| Abstract:As one of the leaders of New wave of Hong Kong Film, Ann Hui has a high position on the history of Hong Kong movie. Her works have been survived for 30 years with them insisted on combining self-expression with business at the box office. The special realistic style and humanitarian care of Ann Hui lie in her works. Among them, it is obvious for focusing on female subjects and survived circumstances, and paying public attention to female consciousness and stand.Compared to the difference from film and literature, the paper reveals Ann Hui's personal point to females and their position from the perspective of file adaptation. The article chooses three representative works of Ann Hui, included' Love in a Fallen City','Half Life Fate' and 'Goddess of Mercy',analyzes the development process of female consciousness and the intention of author, and explores the female perspective hided by Ann Hui through the comparison with the image expression of original and adapted.The introduction part mainly introduces the source and significance of topics, elaborates academic trend and research status, and specifies the essential task and theoretical framework of the paper. On the basis, the part raises several questions which must be solved and explains the research idea and method.In chapter one, by reviewing the works of Ann Hui, we can have a comprehensive understanding of Ann Hui's film creation and style. The classic female in her works also are classified and analyzed. So we can know Ann Hui more systematically as a female director. In addition to focus on Ann Hui about obtaining brilliant achievement on new style and film history of Hong Kong, the care to real life and the humanitarian style to ordinary people and marginalized people of development process of Hong Kong and China in the works are affirmed, and many vivid representative females shaped in visual language by Ann Hui also are analyzed preliminary.In chapter two, I choose three representative movies from the perspective of transform about art form, and explore the difference and alteration of original novel and film script in the contrast way to pry Ann Hui's personal expression intention, to reveal the personal interpretation of Ann Hui for the original novel, meanwhile, to display the developing female point of view step by step. From the beginning to explore the film'Love in a Fallen City'adapted from Eileen Chang's same name novel, she failed. But at the second time, she put the film'Half Life Fate'up to the classic liked by Eileen Chang's fans. And lastly, she attempted to make the film' Goddess of Mercy'. In this process, the female consciousness and female position of Ann Hui is from weak to strong, from obscure to obvious, from calm to leisurely. Her perspective of feminism becomes clearer.In chapter three, with the contrast method of female film, through comparison between the two female position of Eileen Chang and Ann Hui, between the perspective of Hai Yan and Ann Hui, I analyze three females and in adapted films and the content of female consciousness, explore the female perspective of Ann Hui deeply. The female perspective of Ann Hui is a self-expression which is insisted as a film maker. As film is a mass media, in particular Hong Kong film has a special requirement on box office, she has to choose compromise and take the path of moderate feminism due to business restriction. However, not only the films which insist on the radical feminism are female film. Ann Hui insists on interpret the world and life in the feminism perspective, she affirms on the women's struggle and strength and affirms that female is subject. Those three adapted from novel films fully express not only the special image interpretation of Ann Hui but her unique view point of feminism.
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