The Male Domination And The Female Alienation

As a kind of social system existed before, man-centred sysytem has become a history. However, its ideology and machanism of social adaption which comes into being with it have been becoming a deep-rooted existance in reality. This text which pay close attention to feminine figures of the mainstream Chinese film in the 1990s , mainly excavate the ideology essence hidden behind the vixual surface impressions of the language, analyse and explain how the film texts growing up on the traditional man-centred culture have adopted many methods such as occupying the female subjectivity , usurping or adapting the female idiolects to serve for the modern socielty which is full of predicaments and contradictions, and at the same time, under' the inducement and whips of the man-centred language which appeared more conceally, more and more women have fallen into a passive and powerless alienational situation. If we construct a kind of female film language which accord to the will and interests of female and is benifit to constructing an equal diologue and communication between female and male, It will be the only way to dispel women' s alienation under the influence of the man-centred languages, impel them to return to the "human" exsitance essence, and in the end,help them develop freely and wholly.This text is divided into three parts to explain itself in detail:In Part I , cutting mainly from the traditional aspect, we' 11 analysis how the Chinese films in the 1990s have reconstructed a man' s ideal order between sexs through alienating female essence, regulating female roles and restricting female transcendence so as to alleviate the man' s uneasiness or anxiety brought out by "Feminne Mother" ,female strength, and female resistence. Ultimately, the feminine figures appearred in Chinesefilms become a culture existance which is both passive and maltreating oneself, depressed and negative, morbid and splitting.In part II , we' 11 open up mainly from the realistic aspect, point out from two aspects respectivily how the Chines films which accord with the man' s will and power has made use of female to realize their miscellaneous and complicated artificial ideal and alienated feminne figures and changed them into a kind of tool which could serve the realistics politics and economy. On one hand, in the relatively centralized political cuture context in the 1990s, throuth Combination of idiolects by the national discourse, they have turned feminine figures into a kind of tool or carrier which will help to reconstruct national ideology and establish a national subjectivity. On the other hand, in the commercial culture context in the 1990s, they have force feminine figures into a commercial spectacle which would have satisfy a excessive view desire and novelty comsumption of the audiences through throwing the subject of the women' body and lust aside, and ignoring the women' s reification predicament, etc.As a kind of corection of man-centred film language, in part III, we' 11 try to discuss how to construct a more rational and sounder female film language from three aspects below . they are as follows:first, the representation of female predicaments and female resistance of the male domination. Second, an exploration of the female life ethics. Last, the poetic expression of female lust etc.