Feminism And Female Image In The Grandmaster
Feminism and female image in The Grandmaster
The Grandmaster: An analysis of the characterization of Gong Er
Abstract
China has produced many classical movies, including a great percent of the movies in which the female is leading character. Through the colorful images, we may realize clearly how the Chinese feminine survival condition is, the words hegemony and the male-power- centre they encounters in the society, as well as the difficulties that they are seeking independent life for themselves, the survival and the development space. This article select the classical feminine images in the Chinese film the Grand Master, according to the classification and in-depth analysis the female characters, we discovered the feminine images has experienced: the stereotype female image and new female image in new century. The feminine images evolution meant the Chinese movie value restructuring, refracts the development path of Chinese movie from a side. Studies this kind of evolution, not only help us to grasp the esthetic appeal and the cultural connation from movie in different eras, but also it is more advantageous in the reality for female, to realize themselves well and find the value for their own.
Introduction The feminism study in China has not yet spread until 1990s. It is well known that there exists no social movement, no concrete theory concerning feminism. Female’s study in China somehow can be regarded as female’s creation or female’s image. So the characteristic of the women’s study could be the symbol of certain romance, or it could be a Floyd abstract sign. Nevertheless, lack of feminism doesn’t mean loss of female’s thought in China, for example, in female’s literature, female are paying attention to their status, equality and so on. Chinese female’s view is concealed in morality and revolution. The Grandmaster is a Chinese marital arts drama film in 2013. The director and writer is Wong Kar-Wai. It was released on January 2013 in
The Grandmaster: An analysis of the characterization of Gong Er
Abstract
China has produced many classical movies, including a great percent of the movies in which the female is leading character. Through the colorful images, we may realize clearly how the Chinese feminine survival condition is, the words hegemony and the male-power- centre they encounters in the society, as well as the difficulties that they are seeking independent life for themselves, the survival and the development space. This article select the classical feminine images in the Chinese film the Grand Master, according to the classification and in-depth analysis the female characters, we discovered the feminine images has experienced: the stereotype female image and new female image in new century. The feminine images evolution meant the Chinese movie value restructuring, refracts the development path of Chinese movie from a side. Studies this kind of evolution, not only help us to grasp the esthetic appeal and the cultural connation from movie in different eras, but also it is more advantageous in the reality for female, to realize themselves well and find the value for their own.
Introduction The feminism study in China has not yet spread until 1990s. It is well known that there exists no social movement, no concrete theory concerning feminism. Female’s study in China somehow can be regarded as female’s creation or female’s image. So the characteristic of the women’s study could be the symbol of certain romance, or it could be a Floyd abstract sign. Nevertheless, lack of feminism doesn’t mean loss of female’s thought in China, for example, in female’s literature, female are paying attention to their status, equality and so on. Chinese female’s view is concealed in morality and revolution. The Grandmaster is a Chinese marital arts drama film in 2013. The director and writer is Wong Kar-Wai. It was released on January 2013 in