Transform And Mimesis: A Revisit Of Chinese Contemporary Women's Cinema's Aesthetics Creativity And Social Meaning (1978-2010)

The theme of the thesis would focus on the problem of the woman's conscious dynamic role from the contemporary chick flick movies in China and discuss the orientation, method of creation and future road of these films. The society has shifted on every side since Chinese reform and open to the outside world. The the changes of the social structure will exercise a profound influence upon Chinese women about their existence and social meaning. Based on the two problems,we would discuss from two sides. First, we should discuss how the femininity embody their own pursuit of happiness so as to express the conscious dynamic role of the life among the course between the female and the society. There are five topics,such as the rules about the woman and man, the female and the nation-state, the femininity and the market economy, the female and the traditional ideas, the homestead imagination of the female and social changes on the present age. On the other hand, it would involve the aesthetics exploration of the female movies production in each chapters and sections. It would also respectively discuss the aesthetics exploration during the art cinema, the main- melody movie and the commercial movie about the female in the imperfect c. In chapter four and five, it would discuss two aesthetics problems which involve the form of feeling and the realism aesthetics about the femininity's movies production.The 1st chapter revisited the classic topics named Hua mulan's circumstance about the female movies. Based on the most important film named "woman,demon,human" in Chinese female movies, this chapter would study the new relations about the rules between the woman and the man which made the female gradually change and arrogate the criterions and boundary by imitating the patriarchal society to make the transgender perform become the power form of the woman's liberation. In addition, this film creatively combined movie with the aesthetics space-time of the theatre and shew deeply and artistically the woman's life space-time between the visible and the invisible.The 2nd chapter focused on the relation between the female and the nation-state in a series of the main- melody movie directed by kena dong and discusse the narrative strategy and the aesthetics mode in it. These films make the female not simply become empty signifier when transmitting the nation-state ideology but be able to specially focus on topics of the female and conveying the female voice out of the narrative for the nation-state. At the same time, the narrative strategy and the aesthetics mode of these main-melody movies are renewing the inherent aesthetics style.The 3rd chapter devealed the female films how to find ways in the model of the commercial movie since the 1990s. This chapter mainly focused on two problems of the observer mode and typification of the commercial movie. The femal directors displored actively to embody the feminist politics in the commercial films,such as by the way of "exchange of the pleasant sensation", "control of the line of sight", "political imitation", to overthrow the common observer mode. These commercial films also change the classic logic of the sexual distinction during the genre film by occupying the main situation in the narrative element.The 4th chapter criticized the weepies which are very popular currently. It refered that the essence of these films held back indeed the femail life force. A series of films directed by xiaolian peng took on new modes based on the cognition which thought that only the woman's independence and the feeling of the dignity could make the femal happy. This feeling mode is very valuable since our reform and open.The 5th chapter. The 1st Section concluded the family imagination and the social meaning in the contemporary female films. These films broked through the social family construction, creatively renewed modern family meaning by the revolution energy and refered that family imagination for the female should be supported by the social systems. The 2nd Second concluded this thesis.It revealed that if the women wanted to pursue their own happiness there should include not only the individual happiness but also the social change by the collective phenomenon of the works' modes of production which are made of the traditional realism. At the same time, it also drew the outline of the narrative modes of the contemporary femal films by relative analysis the narrative actants in them so as to emphasize the shifting core between the individual woman and the social public-interest groups. Finally, it would refer that the traditional narrative's ways could not satisfy the traditional narrative of the femal films involved by more and more social elements of culture. The best way is to rebuilt the realism aesthetics of the feminist by the art mode of the real which is not the real.