An Analysis Of Chick Flick In Chinese Mainland From Feminist Perspective

In these years, more and more Chick Flick is showing on the big screen, and this phenomenon attracts the attention of many scholars and film creators. Chick Flick refers to films who take the view of female with easy and romantic stories, in which female characters go to lead while male characters go to support. These films, trace back to 1990 s, are mostly themed by pursuing independence and romantic love of female, especially of young female with a purpose of attracting as many women as possible. Sleepless in Seattle in 1993, The Devil Wears Prada in 2006, and Sex and the City in 2008 are all the representatives of Chick Flick. In 2009, Sophies Revenge, directed by Jin Yinmeng brought this concept of film to China, and it also became a hit intimated by many directors, who, however, failed to remain the success mostly, except Xu Jinglei with her Go LA LA Go!. And this dilemma of chick flick didn’t change until the film of 33 adapted from a popular novel on the internet written by Bao Jingjing and directed by Teng Huatao. From then on, Chick Flick turned into its golden age. Finding Mr.Right, Tiny Times, and Go away Mr. tumour, all did a great job at box office.This thesis is analyzing the reason of the popularity of Chinese Chick Flick for further studies from the perspective of feminism. Three parts are divided in this thesis, part one, feminist consciousness of creators, we try to analyze the feminist consciousness by investigating different experiences, attitudes and external environment in different films, and feminism in these films can be generally divided as deviated feminism, feminism from male’s perspective, and fake-feminism. Part two, feminism in the text, this part tries to find out embodiment of feminism of Chick Flick in Chinese Mainland by probing into the female image, male image and language within these films. Female, who pursue the freedom of love, the independence of economy, and spiritual world are often the main characters in Chick Flick, which is under perspective of feminism. However, these characters will go back to family issues, which is different from feminism advocated western culture. Male in these films, whether rich man, man confidante, or philanderer, are all decided by women preference. In the long history of Chinese feudal culture, paternity is the authority can never be provoked. But in the contemporary Chick Film, farther are not august and stubborn any more but gracious and amiable. Chick Film, as one of the artistic consumption, illustrated by feminist presentation, abide by aesthetic demand of female from dialogues, scenes, color, shots and so on. Part three, audience investigation, the targeted audience of Chick Flick is mostly female and young generation. Although it may attract some male audience, most of them are forced to go to by their female accompanies. In terms of the development of Chick Flick, view varies, I think, Chick Flick should accustom to the reality in China without blindly follow suit. The only way to have a place in countless newly developing genre films and never be weeded out by film market is to seek to the strategy of localization.From these analyses, we can find out that Chick Flick in Chinese mainland is till on its way of developing, although a lot of them have already achieved success with the rapid development of Chinese film market. And female in these films is actually an epitome of Chinese young generation, which shows their view of world, life and values, as well as feminism. To some extend, it is a concentrated presentation of feminism in the movie flied.