A Study Of Female Images And Female Consciousness In Li Yu 's Films

Film is a kind of art impressed with the image of the soul, and this art is deeply favored by people. In recent years, with the diversification of Chinese film-making situation and market environment, the Chinese film industry ushered in a broad space for development, the "flourishing" cultural landscape of the Chinese film market to create a wider platform, which makes the "female", this proposition suffering from attention in the diverse background of the movies, the movies will divert more and more attention to the women’s living conditions, with a distinctive approach to the interpretation of art and show their love stories of ups and downs. As one of the few female directors but unique personalities, Li Yu embodies the unique female consciousness in her films. From 2001 to 2012, Li shot "Fish and Elephant", "Dam Street", "Lost in Beijing", "Buddha Mountain," "Double Exposure" five films, creating a different image of women of character and destiny of life, film and television industry also attracted the attention of many critics. But the critics are lack of systematic research and deeper thinking on Li Yu movie’s female figure and female consciousness. In this paper, I will use Li Yu’s film as a starting point to analyze the female characters and female consciousness implication, in order to explore the creation of unique features in Li’s movie.Firstly, we will make a brief review of definition and development of female movie, and this theory is an important support for Chinese female film theory analysis. The first chapter explains "Li Yu’s movie", "female image", "female consciousness", related concepts and studies the Present Researches Li Yu’s movie. The second chapter describes how Li is compatible with two the female identity and women of the two complements each other’s important role through Li’s life story to analyze the reasons for the formation of its writing style. The third chapter is to show the Portrayal of Women in Li’s movie, one is to break the myth of the Portrayal of Women on mother’s, the other is to explore secular life in tragic image of women. The fourth chapter is to study the female consciousness, and sort out development context of the female consciousness in Li’s movie. The fifth chapter focuses on the values and shortcomings in the existence of the film development process in Li’s movie, promoting a better development of future feminist film.