An Intepretation Of Feminist In Chinese Women's Films Since 1990s

In this paper, female film refers to female directors'productions of which subjects focus on women's living environment or express female self-consciousness with some feminist flavor to a certain extent. Chinese film products directed by female directors during the 20th century concerns special study significances. This is because the female directors granted abundant connotations for both female and male figures of the films in the singular perspective of female gender, and because they frequently expressed the desire of abandoning the fetter of traditional patriarchal discourse power and establishing female independent consciousness, though they did not labeling the desire with speech for the female. So the thesis endeavors to interpret the feminine consciousness and feminine expression of women's films since 1990s till now in different levels.The introduction part mainly includes the definition of studying object, the introduction of contemporary relative studies, and the research method. With the title of The Coordinate of Chinese Women's Films in the Last 2 Decades, Chapter One studies in three facets as follows. Firstly, the historical recall. It arranges the transmutation of feminist in the Chinese women's films before 1990s, which includes three steps—the imitation of male sexual characteristics, the vivification and the display of female sexual consciousness. Secondly, the analysis of cross section which divides the women's films of the last two decades into two categories—conservative pause during the active advance and rational thinking in the bold attempt—according to the years of the production and creation characteristics of the films with the cut-off at the turn of the century. Thirdly, cross comparison that analyzes the similarities and dissimilarities of value orientation in western and Chinese women's films and the reasons via Sino-Western comparison. In the second chapter, Figures of the Chinese Female of the Films in the Last Two Decades, the characteristics of study objects are unveiled by analysis of figures. To begin with, conclude and analyze three groups of women figures; the traditional women, the consuming women and the independent women. In the second place, conclude three classes of male figures—the symbol men, the negative men and the ideal men—and analyze them with the female characters by comparison. Finally, on the base of the former conclusions and analysis, interpret the female and male figures profoundly by using the Matrix Mode of Greimas and the Triangle-Structural Mode of Lacan. Titled by the Expression of Chinese Women Films in the Last Two Decades, Chapter Three observes the discourses of feminine flavor in the study objects from the angles of the choice of videos, the wielding of colors, the insert of songs and the narrative patterns, etc. The Peroration of the thesis summarize the significance of the study and prospect the vista and trend of Chinese women's films in the future.