Modernist Cultural Horizons. Contemporary Chinese Women In Movies,

This dissertation explores the modern Chinese feminism film which is influenced by post modern culture and the inventive changes it has taken in fictionist, content, narrative pattern, etc. A macroscopically cultural angle of view is taken to research the awakening of feminism consciousness and the construction of feminism subjectivity in modern Chinese feminism films. The author expects the film, as a cultural product, to help the female set up self-consciousness of independence, self-determination and equality and exist as independent as the male so as to build a world where the male and female live in equality and harmony.The introduction reviews the development of feminism film. The feminism film scope is reduced to a narrow sense, which is directed by female director, focused on female topics with clear feminism consciousness. While affirming the feminism film's highlighting the principal part of female, the author also points out the situation under the pressure of commercial period of transformation.The first chapter focuses on the impact of post modernism on modern Chinese feminism film, which exceeds the narrow opposition of the male and female, broadens the audience scope and enriches the content of Chinese feminism film. Feminine experiences are utilized to figure feminine image on the screen with subjectivity. While constructing the subjectivity of female, Paying more attention to the common women as individuals, Chinese feminism film probes into their universal spiritual world, sums up the realistic issues into idealistic issues and concludes a value of life which surpasses the confrontation of two sexes.The second chapter elaborates the Chinese female director came to realize the unique narrative pattern and film language of the feminism film must be used to highlight the subjectivity of the female and to figure feminine image on the screen with subjectivity. Discourse is the symbol of power. After the bourgeoning of feminine subjectivity consciousness, feminine language has become the external instrument for the female to express their thoughts.Through the elaboration of two cases: A Letter from an Unknown Woman directed by Xu Jinglei and 20,30,40 directed by Zhang Aijia, the third chapter explores the gradual establishment of feminine subjectivity consciousness in Chinese feminism films influenced by post modernism culture. Post modernism aims at overthrowing the central value of modernism which influences the feminism film to overthrow the social discourse and ideological structure with man as the center. The final purpose is to seek the possibility of building an equal and harmonious male and female world. The conclusion discussed the prospect of Chinese feminism films.They will not only express the feminine subjectivity consciousness but will also surpass the limit between male and female to create an universal value of life which is the ultimate purpose of the development of feminism films.