Research On The Image Of Female Revenge In European And American Movies

The motif of revenge is the eternal cultural phenomenon since human society exists,woman as avenger, has been gradually known and researched as well, along with thedevelopment of human civilization. At first they were shown by literary styles as the ancientGreek myths, epic (Iceland Songbook "Ada"),then these "vengeful women" were graduallyacted as the performance of the object through theater, opera, ballet, painting or other art forms.In the movies from Europe and America, the image of female revenge, with its strongvitality,experiencing so a process-“broken through- admitted-trained-fixed”, has formed a typeof character what filmmakers focus on showing.This paper, attempts to make " the women becomes the Avenger "as an entry point, and allimages of female revenge appearing in European and American movies as a hero as the objectof study, focuses on explaining the gender difference between women avengers and menavengers. On this basis, it expresses the source and specific types of the revenge image ofwomen in Europe and the United States film and the reasons why they are presented. Inaddition, this text, from the narrative point of view, deeply describes the special role andfunction of the image of female revenge in the European and American movies and outlines itspractical significance.In this paper, the lead part discusses "female revenge image" how to birth, evolve, developfrom the motif of "vengeance". First of all, the author defines the study object of this paper andsome relevant concepts, making interpretation for the" revenge" meaning, separating " revenge"and" revenge" clearly, and on this basis the author establishes the female revenge emerges asprotagonist identity as the object of study. Secondly, the author explores and elaboratesliterature origin and initially presenting, of female revenge image, explains such imagesappearing in the ancient Greek myths and Iceland Songbook" EDA". Subsequently, the authordiscusses the characteristics of the female-revenge images in European and American movies and the reasons why they have these characteristics.In the first chapter, the author combs these images of female revenge shown in the moviesfrom Europe and the USA through historical perspective. Specifically, the author describes twoways to express, including the literary adaptation and self-creation, divides the specific type ofimages into three parts including female revenge motive, the way to revenge and the finalresults. The motive may be"love of revenge", "blood revenge", "honor revenge"or "resistancerevenge" and so on, the way to revenge may includes physical or spiritual persecution, and thefinal result is almost a success.The second chapter uses this view-"women as the particularity of the avenger" to begin,discusses the deep-seated reasons why these images were hot from the followed four aspects:Gender differences, the visual spectacle when women appears on stage or video, theconfrontation enlarged by the film language in audio-visual system, the female revengemanipulated in the patriarchal order, and gradually draws a conclusion to the unique attributesof these images. Now because of the highly market-oriented film mode, the female revenge hasbecome a dynamic, sexy, special image of the group, which has a strong violent conflict,encoded by the director and audience. Finally, the production and reproduction of thesefemale-revenge images cannot be regarded as the way and tool to be against the patriarchalsociety. In the closed and loop production program of film, the female revenge has not foundthe outlet to challenge with their opposite, and enough right to speak, even in the violent way.In the third chapter, the author from the narrative point of view, from three dimensions todiscuss, include: narrative characters, narrative mode and narrative space, explore thepresentation and operation of such image in the the regularity image narrative mechanism. Inthe term of the narrative role, on the female victimization stage and revenge phase of the victim,perpetrator roles and help role, opponents roles are in-depth analysis, and draws a conclusion:the image of female revenge in the film has formed a fixed role conversion mechanism. In theterm of the narrative mode, using the structure of narrative method, to determine the dualisticmodel of female revenge film’s main narrative mode, and on the basis of the formation of theRevenge of the female should have the deep structure characteristics, establish the genre valuecognition system and psychological identification, which construct the value cognition systemand psychological identification of such films. In terms of the narrative space, individually resolve the physical space, social space and psychological space, highlights the spatial narrativetype of female revenge image.In the fourth chapter, explores the practical significance of the image of Europe and theUnited States of the image of female revenge. From" to the type of image image of the rich","to the role of female narrative function"," to the movie industry commercial value" of the threedimensions of discourse.