Women Through the Lens

Cui, Shuqin

doi:10.1515/9780824865634

Cited by 74 publications

(2 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Studies of the female victim have primarily examined either the ways in which women have been victimized by the feudal or patriarchal system (Cornelius & Smith, 2002), or the relationship between the female victim and the nation (Cui, 2003). For instance, by studying Shuqin Huang's prominent film Human, Woman, Demon 1 ( , 1987), one of the leading female directors among the fourth generation of film filmmakers, 2 Dai (1989) argued that female characters in the fourthgeneration filmmakers' works were generally placed somewhere between beautiful goodness and sacrificial offerings, and represented as sexless or de-gendered.…”

Section: Literature Reviewmentioning

confidence: 99%

Powerful or Powerless? Women’s Power Levels in Contemporary Chinese Films

Hu,

Cai

2024

Sage Open

View full text Add to dashboard Cite

This article aims to achieve an experiential study of cinematic representations of females in Chinese films through quantitative narrative analysis. Applied to a census of 360 Chinese films across various genres produced across 18 years (2001–2018) systematically selected on Mtime, we ask to what extent female characters in Chinese films are empowered? How is their power exercised? And what socio-cultural implications can be detected from the cinematic representations of women in the contemporary Chinese gender discourse? We aim to fill in the gap in Chinese cinema studies in which most scholarships focused on pre-2000 works, adopted qualitative textual and narrative analysis to interpret the representations of women in a particular genre or in typical cases, leaving the quantitative approach, particularly focusing on the post-2000 films, all but absent. We develop a systematic set of typologies, including 4 major power-level categories (power-over, power-to, power-with, and no-power) and 12 deuterogenic ones, which can be applied for future research on Chinese film and media studies. While women’s career success has been articulated with empowerment, independence, subjectivity, and ambition in the neoliberal rhetoric, our research reflects a more intricate relationship between cultural representations of women and power in contemporary Chinese films.

show abstract

Section: Literature Reviewmentioning

confidence: 99%

Powerful or Powerless? Women’s Power Levels in Contemporary Chinese Films

Hu,

Cai

2024

Sage Open

View full text Add to dashboard Cite

show abstract

“…In fact, women filmmakers have always inhabited the world of Chinese cinema. The importance of female filmmakers to the development of China's national cinema in the mainland as well as in key industries based in Hong Kong and Taiwan cannot be denied, and scholars such as Zhang Zhen,3 S. Louisa Wei (2009), Lingzhen Wang (2020), Felicia Chan (2016), Audrey Yue (2010), Helen Leung (2009), Stacilee Ford (2009), Cui Shuqin (2003, Dai figure 1 The camera shows Yang Mingming's fragmented image in Female Directors graphically capturing the feeling of being ripped apart by her ambitions to make films. Frame grab.…”

mentioning

confidence: 99%

Where in the World are Chinese Women Filmmakers? Transnational China and World Cinema in the Twenty-First Century

Marchetti

2021

Stud. World Cine.

View full text Add to dashboard Cite

Transnational Chinese women filmmakers reflect the enormous changes happening in the global film industry as well as political, economic, technological, social, and cultural transformations taking place in the region since the beginning of the millennium. An analysis of Hong Kong writer-director Aubrey Lam’s Anna & Anna (2007) uncovers how this film explores the divided psyche of a woman torn between “two systems” that model femininity for women in Singapore and Shanghai in the 21st century. Lam’s narrative touches on issues central to the work of many women working across the Chinese-speaking world including migration, labor relations, postcolonial and postsocialist identities, commodification of female bodies in consumer culture, cross-border sexualities, female desire and domesticity.

show abstract

Bibliography

2012

A Companion to Chinese Cinema

View full text Add to dashboard Cite

Women Through the Lens

Cited by 74 publications

References 0 publications

Powerful or Powerless? Women’s Power Levels in Contemporary Chinese Films

Powerful or Powerless? Women’s Power Levels in Contemporary Chinese Films

Where in the World are Chinese Women Filmmakers? Transnational China and World Cinema in the Twenty-First Century

Bibliography

Contact Info

Product

Resources

About