The Changing Image of Women Position in Chinese Film Since 1950s

This trend is Liu’s opportunity to get rid of either sexploitation or a dragon lady. Elementary is for her transformation of media. She chose to play Joan Watson who is more than a sexploitation or action, but a classic adapted character. As Richard Dyer suggests, ‘that stars are representations of persons which reinforce, legitimate or occasionally alter the prevalent conceptions of what it is to be a human being in this society’ (1979b: 31). Thus far I have discussed the role of such personae in films. However, major sites for elaborating star personae exist outside films in studio promotion departments, publicity agencies, newspaper and broadcast journalism, TV chat shows, film criticism, fan magazines and so on. The circulation of subsidiary star texts provides opportunity for gossip and speculation, serving, in John Ellis’ words, as a kind of ‘moral barometer’. Generally, ‘the way you progress in your life is how you progress artistically – especially as an actor, where you bring such complicated and personal experiences into what you do everyday’ (Tseng

Women’s roles in movies have changed dramatically throughout the years. As a result of the changing societal norms, women have experienced more transition in their roles than any other class. During the period of classical Hollywood cinema, both society and the film industry preached that women should be dependent on men and remain in home in order to guarantee stability in the community and the family. Women did not have predominated roles in movies such as being the heroin. The 1940’s film Gilda wasn’t an exception. In Gilda, the female character mainly had two different stereotypes. The female character was first stereotyped as a sex object and the second stereotyped as a scorned woman who has to be punished.

Because of this portrayal of Asian women, many Asian women feel that they are being approached by men in a bad way. The submissiveness and weakness of these characters have angered many. Western dramas have portrayed Asian women as submissive and

To sum up, the narrator in the story is able to fulfill her instinctual desires by becoming a Yellow Woman. She transforms through her dream-like journey into the person she longed to be. It was not until Silva became violent and she sees “something ancient and dark” in his eyes that she begins to snap back into reality. The story reaches out to all of its readers and allows them to relate to the narrator because we all have unfulfilled desires throughout our lives. The sensational descriptions that are given of the landscape as well as her sexual interactions with Silva make the narrator’s thoughts and feelings very easy to understand. In fact many of us who have read the story “Yellow Woman” have a feeling of jealousy that the woman was able to have her adventure and return home and resume her life as normal, without consequence.

In contemporary film women's roles in films have varied quiet considerably between genres, geographical placement, and between

Throughout Yellow Woman and a Beauty of the Spirit, Silko appoints to the reader several key events that expressed her point of view on her appearance and how the stories helped Silko reach to an eventuality of accepting her difference. Silko’s interaction with her grandmother, aunts, and the tourist shaped her character throughout the story. The author uses beauty, harmony, cultural inheritance, and identity to assist the reader in understanding the power and beauty of the text and indicate the author’s point of view expressed in the

This genre is typically modern, perky and upbeat, but the common narrative in all of them is that it features a woman who is strong and she overcomes adversity to reach her goals. There is also a message of empowerment that also struggles with a romantic predicament and using comedy to poke fun at the male characters. Industries are still producing soppy romantic comedies for the female audience but the divide between the standard chick flick and romantic comedy is slowly disappearing. Similarly to the beginning of this essay it is evident that institutions are moving in the direction of women’s place in culture in relation to this film genre; women are usually shown as the super power since they are made to appeal to the female audience. However

““The Yellow Wallpaper,” describe conventions of the spiritual horror tale to evaluate the position of women in the tradition of marriage, particularly as experienced by the “reputable” classes of her

During the Silent Era of Hollywood films white, Northern European-American men were the ones that created and sustained the social norms that were common during that time. Women were looked upon as objects by men in some of the films, and then in other films women are portrayed as a damsel in distress. Like the directors and producers do not believe that women can stand up for themselves and they must depend on men to do everything for them. An example of when women are seen as an object to men in one of the films is in “Tango Tangles” when the leader of the band has sneaky feelings for the “hot check girl” and then two other men also develop feelings for the check girl.

In the ancient Chinese culture, the role of women was very restricted. They were raised by their parents until the age of marriage to be given away to another family. When living under their father’s roof he was the one they had to obey to, once married they then had to obey to their husband. Women were restricted to the walls of their home, which is no longer the case nowadays.

This story takes the reader’s mind to different view of women. Women are usually known for being the quiet, sophisticated, and reasonable characters in society. This time the reader may be taken into the inner-most realms of women’s mind and experiences. The experience of the narrator in the ʺThe Yellow Wallpaperʺ shows that she is gone mad because her role in society is

The stories of the Yellow Wallpaper and Story of an Hour are both stories that have deep meaning, and many hidden symbols. In both stories there is a woman who in some way is oppressed by some outside force and must find a way to overcome this oppression. While in both stories the main charcter goes through a different ordeal, The main theme behind these events are the same and the two experiences can compare to eachother. the events match in both women we oppressed by men and portrayed

The film industry has created the conventional gender roles of society into their movies. A majority of films have supported some of the male and female stereotypes. In the history of the film industry, the role of men is primarily that of the stereotypical working class man or hero, while the roles of women are primarily portrayed as being somewhat inferior to men. In the 1930s through the 1970s, men held the leading roles in films while women played smaller roles. In terms of jobs, women were given mostly family roles and rarely were shown outside of their homes, while men had successful careers and did many activities outside of home. “Women were shown doing housework and men were the beneficiaries of their work” (“Women’s roles in the

In subsequent years following the establishment of the People’s Republic of China came a revolutionary new approach to not only producing films, but also film’s very role in communist society. During this period the state gained complete control of the filmmaking industry, decreeing that the utilitarian functions of art and literature were to become a powerful weapon in serving the revolutionary struggle. In an otherwise artistically stifling period in which socialist realism pervaded all creative outlets, Xie Jin managed to retain some autonomy and emerged as one of the cleverest Chinese directors in the early 1960s. In his 1961 film Red Detachment of Women, Jin provides a classic revolutionary melodrama, yet also displays elements of formalism so that the viewer becomes conscious of the manipulations of his film technique. To analyze this film, I will use Mao Zedong’s 1942 “Talks at the Yan 'an Forum on Literature and Art,” clip #10 “Landmark 2,” and clip #6 “We are joining the red army” to elaborate on the major themes and cinematic style that distinguish Xie Jin’s work from his contemporaries.

In society, women are often perceived as the weaker sex, both physically and mentally. In modern times women have leveled the playing field between men and women, and feminism is a highly discussed topic, but for years, women faced discrimination and prejudice both in life and in the workplace, due to their sex. This way of thinking flooded into the world of film. In their works, the authors of each of the various sources address the limitations and liberations of women both on and off the screen in nineteenth century Film and Cinema. Not every source is completely filled with information related to the research topic, but they do cover and analyze many of the same points from different perspectives. Prominent points addressed in each