Research On The Living Space Of Women In Li Yu's Films From The Perspective Of Feminist Geography

In recent years,the cultural pattern of all flowers blooming together in the mainland China has created a broader platform for the Chinese film market.The acceptance level of the film market is getting higher and higher and the creative techniques of the film are becoming more and more diversified.Some directors turned their attention to the theme of women and use their own shooting style and characteristics to show the life of women groups in many movie theme.There are not so many female directors in China,but each female director's unique personality is enough to make them stand out in the film industry,Yu Li is one of them.Yu Li has been directing six films since the first feature film "Fish and elephant" in 2001.The remaining five films are " Dam Street "(2005),"Lost in Beijing"(2007),"Buddha Mountain"(2010)," Double Exposure"(2012)and "Ever Since We Love"(2015).The commonness of these six films is that they have created a distinctive female character who are with rough life.Quite a lot of the film critics pay much attention to Yu Li's film because of the strong feminist color in her film..Yu's film has attracted the attention of the film critics because of its strong feminist color.At present,most of the domestic researches on Yu Li's film are carried out from the general direction of feminism,and some have paid close attention to the shooting style and aesthetic image of her films.From the perspective of feminist geography theory which has attracted much attention in recent years,this paper analyzes the characters and living space of different female characters in Yu Li's film.Therefore,the structures of this paper are as follows.Chapter 1 is an introduction.It mainly summarizes the significance,current situation and research methods of this paper.Yu Li's film,feminist geography and film space narratology have been well put in order during the current research analysis.The research object,theoretical tools and argumentation methods are also briefly introduced in this paper.Chapter 2 explains concept of detailed female consciousness and space construction,film space and space narration.Establishing the correlation among gender,space and narrative and clarifying the correlation among them is helpful to understand the gender attribute shown in the film space and it is also of great significance to analyze the living space of female characters in the film accordingly.Chapter 3 mainly takes Yu Li's film as a research object,which respectively discusses the women living in cities and towns,and analyzes the discipline and restraint of social space for women.Chapter 4 also takes the Yu Li's movie as the research object,which takes the female in the family space as the breakthrough point and divides them into two parts to discuss.The first part is about family living space.It separately starts from three different spaces: the bathroom,the bedroom and the kitchen,which analyzes the gender attribute of the family living space and influences on the living state of the female characters in the film.In the meantime it can also reflect the anxiety and uneasiness of the female group in the family living space.The second part is about the family ethics space.It mainly discusses the context of "loss of father" and the reproduction of female subjectivity in Yu Li's films.Chapter 5 rethinks on the future of female groups' gender resistance in living space from the two common outcomes of female characters-runaway and death based on the selfredemption culture of women.The conclusion part summarizes the full text.Firstly,it summarizes the perspective of Yu Li on the label of "feminist director".Secondly,it shows Yu Li's outstanding contributions to the field of feminist film.Finally,It leads to the rethink: how to pay more attention to the real situation of women groups and the spiritual world that the Chinese contemporary film can be done in the space narrative,which will further promote the development of Chinese female film industry.