The People Live In Sex

By means of analyzing women' s sexual and love from contemporary Chinese films, the paper tries hard to penetrate the living status about Chinese women. Women are the essential images on the film screen. The intimate relation between films and times make women on screen become the best way to compare women in reality. When studying the different women images portrayed by man and women directors, the paper always pay attention to women' s sexual and love. This is not an emphasis in those comments which criticized films by Feminism. Though the essence of equality about men and women is the equality about the relation of sex.The first chapter, the "essential" women: the passion transferred by man. The main models for calligraphy of this chapter are Xiejin' s films. From these films, we can analyze the women' s passion neglected by essential spoken language. The women images that reappeared by essential ideology include two aspects: firstly, emerging the images about revolution. They are rescued by revolution or devote themselves to revolution. Secondly, reappearing the mother images not mind taking all the trouble. No matte what women, their passion lost the legitimate reason to exist, because it concealed by sacred halo. So when essential spoken language exclude women' spersonal feeling, "women liberation" under this context of situation cannot bring virtual equality to women.The second chapter, "rebel" women: women' s grafted sex instinct. Through men' s films especial of Zhang yimou' s, the chapter will analyze the latent reason why men directors want to publicize women' s sex instinct. In the field of vision of the fifth generation director(men), women are re-regarded as lust objects. At the same time, they are fond of displaying the subject "women and sex" . Through women, men directors can unbosom themselves oppressive lust. They also want to achieve the intention of "kill father" by "rebel" women. Therefore women living in love become the intermediary again, through them men can express themselves.The third chapter, the women' s expression about themselves: "aphasia" / "soliloquy" . There is a community about women directors in China, which is present a splendid slight and cannot be matched by other countries. Then, there don' t emerge excellent Feminism films in China. Women have been silent for a long time, so when they want to say something, they always be into "aphasia" . When they making films, they are honor to control the themes men can do and exile themselves. On the other hand, they will be conscious to express themselves by men' s standard. Even though some women base themselves upon...