A Study Of The Image Of Women In Male Films Under Feminist Film Theory

In 2014,Diao Yinan won the Golden Bear Award at the Berlin International Film Festival with "Fireworks in the Day",becoming China’s fourth director of the Golden Bear Award after Zhang Yimou,Wang Quan’an and Ang Lee.The second film to win Double Bears（Golden Bear and Silver Bear）."Fireworks in the White Day" made Diao Yinan gain high artistic recognition abroad and high domestic box office results.So far,Diao Yinan’s film has become a research hotspot in the domestic film industry and film academia.After that,Diao Yinan continued to play the genre-author style to create "The Party at South Station",which was nominated for the Cannes Film Festival in 2019.Diao Yinan combines the author’s and genre films’ creative techniques,excellently demonstrating how to balance the market problems of business and art.His genre-author’s style is not only reflected in his suspenseful and detective genre film techniques,but also in his personal expression.It contains the concern of humanities and society.Feminist film theory was born during the second feminist movement（1960s）,with the help of sociology,psychoanalysis and cultural analysis and other methodologies to reveal and criticize the anti-female nature of film texts.The 21 st century has entered the stage of post-modern feminism.Women’s demands in this period have been refined from the political issue of seeking gender equality to more specific internal issues of women.Feminist film theory began to pay attention to the plight of women in postmodernist contexts such as different classes,races,homosexuality,and queerness.On this basis,the goal of feminist film theory has shifted from revealing the essence of anti-female to establishing female subject discourse,including research on female audience,female subject consciousness,and female film language.Feminist film theory has roughly gone through three periods of criticism,followed by image criticism,narrative criticism,and cultural criticism.This paper mainly applies the theories in the period of image criticism,and combines the modern context to examine the meanings carried by the female images in Diao Yinan’s films.In Diao Yinan’s films,female images have always been a very important part.Out of the director’s personal observation of society,he focused his lens on women in suffering,showing women’s gender predicament,class predicament,and aphasia.In addition,he also delved into the hidden world of desires in women’s hearts,showing the invisible "shackles" worn by women from the inside out.Caring deeply.Of course,in addition to seeing the women who surfaced in Diao Yinan’s films,we should also pay attention to the deviations brought by the director’s male perspective,as well as the deficiencies in the creation of female images.This paper examines the female images in Diao Yinan’s films from the perspective of feminist film theory,uses literature research method,text analysis method,interdisciplinary research method,and combines feminist film theory to summarize the characteristics of female images in Diao Yinan’s films,and explore the characteristics of female images in Diao Yinan’s films.The method of shaping the female image,and finally examines the cultural significance and the female creative consciousness carried by the female image as a whole.