| Feminism and feminist movies were once among the popular topics in the commenting circles, but now things have been changed. Those topics related to the female receive little attention. To our joy, through many years' exploration, female Director Li Shaohong has found a right way to express herself and worked hard at this field with diligence. In her works, female angle has been the main characteristic.In the exordium, this paper introduces Li Shaohong's originating course and main features of her works briefly. She began to be a director at the end of 1980s. All of her products should not be taken lightly, and each of them has its strong points, which cause difficulty in researchers' study on Li Shaohong.The main body of this paper falls into two chapters. On the basis of how Director Li concerns about the female in her origination, movie and TV are discussed in different chapters.The former chapter, Looking for the Garden, presents the changing process of Li Shaohong, from insisting on the enlightenment express which is common in the fifth-generation filmmakers' origination to paying much attention to women's fates consciously. For giving Li Shaohong right location, this paper illustrates feminism background systematically, from feminism and feminist film in the world to those in the mainland. It is concluded that Li Shaohong to two types female directors. That is one type of directors, such as Wang Ping, has no difference from male directors, and the other type includes directors such as Huang Shuqin, who work hard to find a way to express themselves as females. Actually, in Li Shaohong's earlier works Case of the Silver Snake(1988) and Bloody Morning(1990), she didn't cover up gender characteristic entirely, where a spontaneous and subconscious gender feature flashes.Although Family Portrait(1992)and Red Western-style Clothes (1997) draw materials from the grand events in the society, they still demonstrate the director's individuality and hiding care for the male. Her feminism is completely displayed in Blush(1994), which wins box-office, and the director's individuality is well presented. Blush is regarded as the second feminist film symbol, following the first one, Woman Human Demon(1987).The latter chapter remarks and analyzes those beautiful and unique TV plays, such as Thunderstorms, the Palace of Great Brightness and Oranges Have Turned Red. These TV plays tell us stories of the past. Unlike other historical stories, here heroines take the place of heroes, and romance instead of historical reality. History only provides a stage in the plays. Love, power and fights between them are leading roles. This individual way describing history on screen surprised the audience at the end of last century. From Li Shaohong's TV plays, we can find good-looking mold making, style image effect, poetic dialogue, sweet music, attractive songs, pretty dress and elegant stage properties. It is said that Li Shaohong's TV plays are noble. Love is an important element in the plays. Comparing with other famous female TV play maker Qiong Yao, from Taiwan, Li Shaohong cares more on the women's fates and the realization of self value. Qiong Yao is a woman with Chinese classic feelings, and women always are men's dependency in her plays. While facing market, they have many similar tactics. First, they are masters of telling us love stories and making frames beautiful. Second, they attach much importance to the film stars. This paper tries to distinguish "the writers' TV plays" and "the type TV plays" then. We believe that Qiong Yao's TV plays belong to the latter, while Li Shaohong's works are included in the former now, but they may tend to the type ones', called "Feminist TV Plays".In the last part, this paper discusses how to solve the problems the mainland film and TV makers are faced with. We claim the only way to extricate themselves from the difficult position is to work hard and surpass themselves, and the successful experience of Li Shaohong could make them more confident. Thus it is believed the or... |
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