this is a right fight between traditional phallocentrism and marginal counterpart. Just as the sacrifice of women in Zhang's films, the marginal women again betrayed in Lou's, and women again become the punishing and desire subject and swapping subject between men.