A Study Of The Discourse Structure Of French Feminist Film

As an important carrier of mass communication,film discourse system has always been the mirror image of social culture and the embodiment of political ideology.In recent years,with the gradual advancement of social concept pushed forward by four feminist movements,gender related research has become one of the issues of widespread concern in the current society.Wallerstein's "World System Theory" believes that so far,sexism is one of the three ways that western capitalism has controlled and ruled the world.Gender,like race and class,has political attributes,and is an important way of discourse control and political control.The power relationship between two genders is a basic organizational part of social consciousness.For a long time,the film screen has shown a widespread concern about gender relations:women are usually in the position of "being gazed",that is,from the standpoint of male society,women are stereotyped when they are reproduced.France,as the birthplace of both feminism and film,leads the world in gender studies,in film creation,criticism and history,etc.The study of female images in French films is of great significance to the social presentation of female images in the context of communication studies.This paper selects the French actress Isabelle Huppert(the following text will be referred to as "Huppert")as the main research object.Born in 1953,she has portrayed a variety of female images in more than 100 films since the 1960s,becoming an outstanding representative of female images on the French film screen.From the early victim image to the independent female image in recent years,the change of her screen image just reflects the progress of gender concept in French society under the influence of four feminist movements,that is,women gradually change from the traditional subordinate role to the equal and independent dominant role.The screen images she created broke through the barriers of social roles in a sense,pursued independence,equality and freedom,tried to break the binary opposition between men and women,impelled social attention and respect for women,and promoted the balance and harmony of social roles,are important references for the infiltration of communication behavior into media culture vicissitudes.This paper selects the female images created by Huppert in 19 films as the main subject of research,takes the female stereotypes and the mechanism of " to gaze and being gazed" in the media culture theory as cut-in perspective,and conducts interdisciplinary cross analysis from sociology,psychoanalysis and semiotics,takes content analysis research methods to focus on analysis of film narrative methods and techniques,and the use of audio-visual language,as per the second to the fourth feminist movement as a clue of time,carries out diachronic and comparative research in a way of subject classification through French feminist film communication discourse that her characters reflected in different social phases,outlines different features of female characters which reflected in French films during different phases of feminist movements.This paper is divided into five chapters.Chapter ?,as the research background,expounds the history of feminist movements as well as the development of French feminist films,and introduces Huppert's growth experience and screen image.Chapter ?,? and ? place Huppert's 19 most representative film works from 1974 to 2016 in the periods of second,third and fourth feminist movements,carries out longitudinal diachronic analysis combining with style of the society and features of women's status during the three French feminist movements,sums up the French feminist film discourse communication structure features during each feminist movement.Chapter ?,on the basis of the longitudinal analysis,through horizontal comparison in each film work in four dimensions as"parent-child relationship" "love and matrimonial relationships" "emotional betrayal" and"career pursuit",manages to grasp the perspective of the development trend of French feminism summed up by diachronic analysis of French feminist film communication discourse structure changes through Huppert's characters.