Between Bound And Cross-border

The thesis has a detailed analysis of the expression for the female consciousness in the works of Chinese female directors. It points out that the non-sexualized expression in the works of Wang Ping and Dong Kena results from the adaption of ideological features at that time and the women's social emancipation, but the presentation of female experiences under non-sexualized topic originates from the nature of women. Since 1980s, in the new enlightenment movement for the mind emancipation, the female identification has been the most flourishing for female consciousness in that period. The works of such directors as Zhang Nuanxin, Peng Xiaolian, Shi Shujun, Lu Xiaoya and Wang Junzheng focus on the comprehension of female living experience and highlight the sense of female identity. The works of Hu Mei and Huang Shuxin have the self-inspection of female subjectivity and start the social critical awareness of female living and cultural predicament. In the 1990s with the marketization, popularization and commercialization, the works of female directors appear different. Li Shaohong and Ning Ying persist in uttering weak but distinct female voices in the male world. In the new century, the works of Xu Jinglei, Li Yu and Ma Liwen emphasize the female subjectivity by deconstructing male culture, and on the other hand actively build a cultural space belonging to female proper. The female consciousness of Chinese female directors is in the process of movement within the social entire consciousness and beyond the constraints. It is in the constant growth of social change and development.