Conflict And Dialogue-the Construction Of Female Subjectivity By Discourse In Wenhua Films(1946-1949)

This paper takes the creative activities of Wenhua Film Company(1946-1949)as the research object,places them in the special historical context of the post-war period,and analyzes multiple texts such as audio-visual materials,literary works,newspapers and magazines,and oral histories of the films by combining historical and theoretical research methods,and conducts a study on the construction of the female subject’s discourse under the threshold of gender by combining discourse theory and feminist theory.This paper is divided into three parts.The first chapter explores the experience of the construction of the female subject’s discourse from the perspective of Wenhua’s management strategy and creative line.Taking Eileen Chang,a unique woman in the filmmaking group,as the representative,the cultural identity transformation from a "fan" writer to a film scriptwriter in the post-war period outlines the flowing traces between national cinema and literature in the 1940 s.Afterwards,the film’s trajectory of "what women think,how women feel" is used as a trajectory to ask about the realistic path of women’s individual destiny search.In particular,he will discuss the emergence of women’s discourse on the screen and the breakthrough of the "malecentered" film industry by reading "No Endless Love" and "Long Live the Wife".At the same time,the exposure and mockery of the problems of marriage and family relations are used as an opening to reveal the contradiction and negotiation between women’s consciousness and the needs of the mainstream era,revealing the dilemma of women’s "marginal" speech under the authority of discourse,and trying to reexamine the value of the works of the times with a rational perspective,giving them their due and historical status.In the second chapter,the male directors and screenwriters of "Wenhua" show their different feelings and humanistic concern for women,and through the imaginative construction of the female subject’s personality on the screen,they bridge the dialogue between the two sexes to achieve the communion of viewpoints and the interchange of emotions.In addition,the actions and language of male characters show the warm strokes of reconstructing the relationship between the two sexes,inheriting the writing practice of "men as boudoir voices",and shaping women as the "other" through value conflicts,human conditions and writing about desires.The third chapter depicts the prominence of women’s image in "Wenhua" films before 1949,and uses gender "ethnography" to encompass a series of rich cultural expressions such as gender order and national psychology.The third chapter analyzes the philosophy of life and the aesthetic experience of women’s femininity in the dual identity of family and society in the context of the times,and restarts the thinking of gender in Chinese cinema development.