Gender Narration Analysis China Spy War Films

"Gender narrative " as the gender theory and narrative combination after a criticalmethod and perspective, emphatically interpretation of the human cultural phenomenonfrom the discourse of gender power angle of literature and art, it think all the narratingis a gender meaning, and participated in the composition of social gender awareness. Itput the text in the historical context, argues that narrative form and the producers andthe reader located times, class, gender, sexual orientation and ethnic and nationalenvironment is inevitable. In this critical contemplation of perspective, the films as akind of artistic style and cultural representation, and in accordance with social genderdiscourse power to creation and production.Chinese spy war films mainly chinese social revolution、national liberation andsocialist construction by twentieth century as the background, in order to serveproletarian revolution and national liberation cause as the aim, the social revolution ofthe espionage activities and chinese women liberation reality together constitute sexnarrative of the social context in the spy war films, the chinese espionage war filmunique political burden and film production mechanism is the gender narrative artisticcontext. On the basis of chinese spy war films formed its own unique gender narrativetrack: in its “seventeen years”, the gender narrative presents as a sex symbol was"incorporated" in national politics, or gender self is "strange feeling" cover up of thestate; in the "seventeen years",spy war films" inverse" narrative in the formation of the" female spy" stereotypes, girl scouts" gendering" gender roles in new period setting;the spy war films was followed with "black woman " practices, and begin to femalecharacteristics regression; to the new century, spy war films highlights "heroic menunder center narrative ", addicted to desire narration of body writing.Chinese spy war film as a type of films, is a special way of expressing chinesemainstream ideology and popular culture consumption force under the action of thegender politics. Standing in the narrative form the point of view, it shows the followingcharacteristics: the narrative mode, regardless of writing the " father " of the stateideology the90time before, or subsequent publicity culture of male violence and warwriting performance for both men women from (or object), the male center features;in the narrative point of view, performance for the male characters perspective centerwith female characters from the viewpoint of marginalization; in the image of the shapefollowed the social gender stereotypes and the traditional gender culture and etiquette.Although in twentieth century the China has been in the pursuit of women’s liberation,but spy war films of these gender narrative hand imbued with the mainstream ideology’s request, to meet the public consciousness of gender, on the other hand alsostrengthened the social reality of the certain gender stereotypes, exacerbated by the social culture of gender discourse imbalance. In the male centered society politics andpopular culture consumption control, film more toward a depressed woman, even thewoman ’s position, not only is the use of female image, to standardize the ideal femaleproblem, but also the structure of social gender order.