Research On China’s New-force Female Directors’ Film From The Perspective Of Feminist Film Theory

In 2014,the "New Power" directors were officially named for the first time with the help of national media,and the number of the New-force Female Directors is also showing an overall upward trend against the background of the overall rise and attention of female directors around the world.As a result,the New-force Female Directors have brought a new field and cultural vision to the film market by providing a full range of women’s life experiences and unique female issues in their films.In the past,female directors’ films mainly focused on two aspects.First,spreading the voice of the country.Second,their creative themes were focused on marriage,love and family stories,and the market risk was relatively small.The successful performance of the New-force Female Directors in the film market proves that female directors are fully capable of mastering any subject matter,genre and theme,and have shown different aesthetic styles.Most importantly,the New-force Female Directors have consciously maintained a focus on issues related to gender survival in the rising Chinese film market,contributing a differentiated perception and observation to mainstream society.This has aroused the author’s interest in the study of the New-force Female Directors films.This thesis uses feminist film theory to constantly examine the New-force Female Directors and their films,to decode the cultural meanings embedded in their works to the greatest extent possible,and to explore the construction of new generative paths in the study of female directors and their films,so as to further consider how female filmmakers,who are extensively involved in the film market,can jointly form a female perspective and female observation when they no longer create stereotyped female films.In this way,we can further consider how female filmmakers,who are widely involved in the film market,can bring their personal and social female experiences together with the shared collective experience to form a female point of view and female observation when they no longer create stereotyped female films.The thesis is divided into the following main sections:The introductory section mainly describes the research background of this topic,the overview of the current research status,the research method and the innovation.On the premise of summarizing the fruitful research results of previous authors,it discusses the research purpose and significance of the thesis,so as to confirm the entry point of the thesis.The first chapter compares the development of feminist film theories at home and abroad and points out the practical significance of domestic feminist film theories in the process of development.It also defines the scope of Chinese New-force Female Directors and classifies and sorts out their creative practices.The second chapter and the third chapter analyze the works of the New-force Female Directors from two dimensions: thematic writing and gender figures construction.First,the multiple meanings of the works are explained from three themes: the awakening of women’s consciousness,the separation and return of family ethics,and the concern for gender politics.From the perspective of the maternal theme of growth,we analyze how women’s consciousness breaks through the established destiny of women in the process of awakening;from the perspective of the evolution of family ethical relations,we analyze how women break through the shackles of traditional family roles to explore gender equality;from the perspective of gender politics,we explain how traditional maternal duties are deconstructed.In the third chapter,a cross-sectional comparison of the types and characteristics of the female figures presented in the works from a comprehensive perspective reveals that the female figures in the works of the New-force Female Directors are broadly divided into two categories: adolescent girls who tend to escape and rebel against patriarchal social rules;and mothers who are deeply influenced by traditional moral concepts.However,due to the unique life experience of female directors,they focus more on the construction of the current mother image from the mother-daughter relationship and reflect on the "myth of motherhood".At the same time,the New-force Female Directors care about the whole gender group and do not create a typology of gender images.Therefore,this paper will take Cornell’s three divisions of masculinity as a starting point to illustrate the different images of masculinity in his works,explore how these three masculinities are constructed,and analyze how the images of masculinity excluded from the center of masculine discourse shift from dominant to subordinate status.The four chapter combines feminist film theory with related spatial theories,and examines the spatial writing in the films of the New-force Female Directors from three aspects: private space,public space and cyberspace,and the cultural representations of women’s inner spirituality.The private space is interpreted through the domestic space and the "place of difference" proposed by Foucault,and it is pointed out that the private space shown in the works is not a homogeneous and empty one,but a gender space with social,historical and different attributes.By comparing the differences between private and public spaces,we analyze how women in public spaces carry out their gender identity.At the same time,the formation of cyberspace has resurfaced women’s expression and women’s issues,which not only enhances women’s public discourse,but also has the potential to break through the pattern of gender order.Chapter five analyzes the audiovisual style of the New-force Female Directors from the perspective of film ontology.Since New-force Female Directors "naturally" carry with them female experiences and a female perspective on social life that is different from that of men,they tend to express their films more toward the audience’s confession,and thus consciously find a unique way of Through this way,they show a different kind of women and men.On the one hand,long documentary shots and handheld photography with a sense of "presence" present women’s real life experiences;on the other hand,female desires and externalized inner emotions are expressed through ambiguous imagery;finally,the multi-layered sound used in the analyzed works makes the images more creative and realistic.Based on the above textual analysis,Chapter six draws out the films experiences and creative dilemmas faced by New-force Female Directors in the creative process,and points out the contradiction between the increasing self-awareness of the New-force Female Directors and their inability to break away from the logic of male power.The chapter also points out the contradiction between the increasing self-awareness of the New-force Female Directors and their inability to break away from the logic of male authority.In conclusion,this paper applies feminist film theory to study the New-force Female Directors and their films from 2014 to the present,and through the in-depth investigation and continuous excavation of the creative experiences and problems of the New-force Female Directors,we hope to better through the in-depth exploration and continuous excavation of the creative experiences and problems of the New-force Female Directors,we hope to clarify the emotional paths and real-life situations of women,and enrich and supplement the theoretical research on New-force Female Directors on this basis,so as to think deeply about the future development path of the New-force Female Directors,which is what this paper tries to achieve.This is also the value pursuit of this paper.