Study On The Relationship Between Mother And Daughter In Chinese Women’s Movies In The New Century

In the diversified context since the new century,the real and vivid mother daughter relationship has been widely concerned,and the historical nature of women,a gender group,has been regenerated and restored.Chinese female filmmakers examine their lives and emotions with more conscious female perspectives and women’s position,revealing the historical truth of "Motherhood Myth".The selfless,great and philanthropic mother image is just a plot that is used to train women under the patriarchal culture.The film noticed the mutually attached and resentful relationship between mother and daughter that conceals in daily discourse.It also tries to restore a mother who has love,grievances,passions and desires to deconstruct the "motherhood myth" that has been bonded in women for a long time.The ideal mother returns to reality,and they become detestable because of their complaint about life.The daughters who grow up in the anti-supervision of mother’s love and anti-pressure,begin to examine and reflect on their mother’s experience and living state because they have seen their dissatisfaction and hardness,which form an important mirror relationship with the mother.Female movie is a rewriting of the mother and daughter relationship,which provides us with reference to think about mother and daughter relationship and also provides a new path to explore the new patterns of mother and daughter relationship.But it’s easy to find that male still a main topic even in a movie that mainly talks about mother and daughter relationship,which is worth thinking.This paper consists of three parts---introduction,main part and conclusion.The introduction part first defines the concept of "female movie" to select the research objects of this paper.Then,it reviews the mother’s image in historical changes and research status of mother and daughter relationship in female movies.Finally,it illustrates the meaning and purpose of the topic.The main part includes three chapters.The first chapter is "The Unfit Mother".It mainly summarizes several common forms of mother and daughter relationship in Chinese female films in the 21 st century.With the help of psychoanalysis theory and mirror theory,it also examines the mother daughter relationship,and reveals the psychology of mother daughter relationship of suppression and resistance,discovery and identification.Different from the "Maternal Myth" constructed by the traditional narrative text,the mother daughter relationship film tells the story of women from the perspective of women,shines realism on the ideal mother,and shows a richer and diversified image of the real mother,which dispels the "Maternal Myth" constructed by the patriarchal culture and clarifies the train of thought for the emergence of the maternal culture pedigree.The second chapter is "The Absent Father".The construction of maternal genealogy mainly analyzes the narrative method of reconstructing maternal genealogy in "mother daughter relationship" film from the perspective of narratology.In the space of "father’s absence",men hide in the background of mother and daughter’s life with a symbol,which makes it possible for the maternal pedigree to continue between mother and daughter from generation to generation.On the one hand,the contradiction and conflict between mother and daughter are more sharply presented due to the lack of direct intervention of father,and the mother daughter relationship is pushed to the center of narration.On the other hand,the mother daughter relationship film subverts the traditional narrative to shape the female image,goes out of the traditional gaze mode,and is committed to establishing the discourse system of female speech.The third Chapter is "Reconciled Mother and Daughter." The construction of identity in women’s growth mainly discusses the efforts and attempts made by the mother daughter relationship film on the construction of women’s subject,and the importance of the treatment of mother daughter relationship to women’s self-awareness and the construction of subject identity.Finally,the conclusion mainly summarizes the above,and looks forward to the future of women’s films based on the thinking of "where male films will go".