| Since thel990s, with China's entering the WTO. the national screen has gradually faded from its splendid history and stepped into a valley under the impact of globalism and marketlism. The broad viewers' high spirits on the USA great movies and the Korean TV plays make the national screen more gloomy and miserable. Quite mang male directors who were celebrated for a time have slipped unknowingly to the edge in the tide of globalism, the female directors, who were prosperous and surging ahead in the 1980s, nevertheless, have even slipped to the edge of the edge. Because the description of the females in the movies lack commercial factors and the value of appreciation, the screen lost more markets and viewers. Therefore, the description of females in the national movies is becoming a line of landscapes fading away in the context of globalism. The movie, Woman-Demon-Human, regarded as the only female-directed movie by Dai Jinhua, the famous female screen critic, certainly became a peak that no one can reach on the description of female in Chinese screen history.The female director, Li Shaohong, who knows today's condition of movies and TV plays, with her unusual keen and special eyes made a very brilliant turnaround in the last years of this century. She took the relay baton of female movies bravely from the female movie director Huang Shuqin, shifted the writing of feminism to TV plays, a typical model of mass culture medium which has an even larger consumer group than movies, and made the pulse beating in TV plays. With the keen female feelers, she collapsed and subverted the Man-rights system in TV plays with a easy-accepted and comparatively tender manner, meanwhile, with all the might, shedescribed the society, history and life in the individual female's eyes. Her TV play works, the so-called Three Songs of Females, can be regarded as the not-so-far echo to the female movies of Huang Shuqin in the late 1980s.Even it can be said she has a further, deeper and broader influence in the movie and TV play field.From movies to TV plays, the gradually waking sex sense made the TV plays, directed by Director Shaohong, which was permeated and filled full of females' identities and living experience, were paid greater attention and loved by broad female viewers. Meanwhile, these TV plays have become arguments and caused some accusation between the critics who have a viewpoint of males. As it is known to all, if understand and analysis the female movies or TV plays literature from the standpoint of Male-rights and the male viewpoint, it is inevitable to be seriously misunderstood and misread. Therefore, it seems to be extremely important and necessary to appreciate the female directors' movies or TV plays literature from a viewpoint of a female.Since the TV plays is a consumption of mass culture, its female description is certainly different from the movies. So this essay trys to use the Smiling Feminism critical manner which is popular in the new century to comment upon Director Shaohong's TV play literature, with these three typical female TV plays: Thunderstorms, the Palace of Great Brightness, and Oranges have Turned Red, as the concerned focus. Also the author refers to the movie works Red Western-style Clothes and Baober in Love, trying to illustrate and evaluate the expression of female sense, the losses and gains in her TV play works(including part of her movies) from the following four aspects: rushing from the cage of Man-rights, building up the new historicism of females, the reflection of the females' destiny and the aestheticpursuing of female poetized tragedy. At the same time, the author discusses the special value and the signification of practical acceptance of Director Shaohong's TV plays on the screen when the female sense universally sliding at such an age when the old century is going out and the new one is coming in. |
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