Study On Contemporary Anti-Japanese War Movie Of Chinese Mainland From Gender Angle

It is a new attempt to survey the contemporary Chinese mainland movie of the Great Anti-Japanese War with feminism research method. It is also a new attempt to reflect on the Anti-Japanese War, on the Anti-Japanese War movie, on the women in the Anti-Japanese War, and on the women in the Anti-Japanese War movie from gender angle. The Anti-Japanese War lasted for 8 years, at the expense of 35 million compatriots' lives. People cannot evade our historical responsibility to face this great tragedy of war. But the Anti-Japanese War movie, the memory carrier of war, are ignored by the professional critics and given cold shoulder by the audience because of its poor quality.The war is defined as a military violation by Japan (the masculine sovereignty of the international community). The purpose is to monopolize the rich "female" China, which was originally shared by the Eastern and Western powers. Our nation's "feminization situation" in the history perfectly explain why the war memory of China and Japan become a Rashomon-style story. The war crime committed by Japanese army is irrefutable in china, but before the global tribunal is often a mystery, while in Japan is something like lavatorial rumor. The contemporary Chinese mainland movie of the Great Anti-Japanese War is differentiated from the western World War II movie by its unique significance. The Anti-Japanese War movie is a kind of everlasting speaking of one nation's traumatic memory, which was feminize in the international patriarchal context of situation. Unfortunately, our Anti-Japanese War movies intentionally or unintentionally shy away from this "feminization situation", and replaced it with "righteous male pattern". By this way, contemporary Anti-Japanese War movie has created two stereotypes. While Chinese nation's self-respect, self-confidence, the sense of pride has been greatly stimulated, our nation's psychological deterioration has been camouflaged. Although Anti-Japanese War movie must take the responsibility of "historical reflection", but in fact it just escape from this responsibility, because "true reflection" is "national introspection."The female image is indispensable part of Anti-Japanese War movie. From "17 Years" to "New Age", the change of female image has constituted a set of excellent partner sentences, whose significance is a perfect sexual paradox. In the movies produced during "17 Years" and "the Great Cultural Revolution", "Chinese Daughter" usually was saved as a female being, and then wears masculine mask to become a "Quasi-Man Hero". While in the movies produced during "New Age", she gradually changed from "Quasi-Man Hero" to "Little Woman"as a foil to "The True Female Hero", and became the beautiful "sacrifice" (demanded by Great Mars) lying on the altar of the Great National Liberation War. From "Redemption—Virilization" to "Feminization—Sacrifice", it is always the Traditional Gender Stereotype that dominates sexual...