The Study Of Gender Narrative Of Male Temperament About Jiang Wen’s Movies

In the seventies or eighties of the 20 th century, the socio-economic transformation began, and the literature and art was flourishing. Chinese movies also began to evolve in a diversified way, Jiang Wen’s movies were in the birth of the historical context. As a new generation of directors, Jiang Wen created a lot of classic characters by using his unique narrative technique. In Jiang Wen’s five movies, he was used to starting from the male point of view, creating a group with a distinct personality and "Ginger-color" image of man, formed his own distinctive narrative style, that was, the gender narrative features was male-dominated, female characters were just as a part of the film. These full of masculine characters included Ma Xiaojun in the In the Heat of the Sun, Ma Dasan in the Devils on the Doorstep, Tang Yulin in The Sun Also Rises, Zhang Mazi in the Let the Bullets Fly and Ma zouri in the Gone With The Bullets.Jiang’s movies were based on the cultural revolution, the Sino-Japanese war and the northern war as the narrative background. This paper analyzed the characteristic of gender narration in Jiang Wen’ s movies in this context combining masculinity theory, and also analyzed the gender discourse power and the inherent cultural significance of male Images in different historical periods in Jiang’s movies. Through the type analysis of male and female images by using feminist critical theory analysis the gender role in Jiang’s movies, The male images are divided into four categories : the male image of self-reshaping, the male image of hegemony owner, the male image of missing "father" and nihilistic "husband" and reflexive-type characters. The female images in Jiang’s movies are divided into: the traditional image of a wife and mother, the female image as a consumer object, the female image dared to challenge the patriarchal, the female image of marginal people and having progressive thought feminine. So, the gender narrative of Jiang Wen’s movies is male-dominated, the status of men is strong and staring in the film, women are in a vulnerable and are staring in the movie.Influenced by the patriarchal traditional culture, the male characters in Jiang Wen’ movies are at the center position and the female characters are in the aphasia position. This approach does not conform to the more and more equal gender cultural viewpoint in the modern society, and the male and female characters in the movie should give up sex opposition for dialogue and integration.