On Study Of Feminine Theme Films Of Post-1970s Female Directors

Studies on Chinese films have been focusing on two categories including femininetheme films and female directors for a long time. Particularly since western feministthoughts were introduced to China and concept of female films was put forward, thetwo categories have been in strong theoretical colors, and are discussed in female filmsmore than ever. The first feminine theme film released in1920s, but the female directorsshowed their faces much later. In the process that the academic circles study thefeminine films of female directors, comprehensive research methods have beenestablished. The object which's studied ranges from an individual female directororiginally to a group of them, and then from Wang Ping, the first female director ofChina to almost all female directors who're striving for in the industry. However, amongthe complex and various studies, images of post-1970s female directors are not seen.Therefore, the thesis, based on the reason and with feminine vision, analyzes the uniquefeatures of these female directors and their feminine theme films.The first chapter of the thesis, or introduction, establishes the objectives of thestudy. The second chapter, the Outline of Chinese Feminine Theme Films and FemaleDirectors Development, analyzes and states that the feminine theme films are moresuitable for the post-1970s female directors and comb its development stages under thedefinition of feminine awareness.The third chapter, the Change and the Expansion of Feminine Themes, analyzes thechanges which are demonstrated by post-1970s female directors' feminine theme filmsand the new features that these changes have brought with.The fourth chapter, the Performance Characteristics of Female Images, interpretsthe unique expression techniques that post-1970s female directors portray femalefigures with visions including female's fate, emotion and chemistry.The fifth chapter, Utilization and Features of Female Narrators, analyzes narratorsin films with feminist narrative theory, i.e., analyzes the actual speakers in films and thestatus of female directors who produce the films.The sixth chapter, Strategic Evading of Male's Role, analyzes that under the vision of female's narration, male's images are processed with female's perspectives.The seventh chapter, Multiple Trends of Image Styles, expounds as market-basedeconomic development, characteristics of film's commercialization are increasinglyobvious. In the current epoch, this flock of female directors also presents multiple trendsaccordingly. This part stresses the reasons of the multiple trends.The conclusion summarizes the ideological connotation of feminine theme filmsand achievements of artistic presentation. It also sums up influence of Chinese filmingcause on China's society and social life, as well as expresses new hope for futurewomen's films.