A Study Of "Female Gazing" In Chinese Female Movies At The Turn Of The Century

This article is based on the feminist film theory,choosing a branch of Chinese movie at the turn of the century--female movie as the research object.Respectively from the camera,the film's characters and the audience's acceptance of the three aspects of our female film inspection.Primary,the introduction is divided into three aspects.First,introduced the present situation of Chinese female films from the historical dimension.Second,defined the concept of "female gaze" Thirdly,the current situation of "female gaze" at home and abroad is reviewed respectively from the two disciplinary dimensions of art criticism and visual culture.To grasp the content and connotation of "female gaze" theory from these three points.Chapter one,Desire to female cameras,the role of the gazing of the screen at the turn of the century to interpret the Chinese women's films,reveals a clear female women's films staring at the writing.First of all,with the elaboration of the female camera and the aesthetic care of the female camera,a new gender image has emerged:One is reorganization of the female image;The other is the disruptive reconstruction of the male image.Show that this female lens processing is exactly the way women filmmakers use to express their ideal self.Secondly,starting with the problem of gazing at both sides of the screen,this article illustrates the implication of such gaze from the perspectives of female masculinity and female self-esteem respectively.In the second chapter,through accepting the aesthetics of women's films,the audience accepts the difference of acceptance of "female gaze" in the Chinese female films at the turn of the century.On the other hand,Female gaze features.Female audiences have certain recognition psychology mechanism and domination psychology to "female gaze" embodied in female films.The psychology of female audiences lies in the behavior and the image recognition of the characters in the film,while the domination psychology is reflected in the squeeze of women in public space and the renewal of women in private space.However,the male audience felt the demise of "Fillers" and the passive acceptance of "female gaze."The third chapter,from "opposite sex" to "gender harmony",attempts to construct a new picture of gender gaze.In addition to explaining the value of female gaze theory in interpreting Chinese feminist films,this part more importantly puts forward the idea of gender construction of Chinese films and attempts to build a new film scene of "gender harmony." Here we first explain the value of using feminist gaze to interpret the female films at the turn of the century and the shortcomings and deficiencies of the current female films in our country.Second,from the perspective of gender staring development from "opposite sex" to "gender harmony",this article gives some reference to the future development of China's film industry.