A Study On The Female Images In Xu Anhua's Adaptation Of Zhang Ailing's Work

The commercial and entertaining atmosphere of the film market is growing stronger with the successful development of linked technologies in the film business.Ann Hui,a Hong Kong director with more than 40 years of experience in the industry,is well-equipped to manage the interplay between business and art in such a diverse setting.It provides the audience with a distinctive movie-watching experience and aesthetic satisfaction by transforming their passion of the film business into one superb realistic masterpiece after another,with a strong aura of humanistic care.Films by Ann Hui express the subtlety and uniqueness of being a woman by paying attention to and scrutinizing the characters’ inner hearts as well as recording and reflecting on the outward world.She is adept at turning the spotlight on socially excluded groups,particularly those that are female.Her paintings are reflective of the majority of people in society since she has produced several representative female portraits while observing the living realities of common people from a humanitarian standpoint.Life is full of ups and downs.By consistent practice and creativity with the humanistic quality of caring for the public,Ann Hui ’s films have made exceptional contributions to the growth of Hong Kong movies.The image of women in Ann Hui ’s cinematic adaptations of Eileen Chang’s books is the main topic of this thesis.The fact that Ann Hui has consistently included adaptations of Eileen Chang’s works in her productions from the 1980 s to the present demonstrates the director’s admiration for the author.The thesis examines the representations of women in the adapted movies Love in a Fallen City,Half a Lifelong Romance,and Love after love.It also investigates why the director made the adaptations,what of his own positions and opinions were added during the adaptation process,and what significance the adaptations have.In order to investigate the humanistic undertones and principles underlying the art of video,the film’s female visuals have been modified.The article’s introduction discusses the thesis’ s research history,describes how academic research on the thesis has progressed,and gives a brief overview of the technique and the concept behind organizing the article,and then,using this information,explains the article’s overall content and the importance of the research.In order to answer the question of why Ann Hui adapted Eileen Chang’s works three times,the first chapter provides a brief description of the director’s general creation as well as the creative process for the film adaptation.It then carefully analyzes the creative motives of the adaptation of Eileen Chang’s works from three aspects: female identity,story concerns,and twin-city perspective.The second to forth chapters focus on addressing how Ann Hui adapted the female figures in Eileen Chang’s works.In order to better understand Ann Hui ’s position and viewpoint,which differs from the original work,the second chapter analyzes four types of female images in the film adaptation in accordance with various female characters,explaining the detailed changes made to various women in the film adaptation;the third chapter,on the basis of the various types,discusses the characteristics of female images in depth,combining specific shots and images from the psychological characteristics,emotional characteristics and aesthetic characteristics.The fourth chapter examines how to artistically portray women in film adaptations,i.e.,how to visually bring the original women to the film screen.The film adaptations adhere to the same realistic tone as the source material and examine both narrative and audiovisual tactics.In the fifth chapter,Ann Hui’s adaptation of Eileen Chang’s works is summarized,the importance of forming the female image is analyzed,and the practical significance of shaping the female image is discussed from both the artistic and societal perspectives.