The Shift Of View

As a female director in the new century,Li Yu,with both director and female identity,consciously or unconsciously integrates into the thinking of contemporary women’s predicament in the film,and finally forms her film label with distinct gender consciousness and unique image style.Based on the careful reading of all six films by Li Yu,this paper investigates the creative process of the director,and finds out the phenomenon of viewpoint drift in Li Yudian’s film narration,as well as the game between "staring" and "anti-gaze" in the transformation of film viewpoint.Then,as a film author,Director Li Yu moves towards "androgyny writing" and image writing.The thesis is divided into four chapters.The introduction mainly discusses the research value of Li Yu film,as well as the theoretical perspective and main concept of Li Yu film research,including the``viewpoint and narrative focus’ ’ in the narrative category,the``staring’’,``anti-staring’’ and``duality homologous writing’’.In the second chapter,through the text analysis of the director’s film works,the subtle changes in the choice of narrative viewpoint of different films are investigated:from``female’’,``male in female eyes’ ’,to``female in male eye’’.Chapter three,based on Li Yu film narrative viewpoint transformation,analyze Li Yu film gradually presented.The awakening and resistance to male gaze and the construction of female subject consciousness based on anti-gaze.The fourth chapter,from the visual angle of "androgynous writing",observes the author’s characteristics of Li Yu’s films,as well as the author’s tendency of "androgynous writing" in the use of images-Li Yu’s obsession with "water".Using "water" to express women’s mental anxiety or catharsis,such liberalized image expression has become a unique sign of Li Yu’s film moving towards "two-way simultaneous writing".