On The Image Of Ethnic Minority Women In The Film 17 Years

The aim of this thesis, is a systematic analysis and research on images of female ethnic minorities, having appeared in those movies about Chinese ethnic minorities within seventeen years, from 1949 till 1966, ever since the foundation of the People's Republic of China. Due to a relatively domestic shortage in researches on movies about Chinese ethnic minorities within seventeen years, especially on images of female ethnic minorities on screen, the thesis is going to make a contribution in further push based on former researches, by analyzing and researching systematically..This thesis consists of seven parts.Part one introduces the current researches on movies about Chinese ethnic minorities, which were all produced from 1949 till 1966. In this part, the author will also state a reason and purpose that why she wants to dedicate to a research on the images of female ethnic minorities on screen during those seventeen years.Part two highlights the image of Mongolian women. It unfolds a general picture of movies, all of which are involved in the Mongolian minority during the seventeen years, and it emphasizes an analysis in typical female characters in detailed films, such as saergewa, the female communist in People On the Prairie, and wuyunbilege in Victories In Inner Mongolia, which is a representative of movies about the Mongolian minority, as it initiated filming stories about the ethnic groups. Due to that, the Victories In Inner Mongolia producing style has set up a basic tone on the whole for the followed ones about ethnic groups in those seventeen years.Part three highlights the images of Uygur and Kazakh women. This section involves the movies between those seventeen years, reflecting ethnic groups in Xinjiang, living in a compact community. Among all, nine movies are involved in ethnic groups in Xinjiang, most of them set good samples in sculpturing ethnic women characters from Xinjiang, such as ana erhan in Ana Erhan and the real and fake gulandanmu in Visitors On The Icy Mountain. They are representatives of Uygur girls in two extremes. As for representatives of Kazakh girls, there are jiamila in Hasen and Jiamila and Ayiguli in Tianshan red flower, both telling romantic stories.Part four highlights the image of Tibetan women.Nine movies are found from the seventeen years movies, involved in Tibet. Among those, Jinsha River has been regarded as a representative, for which, its women character Pearl Princess Mary takes priority of being researched on in this section.Part five highlights the image of southwestern women. Yunnan, has always been a province where there is the largest number of scattered ethnic groups community During the seventeen years, plenty of excellent movies about ethnic groups have come out. They brought us a bunch of respectable and adorable ethnic women roles, such as Ashima in Ashima, jinhua in Five Golden Flowers, dainuo in Jingpo girl, etc. This part will focus on analyzing the women characters in Ashima and Five Golden Flowers.Part six highlights the image of southeastern coastal ethnic women. Speaking of Guangxi, we have to talk about all-known Liu Sanjie, who is one of the two main analytical points. At the meantime, the heroin from wuqionghua in Red Detachment of Women, is the other.Part seven Seventeen of the causes of ethnic film. Mainly from the political, the film itself and the nation as the three discussed Yu.Part eight summarizes the whole thesis.