The Statue of Female in Industry in China - Movie Review Example

The Statue of Female in Movie Industry in China ABSTRACT The study is about the new century (2000-2007 years) female image in China. Studying the women in film is the central focus of the paper. The paper breaks the tradition of using director, type, or year criteria to analyse the image of women. It relates the social reality to the recent emergence of female Chinese film. The paper summarizes the mainland China since the new century. The female movie images of women having intensive roles are analysed. This image of women in the new century depicts feminist consciousness as seen in the construction and presentation of the movie. The women in Chinese mainland create the movies in a pluralistic society and cultural contexts that makes them Heroines. The conclusion of the full text of this paper summarizes the analysis. Female movies of the 21st century do not give a true and timely manner to reflect the spirit of the era of women, thus, the role of women is still confined to the family. This implies that female image is not rich, multi-level social position and gender relations are not well addressed. In the new century, women are still burdened with heavy historical challenges that hinder innovation and progress. Table of Contents ABSTRACT 1 1.INTRODUCTION 4 1.1Aim 4 1.2Objectives 5 2LITERATURE REVIEW 6 2.1Literature Related to Medias and Genders 6 2.1.1Medias and Genders 6 2.1.2Social Gender 7 2.1.3Gender Stereotyping 8 2.2 Women Roles in Women Movies 9 2.2.1Feminism or Feminist roles 9 2.2.2Changes of Culture as reflected by Policies and Businesses 12 2.2.3Images of Women in History 14 2.2.4Theme and Creativity elements in Building Chinese Women Roles 15 2.2.5Different Definitions of Women Movies 16 2.3Conclusion 17 3METHODOLOGY 19 3.1Analysing Contents of Medias 19 3.2 Sampling 20 3.3Classification 23 4RESULTS 23 4.1Development history of Chinese female movies 23 4.2The image of women during 1980-1995 26 4.2.1Tough Wife and Mother 26 4.2.2 Sexy Lover 28 4.2.3 Women pursuing self-recognition 30 4.3Image of Women Roles in 21st Century 33 4.3.1 Roles in Family 35 4.3.2Social roles in the Women movies 45 4.4The relationships among the Women Roles 46 4.4.1Mothers and Daughters 47 4.4.2Women Alliances 48 4.5Various aspects influencing building up women roles by directors 50 4.5.1Social aspect 50 4.5.2Rigid Thinking 51 4.5.3Times 52 4.5.4Tradition 53 5CONCLUSION AND RECOMMENDATION 55 5.1Conclusion 55 5.2Recommendations 55 Bibliography 58 1. INTRODUCTION The dissertation focuses on female figures in feminist films in mainland China in the 21st century. The paper breaks through the conventional methods that usually research the female figures by director, film types, or age criteria. The dissertation bases on the social reality, analyses the feminist films springing up currently, and generalises the female figures since the beginning of the new century, all at the same time. The dissertation peruses multiple representative female figures，analyses the multiple contexts which influenced the portrayal of the female characters and expression of female consciousness on feminist films in the new century in mainland China to explore the times, significance and characteristics reflected by these female figures. At the same time, the booming of feminist films since 2000 can be viewed as the second climax with respect to the first climax emergence between 1980 and 1995. The differences between these two climaxes of feminist films will be discussed as well as the social and economic factors behind the difference. 1.1 Aim In Nuanxin Zhang’s movie gull, a woman appeared in the climax of the film, marking the emergence of a large number of female films, including gull, People · ghost and love, red Sorghum, Raise the Red Lantern and so on. The progress was not slowed until 1995. As the 20th century most important art form, the film became a human self-written "brush" and then it was transformed into the pursuit of immortal human life "magic wand", but since the narrative thrusts directly to the gender feminist film, show women become self-important means a unique feeling of feminine consciousness and life. In recent years, the film's female character changes personality frequently, showing a surge of strong upward momentum. In 2006, director Ying Ning’s film Perpetual Motion was officially released in China passing out a compelling message: Chinese Female New Wave perhaps performs like a Perpetual Motion. Since entering the new century, China is no longer a famous female film critic. Jinhua Dai worries about the kind of film can be called a ‘Female movie’ and asserts that only Shuqin Huang’s People · ghost and Love. Lots of new dazzling and dizzying female movies once again emerged. Female directors created a large number of roles with female protagonists, influencing a strong sense of women's films, including: Shaohong Li's Baby Love, Xiaolian Peng's Beautiful Shanghai, Xiaoying Ma’s (Ma Liwen) the Two Of Us, Jinglei Xu’s A Letter From An Unknown Woman, Yu Li's Dam Street, Ying Ning's Perpetual Motion and so on. These works leave a huge role of films on Chinese history. In addition, some male directors have taken a number of women and have some awareness of the movie, including; Yuan Zhang's Black Tea , Zhou Sun’s Zhou Yu's Train, Changwei Gu's Peacock and Xiaoshuai Wang’s green and red etc. So what is the whole image of women in the new century? The author will use content analysis method, summarizing the movie image of women in the family and social perspectives (mainly professional image). The climax of the movie image of women will be compared with the real image of these women to investigate the difference. The difference reflects how factors like social, political, cultural, and ideology affects the films. 1.2 Objectives Comparing the 1980s to get the expression of these women is necessary to analyse a mellower movie, broader narrative content, character level richer, and more multi-faceted female perspective (narrative means even more diverse). Many moderate convergences to mainstream culture works also had a greater impact on the overall development of women films and has a special significance. The themes of the movies is never lacking in China, from the flower to The Story of Qiu Ju from and Gull to People, ghost, Love, the interpretation of the image of women in cruising female perspective is always changing the overall words, have a consistent continuity, are trying to show women's soft, strong, gentle, and other characteristics. The new millennium portray improving female movie spectrum, but there have been some different faces. The paper uses such theories as feminism media and sex Consumption Culture at the same time It also uses content analysis and film textual analysis as research methods，use Jasmine Women, Perpetual Motion, Peacock, Letter From An Unknown Woman, Zhou Yu's Train, Dam Street as item samples to discuss the female figures in feminist films in the mainland China in the new century. In the feminist films of the new century, the female are confined in the family. The female figures of these films are scant of ampler and have more multiple social positions that display weak experience of life. As a result, these female figures could not really and duly reflect the spiritual style of modern women. Furthermore, the relationships between the female and the male are alienated. The female are advancing lonely with ponderous historical burden. At last，the dissertation indicates the innovation and deficiencies of feminist films. 2 LITERATURE REVIEW 2.1 Literature Related to Medias and Genders 2.1.1 Medias and Genders In 1978, Proceedings of the American women scholars Gaye Tuchman in collaboration with others published the "hearth and home: media image of women". The official publication of papers discussed two issues: First, how women in the media are portrayed, and second women working in the media. After twenty years of development, "the media and gender" studies in the West is quite mature, it is mainly women who learn the theoretical basis and communication. The three most important areas of research concentrate on women as communicators (practitioners) disseminate content (image of women) and female audience. The paper analyses the image of women. Hawkins (1997) did the evaluation of women images in the media, in which the female image is divided into five levels. First, women are portrayed as completely ignorant of foil products; second, women's role and image is in line with the stereotypes; third, women are portrayed as having a professional role but in the end still return home; Fourth, commitment blueprint depicting gender equality, thus avoid creating stereotypes; Fifth, Beyond the gender binary opposition concept features stereotypes of men and women who abandon the idea. Obviously, the higher the level of women, the higher the degree of attention and recognition. 2.1.2 Social Gender Human sex can be divided into: biological sex, psychological sex and gender. Biological sex is determined by the physical characteristics and other natural attributes. "Gender refers to the social and cultural understanding of gender differences in the formation and group characteristics or behaviour where women or men formed in the socio-cultural concept of gender can be clearly demonstrated, that stereotypes about gender and gender differences the inevitable result of social awareness, not physiological aspects of the formation of gender. Differences mainly depend on the society and culture to develop, depending on enlightenment (2000). For the study of mass communication, gender theory states that mass media is the universal validity of male experience as a precondition and basis for the mass media image of women and adjust as shaped by patriarchal culture. It represents the patriarchal cultural expectations of women's roles that a patriarchal culture expects through mass media, participated in and completed the characterization of women. A 2001 study found that gender theory and mass media model of the female image, create a stereotype and derogatorily or negatively reflect the social values ​​of women (2004). 2.1.3 Gender Stereotyping Scholar Bu Wei (2001) discussed the aspect of stereotyping. He discusses the simplistic stereotype people on the formation of a social group, lags behind the reality of change and the general perception of people. Gender stereotype is a term generally applied to the image of women in media analysis. "Stereotyping" generally refers to influencing people on some specific things held fixed, simplistic ideas and impressions, is usually accompanied by feelings of evaluation of the value of things and likes and dislikes. "Stereotyping" may provide an easy avenue for people to understand the reference standard, but also hinder people's comprehensive study and measurement of things. The process of shaping gender roles in society is different from the definition of gender. Gender shape under the guidance of gender culture is always a gender "stereotyping". In general there are two aspects of the content: Gender temperament and gender roles. Most studies agree something about the movie that although the film can exhibit a variety of female personalities, ideas and life patterns, reflecting the active participation of women in social practice, and actively explore their own lives growing up thought and effort, the image of women in the movies have been fixed and the case of prejudice or "derogatory" perception exists, mainly reflected in the movies that generally replicate the traditional gender roles, exaggerate female roles outside the United States with a lens, communication "Women cause troubles", intentionally induce or enhance women perception in the family "private" areas "value" of life and so on. 2.2 Women Roles in Women Movies 2.2.1 Feminism or Feminist roles Zhang Xuqing (2006) deemed that feminist film theory is based on the early 1960s and 1970s popular western Marxism, Freudian psychoanalysis, structuralism Lacanian psychoanalysis, philosophy after Derrida's deconstruction inspired by modern philosophy, feminist film theorist from where they brought the "other" and "deconstruction" thinking resources. The context of the film image of women, ideology revealed to be re-read feminist consciousness, hit in the image of Women under the patriarchal culture of oppression and repression are distorted to harm, but also strengthened the male-centred culture deconstruction efforts to complete the image reveals the cultural subversion from criticism. Psychoanalysis, Freudian psychoanalysis and the structuralism theory of Lacan, Laura Mulvey (1995) developed on this basis to act as a weapon to classic Hollywood cinema narrative strategy for the carrier, discusses the nature of film narrative in the deep anti-women cultural ideology, based on patriarchal doctrine. Mulvey thinks that the movie will materialize since men desire women carrier --- "movie image of women as men as watching or voyeur bearers." The feminist theory of Chinese film studies began in the 1990s, Yang Yuanying's Feminism and Chinese women movie (1990) was an early and comprehensive film on the issue. The article points out that, "the history of ancient Chinese women is a feminist consciousness in a patriarchal society and the individual ablation family history". This article analyses the female director of Dong Ke earlier period, Wang Ping movie women that early Wang Ping, Dong Ke due to political and business affiliations are in the stage to imitate men. Women are inevitably shaped by succumbing to the existing order. At that time, the image is the epitome of masculine spirit. Female director describe the standard male and female characters accurately. By population analysis, 80s female director Ling Zi, Zhang Nuanxin, Shi Shujun, Wang Jun, Liu Miaomiao, Peng Xiaolian, Hu Mei, Huang Shuqin works are outstanding. The author believes that the greatest significance of female movie came after the 1980. The film was shot on the language setting, highlighting the feminine emotion. The article asserts: People · ghost and love will be the fable of a woman's life." So far, most of the relevant comments made without departing from the basis of this assertion. Dai Jinhua (2001) contributes on the creation of the group from 1949 to 1999 movie directed by women and points that, "Women who make a breakthrough mainstream ideology, or classic patriarchal discourse completed consciously resist or protest women since Chen's efforts, mostly rendered in an escape arrest.” The reason, she believes, are composed of three things, "First, women producers have failed to establish a truly conscious, introspective woman stance, they mostly women holding some kind of Essence concept; it all became woman historical causes of female movie cycle formation. Secondly, the expression of women from Chen efforts, mostly limited to create "a positive image of women," and always never become a discourse of cultural resistance and subversion. Third movie production team is mostly men (including photographers, writers, etc.), so the movie inevitably uses to describe the male gaze. Fan Zhizhong (1994) analyzed a series of new century male director's work, including Xie Jin, Huang Jianzhong, Xie Fei, Zhang Yimou's films on women (women with a mother-like quality).The analysis showed that the new era of male directors focused on the fate of women evolution to capture historical information, the male directors are concerned about the fate of women by essentially reflecting on the inquiry of patriarchal consciousness, while the body is still in the historic absence of women, women's real life experiences, again "drained" and "evacuated." After warm Zhang Xin, Lu Xiaoya, Huang Shuqin, Shi Shujun, other female director's work analysis, he directs that women are trying to show themselves through the historical and cultural aspects of women's unique life experience, but the reality of women building homes pending. Qu Yajun's notion in Women who have capacity for Yue (1994) about Men movie is that Feminist Criticism is inventive, with a feminist study of women to shape the image of two male directors named Zhang Yimou and Xie Jin movies, the author brilliantly points out that these woman standing in the position of women's work, is no doubt out of the stereotype of male-centered ideals. Xie heroine are some emotional and moral code, it is the spirit of a man in trouble. Zhang Yimou’s female series represents the number of symbols, instincts, and desires of a man who is physically Cheng Huan and the woman being symbolized. In her 90s movie in the media image of women (1998) she summed up the image of women in Xie Jin’s movie as "Eternal Mother Earth", by analysing the image of women in Zhang Yimou's film, which was summarized as "eternal public lover, "she thought Zhang Yimou and his followers created images of women, not just men’s object of desire, while they are themselves a kind of desire body.” 2.2.2 Changes of Culture as reflected by Policies and Businesses Dong Xinyu (1996) observed the trends of feminist film in the 90s and commercial film and concluded that in the former, the female spirit of gender is identified, the role of women is to ease the obvious political temperatures beliefs and anxiety while in commercial film, they had more complex roles. In addition, the author focuses on the analysis of the "new generation" movie: messy hair (Guan Hu, 1990), and points out that not only does it make a woman playing the movie, but as a woman thinking. Another film, Pink (Li Shaohong, 1993) pose a dead man and a woman talking. Zhao Shuqin, Li Xiang's male and female mirror city alienation --- 90s female interpretation of the Chinese film (2004) advocated for the Chinese film production study and analysis of women's ways and strategies to tap the latent in the movie after the article, patriarchal ideology of truth, revealed the exploitation of women and with men taking advantage of this in conjunction with the benefits of male movie heroes. The films fully depict twisted and mutilated women in patriarchal language presented in the various phases of alienation. Meanwhile, through the analysis of the political and cultural context of reality, he believes that what appears in the movie represents women who become self-alienated and depicted as tools and commercial sex objects. Gina Marchetti (2012) analysed the female director Li Shaohong and Ann Hui's two films: "Baby Love" and "Guanyin", by exploring the experiences of women in the film, the image of women as portrayed in the movie is from a unique perspective of gender and concerns the relationship between women and political expression. Women's desire to experience the concerns of such critics argue that in these films, the role of women directors in shaping the roles played by women still play a symbolic role in the national pain. Guo Zeqing (2006) analysed the two men who directed the film "Peacock" and "Red Green” and concluded that the two directors sought through the historical and cultural aspects of performance of modern women's unique life experience, revealing the lives of female consciousness awakening and struggle, probing the fate of women, women's survival and cultural predicament and admirable effort. However, as long as women and men are not at the same level, to really end up being exiled in human destiny would seem ridiculous, caught in the eternal history, women will eventually build a spiritual home that is a dream come true. Any kind of women's oppression and exclusion will be summoned once more profound consciousness of women builds up and revolt against the oppression. Mao Qi’s (2004) notion about the movie selection of 1990s is that Western women movie uses themes and topics by means of symbolic images and movies skills and complete the process with a unique narrative of gender identity. Finally, consider that subversive sense of feminist film does not lie completely abandoned in both narrative grammar to self-hill, but rather how to choose a kind of video concepts and values ​​standpoint, to reveal to the world of men who are not accommodated, or not male gaze found the cultural, political and sexual perspectives. Liu Hailing argues in her work, Ark Pursuit and shattered illusions --- Cultural Reflection 2002 movie about the creation of the image of women, analyses the movies Life Show, Beautiful Feet, Loved the world that I personally went to the in aspects such as the image of the women and noted that women are still in the humble, poor, cramped, helpless life edge, multi-cultural collision in the 21st century. Women survive even in more marginal situations, men are not women’s refuge in the ark, and thus, women should pursue the true sense of self-esteem. 2.2.3 Images of Women in History According to Rise of Chinese movie image of women in chronological order, the image of women in various historical stages are summarized as follows: From the "lack" of women to "be insulted, to be hurt," the woman; anguish and melancholy knowledge of women; "quasi-men "Women," missing "women," rewrite "the woman," return "of women," collective fall "of women.(Huang Baofeng,2004) In feminist myth Construction and subversion: the fifth generation to the sixth generation from the film, the perspective of the sixth generation to the fifth generation of deconstruction is used to analyse the image of women with new ideas (Wu Guo, 2004). The article points out that, in the fifth-generation or fourth-generation director, where men have some idealistic vision to shape the women. The sixth generation of women forms the basic theme for the analysis. First, defines the identity of the female characters. Second is the fifth generation of women, as there are active pursuit of courage like Chui clever, Qiu Ju, Ju Dou, etc., who fall victims to cynicism. Third, the emphasis on gender reflects conflict and tension. Fourth, with respect to the fifth generation of Acura love attitude, sixth generation seem complex and ambiguous. Through nearly 60 years of colourful Chinese mirror, Qin Xiaohong (2006) thinks that female consciousness in contemporary cinema in its early development became the dominant ideology in women in order to obliterate the differences to seek equality, Mulan type of woman, and the most important mirror, a New Era reversion movie image of women as unable to jump out of the barriers of the traditional concept of women. Moreover, being under commercial and economic tide, male image of women in the film version raised the desire for the code. Through these films, the authors point out that the living conditions of women and patriarchal discourse hegemony centre encountered by women in society, enhance desire to seek their own independent life, survival and development in the enormity of space. 2.2.4 Theme and Creativity elements in Building Chinese Women Roles In her work, The Rise of China Women New Wave, Lin Weimin (2006) selects examples Perpetual Motion, My father and I, Letter from an Unknown Woman, Baby Love, Beautiful Shanghai to analyse Ning Ying , Xu Jinglei, Li Shao, Peng Xiaolian female consciousness. In the article, Ning Ying female consciousness is quite avant-garde, "female perspective revolutionary structure patriarchal society,"(Lu Xiaoxin, 2006) but suffered a strong resistance from the male audience. Xu Jinglei’s female consciousness is somehow rational and tolerant. Her unique female perspective is to examine male centred society, and to highlight its feminist consciousness. In Shaohong's "Love Baby", female consciousness cannot coexist with male gestures. Peng Xiaolian paints the modern women as having a "beautiful" character. Xie Xiaoxia (2005) demonstrated in the work growth, temptation and the three themes of the recent reincarnation --- female director filmmaking that the recent creation of female directors, who are basically in women's lives treat emotions as a theme. The images in these styles float around three themes; Growth, temptation and reincarnation. My father and I the self-growth, pretending not to feel the mother and daughter with hearts, Beauty will go on in the Sister Wife, to some extent depict a specific time and space in showing the growth of the mind of a woman to maturity. Reincarnation also showed the fate of her daughter interchange (such as pretending not to feel) and emotions loss (such as a strange letters). Wu Xiaoli (2004) thinks that Chinese female directors entered the new century under the dual constraints of the mainstream ideology and markets. In this case, showing their creative diversified development trend, which showed both female consciousness helpless retreated and returned to the patriarchal tradition. The independent women writing and women discourse is integrated into the mainstream consciousness and patriarchal discourse and marketing strategies being in place, but at the same time struggling to emerge once again carrying forward, to break and upgrade. Zeng Sheng (2006) believes that the recent movie shows that females subjects women to become "sex mask”. A bisexual temperament does not only reveal both strategies of deconstruction and subversion of male female-centered culture, but also the women's self-confusion, caught subjectivity difficulties and thus are unable to extricate themselves a characterization. The authors point out that only with the establishment of a dialectical view of female subjectivity, the genre of women can obtain a new development in the new historical context. Tang Jialin (2006) selected Xu Jinglei’s movie Letter from an Unknown Woman as case study to explore the theme of women from the discourse, narrative strategies, and other aspects of media to break out of the centre of the plight of women in the patriarchal culture, and the possibility of embarrassment. Further, the "letter from an Unknown Woman" did not get rid of "women's real body and discourse and has already become an eternal 'present absentees' stereotype. 2.2.5 Different Definitions of Women Movies The concept of "women movie” has been debated by people for decades. It is difficult to draw a conclusion. Wei Hongxia (1994) pointed out that in the West, a "Feminist Film" is a particular concept, in close contact with the feminist movement, which not only describes the lives of women, but also shapes the image of an ideal woman, the use of violent means denying women since men see women as objects. Wan Qin (1995), in Contemporary American Women Film defined "women film" as a concept that easily lead to ambiguity, it is strictly limited to theoretical researchers in the "performance of the feminist and feminist conscious movies ", but in the media and the public, female movie "extension is infinitely expanded, resulting in" a Pan female film. Finally, the authors believe that if a female director shot to the theme of women's lives, from a female point of view, then the film is "Women movie." Ling Yan (2005) explains that attempting to understand women roles from the perspective of the audience helps in defining the main theme of the film. This is depicted in from the film by showing life experiences of women, women in a patriarchal society catharsis as being oppressed. The concept of this angle defines a certain novelty. From the above analysis, we can conclude that: (1) female movie does not mean that women created the creative work. (2) Female movie does not mean that women films the movie. (3) Women Film feminist consciousness does not mean that the works reflect a certain extent. Li Xianjie (1994) discussed the "female consciousness" that must contain two meanings; First Affirmative consciousness. The second is to get rid of the image of women as objects for men to watch, depicts the fate of female self, values ​​and psychological characteristics. Wei Hongxia’s work 80 years of Chinese women movie Feminist Consciousness (1998) concluded that women movie arises from female desire, gender differences, and the main manifestation of the unique aspects of the three female consciousness. 2.3 Conclusion In terms of the above criticisms about the movie image of women, the women are not only committed to criticize the theory suggested, but rather had to turn the gaze to the creation of a specific practice. These criticisms reveal the hidden text, female movie sex differences and male-centred cultural order, and hope to create a true creator to embody female survival, emotional, psychological, desire female movie. With some criticism and reference, there is still a big shortage. In general, the Chinese film theorists depict the image of women in the film and deconstruct male dominated discourse, but for how feminism, feminist consciousness got into the Chinese film-making performance and how to create a strong female discourse lack a constructive theory. Film text analysis is more concentrated in the fifth generation of directors and previous works, but the current crop of video analysis has no enough time. Even nowadays, there are videos on the analysis are only confined to a particular department, from the macro to the whole lack of Female movie review and summaries, and therefore, the field of vision is narrow yet big enough. In the current paper, the image of women are analysed and summarized with only a qualitative description due to lack of quantitative data. Therefore, there is lack of rigorous convincing. Meanwhile, in the analysis of the real image of women's lack of contemplation, women should be in the movie image of women in Chinese society. Nowadays, female images are compared, and analysed on the underlying deep-seated social, cultural, media and consumerism factors. The analysis is conducted regardless of whether this female figure accepted by the majority of the audience since the image of women have different effects on the audience, especially the female audience. 3 METHODOLOGY 3.1 Analysing Contents of Medias This paper uses the method of content analysis of women role in film. China's women image of women in the movie to fulfil the objectives of the study. As Sociologist Bailey, Mickelson (Bernard Berelson) published in 1952, "Content Analysis Communication Studies", content analysis (Content Analysis) is defined as an objectively systematic dissemination of content on a clear quantitative description of the research methodology. Content analysis is essentially a coding operation, it abbreviated as digital text, to be able to grasp a few things that appear frequently chosen, and any dissemination of the contents can be captured and analysed by the final calculation. The study selected selected female movie content analysis, which summarizes the image of women. Traditional media content analysis of the most problematic areas is the classification of content. Any classification system must be highly artificial in selection inevitably subjective, value judgments into the objective analysis of the premise, which is a paradox traditional content analysis and thus cannot be solved. Content analysis is only possible through the direct display of the quantization process to determine its indirect, potential motives and effects. It cannot explain the reasons behind these appearances. Large amounts of quantitative data will obliterate the data behind a wealth of advice women weak but it only shows the reality of the trend and fashion behind the data and depends on a thorough explanation and analysis. Therefore, this paper uses content analysis, the film also uses precision approach to analyse and explore the social and cultural context of women behind the image. The 3.2 Sampling According to the definition of female film above, the paper lists between 2000 to April 2007 in the domestic release of the movie has some representation of women, some of which are beyond the scope of the movie explained. Because of time and energy constraints, and inevitable omissions, the study will consider a generalised approach to address all the feminist films released in the stated period. Female director captured video Huang Shuqin's "Hi, Frank" (the story of a Chinese American lady to happen, rather special, will not be considered). Hu Mei's "Fanny Smile" (2003), Fanny is a life of 60 years of the Austrian girl in China (not choosen). Ning Ying 2000 film "I Love Beijing" is not listed because it does not involve awareness of the role of women and women. The 2003 Lou Ye's film "Purple Butterfly" is the story that reflects Japanese War and we now live in an era with not so good relationship, show the image of women marked by the stigma of the times, so do not select the column. Hong Kong director Stanley Kwan's Everlasting Regret is not selected as a good resource. Although screenplay writer Wang Anyi is from mainland China, the director and the main actors are based in Hong Kong, and Shanghai show is primarily a woman's style, with too regional aspects, therefore, not listed therein. Hong Kong director Fruit Chan's film Durian Durian, reflects on the continent's story of girls engaged in the flesh trade in Hong Kong, who starred in the mainland. The mainland also reflects a certain type of woman, or an outsider to imagine women on the mainland, therefore, the column is considered. (1) Shaohong's "Baby Love" (2004) (2) Shaohong's "Stolen Life" (2005) (3) Mai Lisi's "Taekwondo" (2003) (4) Peng Xiaolian's "pretended not to feel" (2002) (5) Peng Xiaolian's "Beautiful Shanghai" (2005) (6) Peng Xiaolian's "Shanghai Rumba" (2006) (7) Ma Xiaoying (Ma Liwen) is "the world's most painful I went to the man" (2002) (8) Ma Xiaoying (Ma Liwen) of "two of us" (2005) (9) Xu Jinglei's "My Dad" (2003) (10) "Letter from an Unknown Woman," Xu Jinglei (2005) (11) Juan "beauty still" (2005) (12) Li's "this summer" (2001) (13) Li's " Dam Street " (2005) (14) Ning Ying's "Perpetual Motion" (2006), (15) Ann Hui's "Goddess of Mercy" (2004) (16) Ann Hui's "The Postmodern Life of My Aunt" (2007). Also some male director also shot a group of female film: (17) Young Georgia "Beautiful Feet" (2002) (18) Deng Jianguo "Happy Mother" (2002) (19) Qi Jian "female Shuainan soldiers" (2002) (20) Zhang Yuan "Green Tea" (2003) (21) Breaking the silence of the "Breaking the Silence" (2000) (22) Breaking the silence of "Zhou Yu's Train" (2003) (23) Yu Zhong, "Far From Home" (2003) (24) Lu Yue "Foliage" (2004) (25) Gu Changwei's "Peacock" (2005) (26) Imaginations "Green Red" (2005) (27) Zhang Jiarui "flower waist Bride" (2005) (28) Jiang Qin China "Sister Dictionary" (2005) (29) Li Li "Duet" (2005) (30) Hou Yong, "Jasmine" (2006) (31) Zhang Jiarui "Aromatic Journey" (2006) (32) Fruit Chan "Durian Durian" (2001) (33) Huo Jianqi "Life Show" (2002) (34) Wang Chuan "Awakening of Insects" (2004) (35) Road seniors "lease" (2006) (36) Tube Tiger "beauty Eye" (2002) (37) Yan splash "aspirin" (2006) (38) Jia Zhangke "World" (2005) (39) Wang Chuan "Tuya's Marriage" (2007) List below: Year 2000 2001 2002 2003 2004 2005 2006 2007 Female Director 0 1 2 2 2 6 2 1 Percentage (%) 0 50 30 40 40 50 40 50 Male Director 1 1 5 3 3 6 3 1 Percentage (%) 100 50 70 60 60 50 60 50 The participants included 8 female directors, filming 16, 20 male directors, filming 23. In addition to Zhang Jiarui, Sun Zhou, and Huo Jianqi, almost every male is a movie director. So, in general, men for the majority of the directors of films. 3.3 Classification Each film has at least one major female character. Some of the role covers a variety of ages, the role of each age as an independent female characters, such as ("Jasmine" There are Mo, Li, spent three female main characters, "Letter from an Unknown Woman" ), a total of two female main characters. In addition, there are some videos that feature multiple heroines, for convenience, as its entire heroine film. In "Perpetual Motion" there are four heroines. According to this classification, there were 72 women in leading roles, this 65 is the object of this paper. A total of 37 actor, actress and supporting actor temporarily not be considered. All Categories completed by the authors, in order to verify the reliability of the classification of all 34 movies in the sample, the other coders for classification, classification reliability test using Holsti formula invention, "actress the number "and" number actor", "level distribution of the image of women", the reliability of the results of the two coders classification were 93% and 94%, 96%. Therefore, this classification has reached the threshold of a content analysis of technical indicators. 4 RESULTS 4.1 Development history of Chinese female movies Jack Belden describes the relationship between Chinese women and society. He links the relationship between China's political power and control over women as close. Chinese women's low status does not only affect women but has dire results to the whole community. The women’s status destroy various aspects of the relationship between people in the community. The Chinese film therefore, makes women become extraordinarily favoured objects. The emergence of Chinese women of the film can be traced back to 1925 as shown in Xie mining real shot, "Oliver sadness." In the 1920s, there have been a number of such films as; sea oath, fuzzy character, lacking the connotation of the times, not to mention self-conscious awareness of women. In the 1930s the image of women are basically two: one is portrayed to be insulted by the damage class women, another tragedy depicted various kinds of women's lives and public sectors destiny. The films, Women cry, Boatman's Daughter, Goddess among others” silently imposed against the body of all injustice. In the "cosmetics market" the performance is the money for women's corrosion. These films put women's issues and social issues closely linked, reflecting the environmental, social system, social stereotypes of female destiny. The theme of the 1930s left-wing women's films such as: New Women, Sisters among others, clearly show unprecedented social understanding and strong social care colours. After the1941 war, there has been subjective factors inherent to human exploration of female life path and destiny videos. These films vary degrees deep into the soul of the character. Excellent video works of this period are mostly dedicated to portray the petty-bourgeois intellectual women. It also describes women's depression and melancholy, mainly isolated from the mainstream society description and petty-bourgeois status of women's lives and spiritual crisis. The main representative of Little Town, New Boudoir and so on, reflects on the unique spiritual status of women and women with a certain sense. However, due to social factors and limitations of the times, the movie was not concerned about the fate of these women. The film did not give a way out from under more broad social background. In 1949 many films were shot in order to show the plight of Chinese women. Women were portrayed as victims of feudal oppression. Women suffering physical, psychological torture and ill-treatment by the women in patriarchal feudal society did not see a way out under the weight-conscious trek. After the founding of New China, women have gained an unprecedented liberation. Gender Equality has become a strong tone of the times. Accompanied by the liberation of women, gender equality is a process of strengthening the gender and social roles. The most popular female revolutionaries, ‘The Red Detachment of Women, in Wu Qinghai” The Story of their body is more than a vigorous vitality: strong, passionate, a symbol of the revolutionary era of women's requirements. In the "Cultural Revolution", the concept of gender consciousness and personality of women in the film is completely digested. They no longer have a romantic elegance instead they have a collective struggle of uniform appearance. In the Revolution Movie, women actually completely modelled and conceptualized in becoming the "Mulan" type of woman. Overall, The Chinese contemporary cinema (1949-1979) described the basic model about women as: the old woman's suffering, humiliation and being hurt until one male communist out their salvation Oliver stood up, rescued the woman, who grew into a strong female warrior heroine. However, it lost the sex and became a "Mulan" type of image. Despite this period, Wang Ping, director of Dong Kena is still directed by the director's vision and requirements of men filming and this makes the feminine consciousness very weak. To smash the "Gang of Four" later, especially after the 1980s, Chinese women directors meteoric rise, on the other hand had more men joining the ranks of the director to shoot the film of women and in this case women appear brilliant in the movie scene. The rise of Chinese women in the film, poses no doubt to moving towards a more liberal and broad social change in China. The film opened the window to the world in China, while China's women also opened his eye’s ignorance, beginning with a new attitude and looked around the world itself. Women’s germination of thinking and awareness is to grasp their own destiny. This feminine consciousness is derived from a deep inner sense of female psychology changes. The performance of the female self-worth wakes consciousness and awareness of subjectivity. 4.2 The image of women during 1980-1995 After the Cultural Revolution in the fourth generation, the impact of the fifth-generation director was that Chinese women who appeared in the movie in a colourful image of women. This was summed up in three parts: the first is from 1979 to the early 1980s: "peril "and" wife and mother "image to von Seiran (" legend of Tianyun Mountain "), Li Xiuzhi (" Wrangler ") to represent; second is the mid-1980s to the early 1990s, the image of assertive female lover desires to nine children ("Red Sorghum"), Ju Dou ("Ju Dou") to represent; third is to integrate into society, the pursuit of an independent woman image, gull ("gull"), Qiu Yun ("People · ghost · love" ) as the representative. These images not only highlight a woman's personality, but also the culture of the times and the spirit of the times show scene in miniature. 4.2.1 Tough Wife and Mother Wife or mother is a woman's gender identity and family identity. Relative to men, women are the family's wife, and sometimes it is the mother's blood relations. The traditional portrayal of women is always positioned at this point. In the 1980s, the images of women in the history of reflux quickly restored its feminine gender identity, or family status. They appeared as; Fung Ching Lan, Li Xiuzhi, Hu tone ("Hibiscus Town"), the lower beam aunt ("Alpine garland ") and other female image. The fourth generation of filmmakers repressed desires and stories to be the plight of the typical male culture transplanted in female image, women once again became the ‘Men's Mask’. The image of women has been given a special historical mission as: to save the man or to save the nation that is,” they are ‘mercy’ and ‘Bodhisattva’”. To think from a deeper level, these women for men's salvation ended up saving themselves. Fung Ching Lan Luo group payed beyond the traditional feelings of a caring wife. Her pay was neither in the Chinese women's traditional virtues of inheritance, nor is the general sense of "playing a beauty” to save the hero role. In the sense of equality that includes women, self-awareness, a sense of independence and other characteristics of the new era. Her salvation of building in Romania group will be completely full and a deep understanding of her foundations in the entire rescue process and in the self-help Von Seiran process. ‘Wrangler’ in the Xuling Jun is both abandoned by the bourgeoisie, the proletariat and double exiled outcast. Li Xiuzhi raised the emergence of his life sailing, married, got married and had children. Li Xiuzhi with "Mother Earth" feature was Xuling Jun spiritual haven. Her kindness and gentleness to the unique digestion Xu Lingjun political exile, gave her husband trust, care, warmth and affection with their native motherland, native. In summary, these images have some common characteristics: First, they tended to have a dual identity that is one wife and the other one mother. Second, they practiced the function of the "mother" and "wives" that were essential to life as a male need, providing for the era of women's personality and social patterns at the same time. It also reflects on thousands of ethnic cultural traditions. After 1984, the "Guanyin" image of women was done away with as soon as the fourth generation director. Xie Jin and several others together were out of the screen and people's vision. Since then, with the fifth generation of creative director, there was representation of the image of women that had undergone a drastic change and another image of women in the field of view of the movie screen and the public. 4.2.2 Sexy Lover In the late 1980s, the tide further impacted on the commercialization of Chinese society, with the development of market economy and the deepening of reform and opening up. China’s profound social transformation took place. The arrival of the era of globalization also makes China's social thought, the economic structure, the literary aesthetic, artistic expression and other changes occurred. Entering a new space, the Chinese culture, including, film industry faced a new conversion. The movie image of women as a reflection of the times also underwent a corresponding change. The perspective of male desire began to emerge and the "fifth generation" director tells us about the story of "a woman's desire". The fifth generation director, Zhang Yimou, in particular is the author of some of the columns in the film. For instance, some of the actress by the mother / wife replaced with mother / lover completed the transformation of its ideology and narrative modes. One of the "wife" characters was replaced by "lover." Nine children (Red Sorghum) and Ju Dou (Ju Dou) were to concentrate on behalf of such images. The Movie "Red Sorghum" in the nine children, though it was a miserable peasant origin, but Ganaiganhen, desired publicity. She was so much more than Zhanao hijacking, as it was her initiative to put more than Zhanao arms. From Britain sedan, Kazushi, libations and a series of nine children in the story happened and the remainder accounted for among Ao and both reflect the nine children to choose their own path of love and life magnanimous and hence no turning back. In another film of the Zhang Yimou's, Ju Dou developed this fearless desire and assertive personality to the extreme. The film Ju Dou wrote wantonly spread of "incest" type erotic pursuit. Ju Dou process of becoming Azure lover, reflects Judou heart forbear to struggle from the pursuit and transformation of ethics, patriarchal system of the revolt and intense pursuit of self-lust. From this, we can see that in the back of the film, Ju Dou suffered as a lover who was very unfortunate, but the expression from Ju Dou of being stubborn and unyielding eyes seemed that she never regretted the choice she made. ‘Valentine’ is a special status as a woman. Valentine embodies the women's unique life circumstances, psychological world and the unique complex. Valentine's identity to obtain on the one hand shows a woman of emotional, love and desire and pursuit of consciousness and assertive appearance; hand, is a traditional women's single-mindedness in the Ethics bold breakthrough. In these films, women are no longer entirely confined to the role of the family curse. They have a free reign to their emotions will and there is a certain degree of freedom of the pursuit of female beauty and the desire to express them courage. However, the analysis can be found in deeper, that a group of these women from the surface are against the feudal morality, traditional ethics and rebellious woman contempt. In the Film nine children defied their parents name, matchmaker. Ju Dou destroyed the family order, mother and ethics. But their essence, the plight of women is a reflection of the male culture. Women have not escaped the traditional role of women and therefore continue to be the object of desire of a man. However, we should admit that in terms of the absence of the new era compared to the previous "sex", the fifth generation of image-building efforts of women takes a great step forward. Women writing the movie are no longer purely a role in such mother / wife and daughter wandering, unlike the previous single revolution of the image of women, such as the early 1980s, is no longer the kind of "wife and mother" type of lyrical, but already has a vivid, real new look. These directors on the screen show a woman's desire for publicity while some female film directors brings out the shape of women in a new image. They are not only trying to get rid of mundane struggle out of the house, but also to seek self-breakthrough, proving the value of their own survival. 4.2.3 Women pursuing self-recognition Dai Jinhua said that Zhang Xin warm "Youth Festival", "gull" can be regarded as dimly foreshadowed in the future of Chinese women movie film. In the early 1980s and early 1990s the film can be seen as quite creative director of Chinese women of the time. Some of these movies due to their distinctive artistic features and unique gender awareness features became a prominent Chinese film history and exotic scenery. In Zhang Xinnuan "Youth Festival", the female director had a first-person narrative point of view to shoot women as well as a unique charm. In the movie, Behind the Language Prose reveals women's own mental confusion and thinking for humanity. Hu Mei's "Daughter House" is "a conscious manifestation of lust and romantic love split of a society dominated by the state prohibited and inter subjective. The film explores "the woman what" wife or mother, and "what women need" and such profound questions of the female body as a person rather than the traditional sense of the role. According to Li Shaohong's movie Pink, the two roles Qiu Yi and Xiao E, show a complex three-dimensional living conditions of women. Starting from the character creation, Shaohong tried to reflect on women's own mental problems. Videos by love triangle relationship, and look at reality from the perspective of survival between men and women interact, review the history of the causes of women's issues. Shaping the image of women non-dogmatic texts, expresses Shaohong breaking the traditional single male feminist critique hence showing the depth of thinking on gender issues. In the Late 1980s and early 1990s, a sudden flourishing "hot work abroad hot" trend, the number of women in the new era among the din into the community, and the pursuit of the same man as the cause of self-realization ruler. Several representative films directed by the fourth generation of women in shaping the perspective of a group of women to seek self-fulfillment image of women. Which Zhang Xin warm "gull" in the Gull and Huang Shuqin "People · ghost · Love" in the autumn Yun be represented. In Zhang Xinnuan’s film gull heroine Sha Ou (gull), pursued efforts to achieve self-career and his own ideals and mainstream consciousness era theme together. Gull's image reflects the rich sense of independence, women's lifestyle, values, pleasure and pain mixed emotional experience. Gull’s dedication, tenacity and unyielding, reflects the zeitgeist of the 1980s. In addition to the mainstream consciousness of unity and patriotism, the pursuit reflects gull strong personal feelings. Gull suffered the death blow to her boyfriend. Her heart was very painful, but she perked up as a coach women's volleyball team. A few years later, she trained athletes at major international competitions. Though there were a lot of hardships, she finally won in the experience. However, she has never been chosen retreat. Tenacious struggle to achieve the goals and tireless efforts, the gull body coincided with the value of her personal life separate blend of self-realization. Dislike the gull pursuit of patriotism is not the same, Huang Shuqin People · ghost · Love in the shape of female artists --- play male roles in opera actress Qiu Yun, represents the value of the pursuit of the realization of the individual independent image of women. Qiu Yun is a woman's career suitors in that she is constantly seeking to pursue careers in the way of women as self-help. Ten years of hard life and did not stop her from practicing painstaking pace of play. She finally starred in "Ghostbuster", became famous and she was drawn to pursue their careers on a successful conclusion. These two films, depending on the Portrayal of Women threshold has been out of the home, and entered the arena of social life. Their pursuit that was closely connected with the theme of the times in the mainstream consciousness is purely an independent pursuit of personal value. In these two films, men have become silent absentee and women won the affirmation of self-survival value in pursuing a career in the process. They also abandoned the more emotional or sexual bond of women. Women's assertive performance was the cause of the pursuit. In the early 1990s of Chinese women creative director, was seen as the first female film "New Wave." These works involved, children to adults in either urban or rural settings during ancient times in many areas. These areas included: covering the vast land of China start work, agriculture, commerce, science, military and many other industries, as well as the unique mountain woman --- prostitutes in their work, or earth-shattering, or cannot speak sorrowful lingering, or Erotic and euphemism desolate, different aesthetic realm, giving the audience a different pleasure. Entering the new millennium in women portrait spectrum there was some different faces. 4.3 Image of Women Roles in 21st Century These images were analysed. Through the above statistics, we can see content analysis: the films in terms of women's age, mainly in the 20-50 ages - bracket women. Women in this age group accounted for 81% of all female roles samples. This accounted for 20-30 year old female and 47%. The main role of women concentrated in the junior high school level of education or more, a total of 86%, one of the university or higher education accounted for 34 percent of women. This reflects the new century’s China Films lack of concern for women of all ages and cultural level of women. As the film story takes place, 57% occurred in Beijing and Shanghai, two main Chinese cities. One of the reasons is that while many movies tell the story of Shanghai, this film represents the strength of the city's emerging class of women, and to a certain extent, highlight women's self-awareness and desire to live; another 23 percent of the story takes place in a small city, there are some videos of the women from rural towns to urban wage earners and their inner struggle lets us focus on the underlying bitterness of Kula women's living conditions. And medium-sized cities are rarely appearing in the film. In fact, the vast majority of Chinese women are living in medium-sized cities. This narrow geographical focus of Chinese women films reflects the new century. The women's career re-refined can be seen in the distribution of different women having different occupations. "White collar" "average worker" has become breakdown of the first, second career, including white-collar workers: teachers, publishers, engineers, accountants, etc., and these women's professional roles are not particularly clear, nor is it purely professional women. "No occupation / unknown" This category has a total of 12 samples, accounting for 20%, some of the roles and student roles prostitutes do not work if you add to, there are 21 samples, accounting for 35%. This clearly shows that identity is only one person working girl, and the other one is the salesman. And, reflecting the role of rural women's lives only four, which are not in line with the social reality, the film shows a lack of concern for women wage earners and rural women. Another issue of concern is the role of prominent actors, but these female characters are not very good at fate outcome, either "fox", either man suffered ruthless abandon star, also reflects some of the characteristics of the consumer society --- women, especially beautiful women merely objects of men consumption. In the "relationship between women and men" in this category, "the wife / lover" in terms of the total sample or sub-samples are ranked first; related females and males, not men's wives, lovers, mistresses or section three, that is, with the male blood daughter. Related to the "lover / romantic relationship," the film has 24, accounting for 71%. Which shows that these women movies very seriously investigate relations between the sexes, however, combined with the film you can see, the movie ultimately relations between the sexes are not a perfect ending, but also reflects the confusion of gender relations director. Completely independent of men or do not mention the relationship with men has five films, accounting for 15% of the sample. Relationships with women, there are mother-daughter relationship movie 14, accounting for 42%, appear female alliance has 19 films, occupy 55% 39, in which there are gay theme of the movie. It reflects the new century female movie for same-sex relationships attention. In addition, there are seven films did not relate to same-sex relationships too deep accounting for 21%. By following a further breakdown can be seen, the relationship between female sexes also is not in a state of harmony, women did not get much support and comfort from the gay there, the new century, women still travelled alone. By "female image level distribution table can be seen," the image of women in line with stereotypical roles, family reunification accounted for 66 percent of the total, and is committed to creating the concept of gender equality accounted for 34%. Reflect the new century image of women still do not get rid of desire and watched as a male stereotype. 4.3.1 Roles in Family 4.3.1.1 Lovers and Wives New Century Women movie reflects many women in love, swinging behind bars or going crazy. Zhou Yu in search of love and life rushing perish in their lives. Zhou Yu is in the ceramics division, which is a way to make women envy men loved career. Zhou Yu walking on the tracks, back and forth between the two places, she impunity, threw his own confession has a fanatical love. Chen Ching poetry ignites the passion of love, but also for the beautiful picture of Zhou Yu depicts an ideal world: "The Fairy Lake intoxicated celadon, soft like your skin," but did not find Chen Qing Zhou Yu anyway in reality depicting the dream of Fairy Lake. Reality and the ideal are like two tracks, in Zhou Yu's life may never cross, tired and confused, she finally can only comfort myself: my heart to have there, and my heart is really no. Zhou Yu's tragedy is that, as a woman, she cannot be content with ordinary life, poetic, emotional, stubborn pursuit of self-desire, so do not let her soul rest forever, so let her life forever because of an accidental factor termination, becoming the only way to stop this woman crazy pace. During the year 2005, Shaohong director of "Sheng Sijie" in the popliteal Nicole for her so-called love of jade and wood, lost his studies, lost self, and ultimately lost the child. Rouge in love to live in her imagination, the wood jade from start to finish is just lying to her. "Love" was a wooden jade gained independence, the only way to get self-recognition, and it is the "love" to her biggest hit, destroying her. The movie "Jasmine" shows another kind of style, women are still men disappoint abandoned. Mo, Li, spent three individuals have similarities, desperate for a man, whole-heartedly. Mo, 18 years old because of vanity, committed to a boss, and later became a star jasmine, she was pregnant by her man kicked open, Mo, after being abandoned abandonment, full of resentment; Li lost her husband because of jealousy, he is mad; and "flower" was also abandoned by men, but, "flower" out of simple jealousy emotions become brave firm, and ultimately have a hint of indifferent attitude. "Guanyin" the peace of mind, always hovering in Sense and Sensibility, emotionally, she betrayed her husband, and drug traffickers Mao Jie produced a passion; intellectually, as an anti-narcotics police, she did not take Mao Jie any relief measures, resulting in gross Jay revenge. It is these irrational passions that destroy her --- she lost her husband, children, and finally also lost their lives. In the movie Letter from an Unknown Woman the woman commits herself entirely to love, love becomes the only woman of faith and salvation, while the hero knew nothing about this woman as a result, and women also love death. "Love him, and he had nothing," the woman expression, look rough, there is no power. "I love you, nothing to do with you" This passionate and fearless attitude shows that women take the initiative to give up their right to get emotional feedback, it is precisely the reality which shows that women compromise. Another kind of roles is related to two opposite sides like angels or devils. Feminist criticism of the Anglo-American School is committed to the image of women, its central mission is to depart from the female point of view, re-review paper deconstruct patriarchal consciousness behind it, questioning the rationality of phallocentric culture, which is characterized by women to men in this article image re-read and criticized, revealing its or an angel or Vamp abstract patterns. As Leslie phallus said: "The fact that there is no good or bad two kinds of women, nor even what initially seems to be bad, eventually proved to be immaculate woman, the presence of only two kinds of expectations and sandwiched middle imperfect woman, in fact, only imperfect women, but male writers in their works, but insisted that they treated as goddess or whore, and sought in vain attempt to make satisfaction for their roles defined."The image of women in film criticism applied to text, you will find the movie ubiquitous" male lust / female image "--- out of the desire to meet the needs of women are always repeating the image of angels and Vamp. Zhang Yuan's film "Green Tea", the first is the one who played many corners, Wu Fang and Lang Lang. Two extremes role --- one is old-fashioned but highly educated Wu Fang, a charming frivolous and invigorating, all men desire needs and design. Wu Fang and Lang Lang are the same person just different identities. In such a figure set, we see the same kind of male chauvinism: Women are fickle, cunning, and cannot be trusted. Director Zhang Yuan Wu Fang and reciting by setting the image of two women obviously exposed his gender consciousness. Wu Fang on behalf of Eileen Chang's "Red Rose and White Rose" in the White Rose, which is the image of wife and mother; while reciting represents a red rose, which is the desire for publicity lover image. The Movie finally lets the audience understand: Wu Fang and Lang Lang is actually a person --- women, they represent two types --- female angel type and slut type. In men's eyes, the world's only two women: Wu Fang on behalf of wife and mother at home mothers; Lang Lang on behalf of skittish outside the romantic pleasure. In reality, men are not satisfied at home have a good wife, also requires outside lovers. However, even if they can so that they are not satisfied, they imagined a more perfect arrangement, if the angels and sluts can be combined, and that the more the United States ah. Finally, the film also meets the men of this expectation, Wu Fang and Lang Lang is a woman, the director said with a laugh Wu Fang last combined in such women are happy. Movie characters such arrangements once again reinforces patriarchal consciousness, but also weakened the female consciousness, depressed women independent personality, depriving women of human dignity. In the "Aromatic Journey", the Spring Fen is a typical era marked by a deep imprint of women, once puppy love, desperate to see the issue, came to accept the labor camp because doctors Liu struggle. While sexual gratification, when the then environment and Liu's identity will struggle this affair strangled in the cradle, Liu struggle for them, betrayed Spring Fen. Under the lonely, Spring Fen accept organizational arrangements, grateful for her good Cui, married Cui, Cui was not even a real man, Chun Fen still loyally accompanied him until his death Cui . Spring Fen alone for his life is in the so-called love --- in fact, men pay. In the film, there are many close-ups of Spring Fen naive to depict spring, cute, kind, pure. These lenses are beautiful language picture, full of romantic pastoral atmosphere. Spring Fen best time of life to be shot perfectly presented. These lenses are Cui Liu struggle viewpoint or lens: Cui Fen watches spring from automotive glass mirror; Liu struggle secretly raised his face buried in reading observed in spring fen; Spring Fen also enjoys such a feeling of being watched. All this from a male point of view in the Spring Fen shape became a pure, innocent, and the courage to sacrifice for love, virtuous image of women. Cui comes out afterwards from the long vegetative stage, also suffering Dove Spring, Spring Fen took the fate uncomplainingly, bravely took positions as shown in Cui’swork. She cut her hair and wore overalls, serious face, the skin gradually aging, from a young girl into a numb sexless person. After Cui's death, she was a person driving alone to take care of Cui, have suitors do not be tempted. It is a simply perfect wife mind the image of a man. When Spring Fen against the current re-open manifestation of the old car in the hustle and bustle of the streets when they went, but received applause surrounded not gossip. At this point, the director uses a large rotating upward overlooking lens, a strong sense of vertigo to the audience, but also let the audience feel the era of political and social repression of spring fen. The Spring Fen, will also bid farewell to the past, she travelled alone in this era which she cannot understand. Chinese women especially the ones in the movie "Nora runaway" repeatedly used the films to interpret women roles in China. They directed female same-sex love drama "this summer" in Li's "roots" in this profound meaning. The film tells the story of an adolescent child commotion and unwanted pregnancies. The passage of time cannot wash to make her body "tainted", men and women can insult her, but also deprived of her right to family life to enjoy parenting. Director Li had clearly said that he was born a woman, and then is a director, and her perspective is naturally the director is not the same as men. This female independence makes Li a keen eye with delicate feminine attention to the fate of women. Xiaoyun does not get what she needed - love in society, and finally when she knew her only consolation is her son Xiaoyong, Xiaoyun makes people around completely disappointed, unable to face her and she chose to leave home. But in my opinion, to find a spiritual home Xiaoyun still belongs to an illusionary world. Shaohong's "Baby Love" once again knocking on the "woman in the end to what" old door this topic. The baby is no longer confined to "love" narrow circle, she wants to fly freely in the vast world of the spirit. Boyfriend Liu pure love, has failed to meet the spiritual needs of the baby, and the old professor's study could not fill the hunger physiological her. She is looking for the ultimate modern woman's spirit - the perfect unity of love and be loved, understanding and communication, body and soul, emotion and intellect. And secular spirit of fear drastic changes in childhood, like two ghosts haunted her sensitive and flexible soul, she could not endure the pain of this life, only flown choose to leave, and "Hong Yan" in the same Xiaoyun find their own ideal home. Baby belly fatal death also director of the baby passed out of the quest "love" disappointment. "Baby" is a true reflection of the role of women in the era of rapid change and self-consciousness in the left and right sudden rush, but still could not find a way out of confusion and helplessness. "Shanghai Lunba" in the Wanyu enrich rebellious spirit and sense of independence, her longing for love, love art, but also a love of freedom. She did not want her husband to act as the role of "innocent girl", but do not want to stay together with the affluent leisure and lifeless family life. To fully realize their value as a person, she hesitates to choose "away from home" and embarked on the road to a new generation of Nora. "Breaking the Silence" is an unexpected misfortune. It reflects the birth to a deaf son, and divorce, and later on ex-husband killed in a car accident. Her son, a man burdened with the task of raising her mother like all hopeful, let his son "college" while living in the edge of the city she was just a lack of earning capacity, even though her ​​husband boast of pancakes "are soon be able to shop, "but this low-tech capabilities are proven effect can only occur in the private sector rather than the public domain, the film symbolizes the male authority of the father" absent presence "and the mother as a woman" in the presence of absence "forms the corresponding ironic. "Happy Mother", the beautiful and charming singer Guo Li Xin Xu Wenlong falls in love with Playboy. Li Xin Wen Long was flattered with sweet backstage, while taking advantage of Li Xin money and relationship. Wenlong let Li Xin destroy the child that is through divorcing Li Xin . Xin Lisheng destroys the bridge and the truth between mother and child in trouble even more profound disciplined. In order to allow children to have a better future, Li Xin bridges to the child Wenlong. Mother Son Bridge climbs cliffs and begging God to make a good reunion. Li Xin Zi Bridge looking up the mountain accidentally slipped and fell in the valley. The film is also a symbol of male authority in the father under "absent presence" situation, focus on depicting the mother of his son selfless love and devotion, depicting profound mother-child relationship. The fate of the mother presented the amazing traditional image. The husband died (or left), their lives are no longer lovely or cared for, just for kid’s indomitable spirit of sacrifice and hard life. Patriarchal ideology fictional ideal mother completely reduced to a "prisoner of motherhood", the mother of these women lose status as lover, wife, lover, the only access to the social recognition of the role, and they say that as a woman or as a free the "people" need to be totally obliterated. In "Peacock", the mother always thought her daughter would mess and thus stopped every decision she made. When "sister" riding a bicycle hanging from a parachute freely walking in the street, mothers eyes revealing anger, humiliation, and that sharp eyes let us hear the sound of shattering sister's dream. 4.3.1.2 Daughter In “Green Red", Green is not so eager to understand why his father moved back to Shanghai madness. Moreover, he did not understand why his father had to let her study hard and harsh controls. She felt that her ability to be admitted to the technical school was pretty good. However, she was only concerned with their own inner world and about her first love. Green and Red are always against her father who gave her shackles. But after being insulted small roots, she willingly follows his father and went to Shanghai. However, we must ask, is going to Shanghai an indication that Green and Red are ready to accept the fate forced to them? The film, “My father," tells the story of a daughter named fish as she grows. Fish lives in a crippled family, she needed care. However, when she experienced a "marriage - Divorce - Remarriage" life after bumpy course, perception of life sublimated, so he embarked on the road of war and peace, to strive to savor his favorite kind of woman returning to the human family. 4.3.1.3 Other types of Women Roles In "Perpetual Motion" in the large segment of the lines from the show's improvisational style chat, the chat is unconventional in nature in the following aspects: (1) the language style is vulgar, wanton, and the traditional concept of gentle and lovely woman is in stark contrast to the image (2) women talk around the topic of men, but their conversation is reduced to the male image with hypocrisy, fickle, the moralists faces full of effort, and thus was denounced to be a tool of physical objects (Hung: "You are not touched my husband?" Liu Sola: "I'm not your husband would have used it?") According to Laura Mulvey, the audience only get "voyeurism" in sufficient time to meet in the film viewing pleasure in order to obtain the views and therefore, it is a must to define movie roles identity, through her perspective to complete the possession of narrative content. But if we want to get that kind of viewing pleasure from "Perpetual Motion", is not easy. This is because when people watch the women with long-term mental expectation to enjoy a movie, they often get frustrated. The image of women is thus completely subverted. "Taekwondo" has its own unique female perspective meant to rewrite the traditional sports film. The film created a female image Liu, who has Androgyny temperament. "Tomboy" is not uncommon for Chinese on the screen. However, Liu masculine image passed from the outside and the "tomboy" image in the film is different. The early years of her family life was full of tragedies. So Liu has a brave, determined, tenacious, and unrelenting series of masculine valiant temperament; however, including the nature, she obtains the clause "This is a woman Jiao E.” She and Yang Hui female friendship, and ice complex affair, in the face of friendship, love, career, fame sensitive and delicate time, repressed anguish, etc. These aspects are reflected in the daughter's mind and emotions. Therefore, Liu is an androgynous image of women; this is the past, "tomboy" image correction and breakthroughs. "Someone suggested Androgyny temperament is not only a new model of men's mental health, but should also become a new model of women's mental health." Liu is such a new alternative with a bisexual female temperament. 4.3.1.4 Working Women Peng Xiaolian's "Beautiful Shanghai" can be used to show the image of an independent woman, Jing Wen. Many other works of modern women often put the convention as "a strong woman." Kochi, white collar or stay off the ocean is different, Jing Wen is just a widowed mother who has a daughter and live with laid-off workers. Her firmness and flexibility, reasonable manner, and independence prominently reflects on her values. When economic conditions are favorable, the brother condescending advised she quit her job that paid a few hundred dollars a month and lay to him to the burden, she replied, "Yes, I know this job is not great, but at least they can fend on their own". Jing Wen eyes of the woman's "happiness” is not a good husband, plus a good family, but independent and autonomous women. These are Jing Wen’s values. "Peacock" is not a female movie pure sense, however, due to the "sister" who embodied the role out of some kind of unusual feminine traits such as idealism, dedication, strive for the realization of their own values, etc. So that "Sister" became a symbol of women. "Peacock" the sister poses ideal fanaticism which paratroopers did not have on their own to do a parachute roaring street, this is the most romantic film and also the CLS warmest and most brilliant chapter. It is filled with a kind of poetic glory of human nature. Parachute sister witnessed the desire and love for the paratrooper officer ideally. Sister’s desire to change their situation of lost dreams dashed again and again, but she was not discouraged. She took the initiative to close the old library Museum of Art, known as the godfather, and continued to seek spiritual solace. Her marriage is the bastion of desperate resistance, active choice with the driver and Secretary Marriage, trying to get rid of the original circle of life, and to realize the true meaning of women's "self-fashioning." However, due to the fate of impermanence, when she saw the officer during the year that the paratroopers family, she still lied to his brother Mengyi Ban. They said to each other they were in love with each other forever. "Sister" pursuit of ideals eventually failed and had to return to the traditional family, as the film's screenwriter Li Qiang said, "my sister made ​​a final reconciliation with life," sister changed from an unruly woman, idealistic woman to became a housewife, reflecting women to look beyond their own bondage difficult. Wang Chuan’s Golden Bear Award winner "Tuya's Marriage" is about a woman who has a Mingjiaotuya husband Yukio. The story poses Tuya as having a desert life characterized as tough, forthright. When her husband became disabled, she wanted do everything possible to take care of him alone. She takes up the burden of the family however difficult life became. She had married her husband for life and thus embarked on the road to support her husband. She is a clear and decisive woman who experiences love, rejection, leaving emotional tidal surge. This is a dare to play, but shows independent humane image of women. 4.3.2 Social roles in the Women movies Almost all female characters are rarely posed with a professional image in their performance. "Zhou Yu's Train" in Zhou Yu is a ceramic painting division, however, the film rarely used the camera to show her work effort as excellent, or her work on the camera. She walked in the ceramics factory and the lenses only show her as a soft woman, full of charm. And this beauty is directed by a male point of view. "On Hailun Ba" in which Wan Yu is an actress, she wanted to prove herself by acting, and she also acts in different roles. However, this job is not being recognized by her husband as she is considered to be inferior. "Roots" in the spotlight of the Sichuan Opera Xiaoyu is an actor who is not taken seriously, they seem to sing when they are booed, change to sing pop songs, and then are actor’s bare performances. And because she is an actor, the boss is keen to insult her. In the "The Postmodern Life of My Aunt", There is a shot showing the ‘‘Aunt’s’’ professional status as an "English tutor,” The aunt is very committed to the job. Consequently, the film also shows pride of the aunt as an English teacher's, but later she was dismissed by the boss inexplicably. Aunt’s daughter from Anshan is a craft superb cook and works as a chef at a star hotel, but she does not ease the job yet she felt she should have great acts. For them, career is not a way to achieve self-worth, and to some extent become self-fetters. In "Female Shuainan soldiers", Jie is a basketball coach, this is a subversion of the traditional image of women in the profession, and the conflicts arising from the movie are actually caused because of their profession. Movies seem to arrange a happy ending. However Wen Jie sadly left, but she gained the players recognition, but how did she do this? Wen Jie just proved herself. While social and environmental injustices still continue, she can walk alone in the future career. In “Guanyin ", the peace of mind is bent to be successful for a career woman In this regard, she arranged her husband willingness to give up the comfort of the proposed change to work, and so she suffered two separated tortures. Emotional relief as she inadvertently fell in love with the "enemy", traffickers Mao Jie, and led to the final breakup. The tragic fate of her own passion for the pursuit of anti-narcotics police shows that peace of mind does not reassure people. In the depths of her heart there is a strong desire for passion. From this perspective, most of the women's career do not become a channel for them to achieve self-worth. They became the fetters of their life, and they become the fuse of conflicts with others and thus are the root cause of their tragic fate. 4.4 The relationships among the Women Roles The historical destiny of Chinese women as far as persecution is concerned, lies on a distinct phenomenon that "the fate of women in double persecution are abused and self-flagellation about the killer dominated the first is a man oppressed woman, and women are prone than men are more grim for 'sex like' persecution and self-persecution". The New Century Chinese women in a movie of the same sex did not show such self-persecution and killing. On the contrary, New Century Women movies have few mutual support between women's stories, including the mother-daughter relationship as well as friends, sisters and other female alliance relationship. Examples include "two of us", "summer", "WTF", "beauty is still", "pretending not to feel," "the world's most loved man, I went to the" and so on. 4.4.1 Mothers and Daughters Mother-daughter relationship is one of life's most important woman kinship. "The world's most loved man, I went to the" is emotional and gradually adopted the same basic contradiction, superposition narrative approach. A true daughter insisted on showing love backfired. She tires but is always optimistic with her ​​mother and finally managed to go to exercise. Self-criticism is sad a confession that ponders endlessly. If the mother left, her daughter will be on the road alone. Peng Xiaolian's "pretended not to feel" also translated as "Shanghai woman", presents an intimate mother-daughter relationship. This alliance is a force against the whole patriarchal society. They play the role of a true representation of the father of all the evil ideology of Chinese men, showing the Chinese men as arrogant, selfish and wretched. “As a woman, my grandmother is strong, but suffered a lifetime of patriarchal oppression, Tolerance and accepts their fate” (as advised daughter remarried). Relatively speaking, the mother experiences more men who dare to overstep the rules, and Strange Bedfellows husband get divorced. The third generation of Asya flash movie is undoubtedly a woman, she is far from the "Insider" patriarchal society's values ​​to the extent of instinct, showing the sense of independence differs from the grandmother and the mother of a new era of women. Grandmother from the beginning of increased aid to the later pleasant, it is gradually woken up as a woman's sense of identity. Daughter Asya role is to prevent relapse of emotional difficulties for mom. The mom’s feelings hurt as a middle-aged woman. With the help of her mother, daughter, and finally is able to re-start an independent life. In "pretended not to feel", women help women to recognize the reality of the cruel, valuable, and Asya Asya mom who have a spiritual sense of independence, even though men that they have encountered are irresponsible. Though disappointed, they never complain, but enhance efforts to create their own self-contained space. In "Beautiful Shanghai", the absence of male / father makes the mother become the protagonist tending her adult children, and in the final stages of life, handing over a piece of the most valuable things to children. 4.4.2 Women Alliances In addition to blood kinship relations of the family, there are an important social relationships in women life. The relationships are for women's self-growth, self-identity and also strive to become female-centered in a patriarchal social system. The aim is to create a strong, independent women, freedom and equality allies in female friendships. Each woman, in the long run has such a huge experience in same-sex friendship companions. The friends are often parents and heterosexual love cannot be completely replaced. "Taekwondo", "beauty is still", "summer" are used to express the female friendship. Women, through observation, understand the fate of the same sex and reflect on their own fate. Therefore, the departure or arrival of a woman in another woman’s life often brings a major shift in life. When it seems before starting a lover can be expected to compete in the war, it already ends unexpectedly. Xiao Fei's memory of the sister said, "Do not worry, there is me." Sisterhood let Xiaofei out of the mire, when the sisters fondly kept each other warm when the male unavailable. In the analysis of this film, there is a clear expression of female consciousness on women's growth, maturity and female body consciousness. In "Beautiful Feet", Xia Yu received spiritual help from Zhang Meili. A child is knocked down in a premonition about the dissolution of the marriage that implies to abandon the marriage, due to choice of Zhang Meili to be dedicated to his teaching career. In another example in "Waking of Insects", a woman tractors with a seriously ill son and drunk husband to the country to see a doctor. Her husband is addicted to drinking alcohol so the woman took off with their son. The woman reason was to go where her heart had been longing for. In "We both", the pony is filled with youthful vigor while the old lady is full of ups and downs. Two people in love and there are too many different attitudes, living conditions, etc. The situation has caused a lot of different friction based on water and electricity. There is trivial outbreak of major conflict, but as time goes by, there arises unique understanding between women which makes know their common problems and support each other. In the story marred by their contradictions, conflicts to fusion, the flowing women's outspokenness and independence, chant the value of a woman's unique identity and a profound life. The new life of the elderly ends up with something that does pose a girl’s continuation of life. However, it can be seen that support for women is non-existent and they can only hit the road alone. "This summer" is a rare lesbian movie due to social repression and lack of understanding. Because of the presence of anxious hearts of women in the "summer", they love the suspicion of crumbled, Junjun, small group of ex-girlfriend jealous to the extent of contemplating suicide. "Perpetual Motion" in the four women’s opinions, and jealousy about men. Finally the "culprit" find the remaining three women walking on the street swagger. This seems to indicate that women work together toward the future, however, we remain allies for this prevailing attitude of doubt. In "Green Red", the green and red left Ling ling alone and went back to Shanghai, to the unknown fate that derives a typical image that in the New Century, Women traveled alone. From the above summary, it can be concluded that women are lonely and have to travel alone. These women are burdened with heavy historical burden, family background, childhood errors caused by ignorance of the fate and the plight of history which makes them completed puzzled. In addition, there is no support from men, but from the support of the same-sex which is so fragile, so these women can only travel alone. 4.5 Various aspects influencing building up women roles by directors 4.5.1 Social aspect For 80-90 years of the last century, women in film in China has witnessed significant growth although the share of female film in China's movie market is very limited. However, that period of time is full of fresh, throbbing, explore and successful experiences as long as Chinese female directors are concerned. When the pace of time increased into the 1990s and into the 21st century and the market economic system basically established in China, movies came to the market and became a historical necessity. China's female directors, not only do they face the same confusion caused by historic changes and adjustments, but also make film inside the market that is increasingly gaining popular culture to mainstream reality, the impact of consumer culture, diverse audience tastes, etc., thus, women are so still in the same position of backwardness due to theses severe challenges. According to Ann Hui, a vast majority of women films exhibit the same gender characteristics, delicate graceful, or sad sigh, and literary tone. In addition, they have a more embarrassing thing in common; they do not rise in the box office. Female director of the movie try to show innovative means of expression, but eventually lose control. A Movie with a strong female consciousness such as "Baby Love" has a bizarre shape, fracture in the plot, rhythm disorder and thus makes digital technology to create the film in the story incapable of delivering the desired results. As a result of this confusion, the audience cannot find the motivational plot character recognition clues, so that the film becomes bizarre and erratic. Women directors trying to pursue the spirit through the performance are disadvantaged by confusion. After the release of a women film, there are almost no positive reviews. Today, showing a group of female directors' from the business of the situation as Xu Jinglei writes on his blog over and over again for its investment in the new film "dream into reality" for publicity; Shaohong's new film thriller" door "has been released in 2007; Ma Liwen took Feng Xiaogang's "gun" lock Ge with its investment of 20 million. The decisions can be viewed as a wise on their own perspectives as well as their current look in the film market. However, from the business future, it would be tested on business rules. The business rules aim is to consider the male gaze as the fulcrum of the movie with the masculine narrative. In this regard, there is worry about the future of Chinese women movies. 4.5.2 Rigid Thinking There is deep-rooted traditional concept exists, and emerge from time to time in film and television. Generally speaking, Chinese movie actresses are waiting for Prince Charming to rescue ("Sheng Sijie"); or, conversely, looking to the injured men to comfort ("Baby Love"); or is the child for life mothers’ goals("beautiful mother"); eyes of angels and men, or Vamp unity ("green"), and so on, there is always a man in the eyes of the ideal woman. However, "women must be meet women's self-consciousness demands self-awareness, self-independence, the heroine should be active, and have an active behavior." As a society aiming to improve the status of women, must have self-awareness, change the hearts and have the desire to have an independent existence, women only really have this awareness, is an independent. This can be done by advocating for gender equality on the national level. 4.5.3 Times Different social times, even if the same type of film also showed a different style is bound to reflect certain social reality. In "Female Shuainan soldiers," the director Qi Jian said; "Now is not 50, 80 years, to enter the market for sports piece of sports also brought fresh content, club system, home and away, and the introduction of foreign aid," The sports reforms generated new term. If you say "Ice Sisters", "Spring Water", "gull" and the film's hero just want to win glory for the motherland, then, now it is not just athletes glory for the country, but their values ​​have changed, they are faced with more choices and challenges, so there will be more confused. Similarly, the performance of women has become men savior of image, peace of mind and the baby. In the "Legend of Tianyun Mountain", the Fung Ching Lan, "Wrangler", the Li Xiuzhi, "Hibiscus Town" in the Wu sound different, ease and baby rescue "fallen" in mainstream middle-class men. Fung Ching Lan, "Wrangler" in the Li Xiuzhi, "Hibiscus Town" in the Wu sound salvation is distressed by that era "Hero." Wu sound, Li Xiuzhi, Fung Ching Lan shows the process of salvation to men, there are also roles of the wife's, mother is also completely without willingness to pay. But the peace of mind, a sense of independence and a stronger baby. The baby is involved in the pursuit of love in the process, it is hoped that Liu can fully understand the hearts, and the peace of mind of the unconscious male (Yang Rui) which is saved. This reflects the progress of society that men and women are eager to understand, and self-awareness to enhance harmony between the sexes. For these men, women may be just passing angels. For Women to express themselves and to save their own interest, the roads is still long. 4.5.4 Tradition It can be seen from the above summary that women still do not get rid of the image of the traditional stereotypes, especially male director's work. Much of the women works are portrayed as male ideals of female image and imagination. A psychoanalytic theory that women lack phallus as a party is a dominated position in the symbolic order that often does not create meaning and value, but just assume meaning and value. Women can have all the qualities respected in male aesthetics; beautiful, kind, and full of charm. Thus, the male directors embrace idealism to create the perfect woman. "Zhou Yu's Train" director Sun Zhou said: "I ​​love a woman, this love makes me want to take a look at men and women as different, I want to see how to treat a woman in this world, and men what difference is that? If I want to understand this point, at least I can see things more in a three-dimensional perspective. "From the original intention of the director, the film's two men on behalf of the actress Zhang Qiang Chen Qinghe --- Body and Soul desire poles, from the character set; it should be a standard color with a female, but in the film's narrative, but inevitably runs into an awkward male discourse. The director intended to create an independent and bold new female pursuit of love, may Zhou Yu has become a sacrifice of love who frantically chase Chen Qing Zhou Yu, Chen Ching gave her only from a love poem, after weeks Chen Ching-fishing for publishing poetry, do readings, and even offer their own property. After Chen Ching left bewildered dropped into a Qiang Zhou Yu's arms. The film has a paragraph: Zhou Yu skillfully busy in the kitchen, preparing lunch for a group of buddies Qiang Just like a "good wife" attitude, people cannot help but sigh a symbol of Fairy Lake in the fall of Zhou Yu why so cliche patriarchal society. In fact, Zhou Yu never had an independent spirit world and everyday life, in spirit, she relies on the poet Chen Ching-blind worship and obsession meet fantasies; in reality, she needs love and the pursuit of Zhang Qiang to appease the restless soul. And when her mind between the poetic reality of life and humanity poles pulled to the limit, she can only perish. By watching male and female film director shot on the female image, we can see that: male directors still use the camera about their dream of China's "good woman." "Green" in the Wu Fang and Lang Lang on behalf of the men desire poles; Red Rose and White Rose. "Beautiful mother" in the "mother" is a male about to bite the bullet "mother" stereotype stereotypes. "Aromatic Journey" will be portrayed as a spring fen selfless, pure goodness typical traditional Chinese woman. "Jasmine" in Mo, Li, spent three generations of women have a distinctive character, are all, without exception, kind, beautiful, gentle, beautiful women in the minds of men. The image of women in the films is the director representation of an imaginary women. The imagination may be about a wife, mother, love, and supreme female imagination. This imagination represents destruction in real life, it also means that the male directors have power over the survival of women's since they have ignorance for women and shatter any stereotyped preconceptions. 5 CONCLUSION AND RECOMMENDATION 5.1 Conclusion Even with the new movie manifestations, with the director trying to express the new era of women's living conditions, emotional and spiritual feelings, and female movie image of women in this period did not exhibit distinct times, but offered a return of the traditional image of women. The image of women presented a heavy historical burden in which women have to travel alone. And, in the relations between the sexes, most women did not appear in the movie. On the issue of harmonious relations between the sexes, many times men are either absent, silent or have the image of a savior. This makes women feel sad and powerless as far as gender relations are concerned. In addition, the current image of women in this new era of rampant consumerism has become a consumer product. Television has been saddled with heavy color formalism and consumerism in the industrialization and commercialization of multiple extrusions. Many films made ​​a lot of female film, but most aspects of life in women kick the tires, even with in-depth exploration of female life experience and emotional pain of the movie, but also because the director has Essence of view of women fall into an awkward position, hard to really touch and show women the most fundamental needs. Shaping the role of women in the film are either sympathetic, either male desire support, "female" category it is just a theme, do not have a solid reality vitality to say that this is a pity. 5.2 Recommendations Overall, the performance of women in the main movie is only a tiny part of the total since men still occupies the mainstream screen. As long as we live in the current society which is still essentially a male culture, male power structure of society, then women are objects of male consumption, and the main aim is to relieve anxiety on the screen. The most practical significance of female movie is to weaken (rather than digestion) a long and single male domination. The long-term action is to shake a habit of a male-centered society. Female directors should be the lens to show the real lives of women. They should be selected in a patriarchal society where women have the most painful life experience. Film gives women inspiration and guidance to see another aspects of the world. Meanwhile, the spirit of life is to show women portray the era of women's focus. As Shaohong attention in the "Love Baby" expresses real concern, "What do women want?" In fact, women are often afraid to write the inner world of women for fear of being ridiculed by males. But Xiaolu Guo in the film theory notes in reference to men and women in films that men often say that women only care about their own little world and not care about grand historical society, but a is man's inner world is smaller than the outside world it? So to break through the barriers of male values ​​and examine their own unique perception as women is particularly important. Women must break the shackles of a patriarchal movie image, focusing on women through the lens of their own living conditions and destiny. Misfortune reveals the nature of gender relations in the economic and cultural differences in love and marriage, social life, etc., but the most important thing is to establish autonomous and independence of modern female values. Taiwanese feminists Ang said that “In this diverse modern society changes, the real way of life and happiness, is to grasp in your (female) hands, rather than your father, husband, family hands." Women can examine their own shape, full of ideals, with autonomy, mobility also have a positive image of women (such as "peacock" in the "sister") widespread in mainstream movies like "youth lady,""Eternal Mother" using the primary means of "sexy slut" image so that women switch from "silent absent" passive position to live a fulfilling life. This should be the basic goal of feminist films. In Female movies, the most important thing is to face each period women at all levels of social, pain, arousal, resistance, etc. constitute the narrative core, their inner feelings, desires, pursue delicate convey. In conclusion, the film should explore the relationship between gender relations, as well as between women from a deeper level. Bibliography Read More