From The South To Open The Window To See The World

We'll see a unique circle of people:Chinese female directors.Like mirrors,their personal experience,movie works and the female images and destiny presented in their movies are all reflecting various social political conditions and certain cultural tendencies of different periods since the Liberation of China. No matter how it works,they've made,and still are making painstaking efforts for rcal feminine emancipation for Chinese women. The social and cultural upheaval in contemporary Chinese women's lives could be peeled out through intense study on their lives and works,and helps us to mote the development of Chinese female directors'feminine movies,as well as what those works can contribute to the real emancipation for Chinese women. Focusing on several leading female directors and their works in three different periods since 1949,this thesis dedicates to probe into both their accomplishments and defects,to meet the need of establishing a history for Chinese feminine movies. Furthermore,to keep us fair and broad in vision,we'll also take some feminine movies and literal works made by male directors of the same period for the purpose of comparison. The whole thesis is divided into 3 parts ,each starting with background analysis,followed by introduction to directors and movie works analysis,and the final conclusion. Part I:Feminine movie-making from1949through1976,which was bounded by male's ideas and marked with the loss of female voice. This part will emphasize on Ping Wang and her works,and the famous title"A GRASS ROOTED ON KUNLNUN MOUNTAIN"that was made by Kena Dong. Part II;The rise of "academic female directors"since80s. There appeared 3 kinds of female directors'movies that differentiate very much on concepts. I'd like to name the 3 styles as"the upstream,middle stream and down stream of the historical river of female lives and thinking that across the screen": A·Upstream-carrying on Ping Wang's tradition;movies that are unconscious of sex B·Middle stream-being trapped when intending to escape:the so-called"feminine movies that are completely self- conscious"C·Down stream-serious thinking about where Chinese feminine movie is heading for Part III:The beginning of a new age for female production in the 90s.Although most of the feminine movies can't be valued high,female directors took steps to test their abilities in all respects of movie sphere,breaking the limit of only exploring and searching for feminine destiny and consciousness. It became common for female directors to shoot films with feminine concept and from feminine angles. A fact that deserves our hail is that Chinese female directors have escaped the bound of making revolutionary films. Mal-presentation and fallacy they've made in self-depiction,they began to take a scrutinized view on human,and on female especially.Real feminine movie came to the fore in late 80s. Inthe 90s,the boom of feminine movie-making has gone down somewhat due to the merchandising impact and more outrageous sense of self-emancipation,but the younger generation of female directors can master more narrative weapons on language and subject,which were bestowed by the age and history. Even so,we still hope that,female directors,being women first,will hold authentic experience and feeling of their sex and living status. Only when they make movies by their own,could they narrate with real female voice and break through the siege of patriarchic culture.