20220630 Culture 9 - Revision history

Zhang Guohao: /* Reference */

2022-07-07T16:30:04Z

Reference

Zhang Guohao: /* Reference */

2022-07-07T16:29:29Z

Reference

Zhang Guohao: /* Reference */

2022-07-07T16:27:34Z

Reference

Zhang Guohao: /* 英语笔译张国浩 Zhang Guohao 202170081606 */

2022-07-07T15:35:55Z

英语笔译张国浩 Zhang Guohao 202170081606

Zhang Guohao: /* 英语笔译张国浩 Zhang Guohao 202170081606 */

2022-07-07T15:26:39Z

英语笔译张国浩 Zhang Guohao 202170081606

Yang Xinyi: /* The diversity of female image */

2022-07-05T08:58:35Z

The diversity of female image

Yang Xinyi: /* 2 Female consciousness in Chinese movie */

2022-07-05T08:56:05Z

2 Female consciousness in Chinese movie

Yang Xinyi: /* 英语笔译杨心怡 Yang Xinyi 202170081604 */

2022-07-05T08:37:47Z

英语笔译杨心怡 Yang Xinyi 202170081604

Show changes

Yang Xinyi: /* 英语笔译杨心怡 Yang Xinyi 202170081604 */

2022-07-05T08:34:26Z

英语笔译杨心怡 Yang Xinyi 202170081604

Show changes

Zhang Minfeng at 06:05, 5 July 2022

2022-07-05T06:05:53Z

Show changes

@@ Line 462: / Line 462: @@
 *Luo Yingxia. 罗英侠. (2007). ''论网络语言对汉语言文化的影响'' [The Influence of Network Language on Chinese Language and Culture]. Luoyang: Henan University of Science and Technology 河南科技大学.
 *Xu Miaomiao. 许苗苗. (2009).电子语言: 创新结构与跨界应用 [Electronic Language : Innovative Structure and Cross-Border Applications]. ''文艺研究'' Literature and Art Studies (10).
-*Yang yingfa, Zhang Ji 杨英法, 张骥.(2017). 中华文化软实力提升与汉语弘扬间关系探讨 [The Discuss on the Relationship Between the Advance of Chinese Cultural Soft Power and the Promotion of Chinese]. 石家庄学院学报 Journal of Shijiazhuang University (4)106-110.
+*Yang yingfa, Zhang Ji 杨英法, 张骥.(2017). 中华文化软实力提升与汉语弘扬间关系探讨 [The Discuss on the Relationship Between the Advance of Chinese Cultural Soft Power and the Promotion of Chinese]. ''石家庄学院学报'' Journal of Shijiazhuang University (4)106-110.
 *Zhu Qinghe. 朱清河. (2011). 跨文化传播视角下中国传统文化智慧 [Chinese Traditional Cultural Wisdom from the Perspective of Intercultural Communication]. ''陕西师范大学学报'' Journal of Shaanxi Normal University (03):143-151.

@@ Line 462: / Line 462: @@
 *Luo Yingxia. 罗英侠. (2007). ''论网络语言对汉语言文化的影响'' [The Influence of Network Language on Chinese Language and Culture]. Luoyang: Henan University of Science and Technology 河南科技大学.
 *Xu Miaomiao. 许苗苗. (2009).电子语言: 创新结构与跨界应用 [Electronic Language : Innovative Structure and Cross-Border Applications]. ''文艺研究'' Literature and Art Studies (10).
 *Zhu Qinghe. 朱清河. (2011). 跨文化传播视角下中国传统文化智慧 [Chinese Traditional Cultural Wisdom from the Perspective of Intercultural Communication]. ''陕西师范大学学报'' Journal of Shaanxi Normal University (03):143-151.

@@ Line 456: / Line 456: @@
 ===Reference===
+*Cheng Liang, Yan Fuping. 程亮，颜复萍. (2010). 新媒体时代传统文化的传播特征与对策研究 [Research on the Communication Characteristics and Countermeasures of Traditional Culture in the New Media Era]. ''中华文化'' Chinese Culture (04):118-121.
+*Cao Xue. 曹雪. (2008). ''电子传播时代的媒介复古'' [Media Retro in the Era of Electronic Communication]. Linfin: Shanxi Normal University 山西师范大学.
+*Feng Wei. 冯薇. (2012). ''试析网络语言对现代汉语的冲击与影响'' [On the Impact of Network Language on Modern Chinese]. Guangzhou: South China Business College, Guangdong University of Foreign Studies. 广东外贸大学南国商学院.
+*Huang Xiaoqin, Huang Huang. 黄小琴，黄璜. (2011). 中国传统文化传播的绿色传播策略 [Green Communication Strategy of Chinese Traditional Culture Communication]. ''新闻与传播研究'' Journalism & Communication (11): 14-15.
+*Luo Yingxia. 罗英侠. (2007). ''论网络语言对汉语言文化的影响'' [The Influence of Network Language on Chinese Language and Culture]. Luoyang: Henan University of Science and Technology 河南科技大学.
+*Xu Miaomiao. 许苗苗. (2009).电子语言: 创新结构与跨界应用 [Electronic Language : Innovative Structure and Cross-Border Applications]. ''文艺研究'' Literature and Art Studies (10).
+*Zhu Qinghe. 朱清河. (2011). 跨文化传播视角下中国传统文化智慧 [Chinese Traditional Cultural Wisdom from the Perspective of Intercultural Communication]. ''陕西师范大学学报'' Journal of Shaanxi Normal University (03):143-151.
 ==英语笔译	张姣玲	Zhang Jiaoling	202170081607==

← Older revision		Revision as of 15:35, 7 July 2022
Line 453:		Line 453:

	In a word, Chinese language and culture has a long history, which has made great contributions to the progress of human civilization. The inheritance of traditional Chinese language and culture needs our continuous efforts. In the new media era, the electronic language is characterized by humor and vague context, which makes it a double-edged sword. Therefore, it will also have an impact on the traditional language and culture in the process of its development, which has both positive and negative sides. This requires the state and society to actively guide the electronic language. The formulation of laws and regulations, the popularization of education and the development of traditional media are all important measures to guide the healthy development of electronic language. It is believed that electronic language can coexist peacefully with traditional language and culture and develop together through continuous efforts of all parties in the near future.		In a word, Chinese language and culture has a long history, which has made great contributions to the progress of human civilization. The inheritance of traditional Chinese language and culture needs our continuous efforts. In the new media era, the electronic language is characterized by humor and vague context, which makes it a double-edged sword. Therefore, it will also have an impact on the traditional language and culture in the process of its development, which has both positive and negative sides. This requires the state and society to actively guide the electronic language. The formulation of laws and regulations, the popularization of education and the development of traditional media are all important measures to guide the healthy development of electronic language. It is believed that electronic language can coexist peacefully with traditional language and culture and develop together through continuous efforts of all parties in the near future.
		+
		+	===Reference===
		+
		+	*
		+	*
		+	*
		+	*
		+	*
		+	*
		+	*

	==英语笔译张姣玲 Zhang Jiaoling 202170081607==		==英语笔译张姣玲 Zhang Jiaoling 202170081607==

@@ Line 418: / Line 418: @@
 Firstly, the emergence of electronic language may make Chinese traditional language and culture be in danger of dating. Chinese traditional language and culture is the summary of experience of the continuous development of the Chinese nation. And it is also the national spirit gradually condensed in the long-term social practice. The language culture full of the fine tradition of the Chinese nation not only provided great power for the development of the Chinese nation in the past, but also will play an important role in the future of the Chinese nation. However, in today’s new media era, young students are the main users of electronic media. Since they are particularly sensitive to new things and electronic language has the characteristics of convenience, rapidity and image, it has a fatal attraction for young students who like to pursue new things. While they continue to create electronic language, they also continue to penetrate electronic language into their own lives, which makes Chinese traditional language and culture more and more distant from them. If things go on like this, it will inevitably lead to the dating of Chinese traditional language and culture, and make the future of traditional language and culture bleak.
-Secondly, the trend of vulgarization of some electronic language has produced cultural garbage. In the new media era, electronic language constantly pursues individuality and innovation. However,  there are also some shortcomings. The virtuality and obscurity of the network make it easy for both sides of the dialogue to relax or even unbridled in their communication, which results in the  uncivilized electronic language. Some electronic languages abuse other people or even carry out personal attacks with rude words and dirty words, losing the minimum civilization. And information surplus will produce information garbage, making people consume more time to filter the information. This is a manifestation of information pollution. All these phenomena will seriously affect people’s normal life ord
+Secondly, the trend of vulgarization of some electronic language has produced cultural garbage. In the new media era, electronic language constantly pursues individuality and innovation. However,  there are also some shortcomings. The virtuality and obscurity of the network make it easy for both sides of the dialogue to relax or even unbridled in their communication, which results in the  uncivilized electronic language. Some electronic languages abuse other people or even carry out personal attacks with rude words and dirty words, losing the minimum civilization. And information surplus will produce information garbage, making people consume more time to filter the information. This is a manifestation of information pollution. All these phenomena will seriously affect people’s normal life order. Nowadays, the vulgarization trend of electronic language is becoming more and more serious, and it begins to penetrate into the traditional media. If it is not guided as soon as possible, our traditional language and culture will be destroyed.
 ==英语笔译	张姣玲	Zhang Jiaoling	202170081607==

@@ Line 130: / Line 130: @@
 ===Literature Review===
 Chinese movie since the birth of a hundred years, there have been a large number of excellent movies, but also created a large number of rich connotation of the role of women, so for these roles of historical research and comparative study has become an academic research entry point.Zhang Xuqing believes that feminist movie is a part of contemporary movie art that must be valued.Feminist movie theory has been distinguished by philosophical concepts such as Marxism, Freudian theory, post-structuralism, etc., which have been popular since the 1970s, and a series of concepts such as "the other" and "deconstruction" originally belong to these theories.Reading was transplanted into feminism.They use these theories for the image of women in the movie and in the ideology of women's consciousness has been criticized, pointed out that women are patriarchal culture and distorted repression one side. These criticism beyond the past simple image analysis and the appearance of social and cultural analysis, is astute.Laura Mulvey's Visual Pleasure and Narrative movie is a classic of this analysis. In the thesis, the most important manifestation of the alienation of women in movies is the materialization of women as carriers of male desires, which, in Mulvey's words, is "women in movies as images and men as bearers of voyeurism."Feminist theory was introduced into Chinese movie criticism since the 1990s.In this process, Yang Yuanying played a more important role.In the context of "feminism and China women's movie," Old time women in ancient China is a history, in which women's consciousness melted away in a male-dominated society and individual families. Yang Yuanying took the movies directed by female directors as the research object, and made a detailed analysis of the narrative characteristics and spiritual structure of female movies.Yang Yuanying believes that female movies are very different from male movies from narrative to internal logic, reflecting women's own emotions, and that "Ghost Love" will become a living fable of feminism.This analysis is very in place, so far scholars for the "ghost" analysis and research did not go beyond this thesis.Xie Xiaoxia believes that women's directors are basically the topics of women's lives, emotions and so on as the subject matter. Although the performance style and narrative techniques vary, but the basic theme can be summed up in three points: Growth, reincarnation and temptation. For example, Xu Jinglei's mental maturity shown in Me and Dad and the maturity of women in emotion and social life experience shown in many works. Samsara is manifested as a change of mother and daughter's fate, that is, the commonality of mother and daughter's fate. Generally speaking, such expressions are historical, showing the influence of times and society on women through the change of mother and daughter's fate. Wu Xiaoli believes in her paper that, With the implementation of the market economy, women directors work in the infiltration of the market and ideological factors are becoming more and more obvious. In other words, that is, the works of the female consciousness gradually reduced, began to compromise and surrender to the patriarchal society. In the past, women write in some works there is still, but in a way that can be male audience and the market access women's movie is struggling in this difficult to move forward.Through the above-mentioned image of women in Chinese movies, we can see that the researchers provide a more fruitful results, they are not tightly satisfied with the theoretical analysis, but also to creative practice and case studies in the form of exposing the existence of the movie text of gender, culture and power differences. As Foucault has pointed out, like the movie also exists in the discourse of the struggle field. On the other hand, these studies also have some shortcomings, which is this article to work on.
-===The diversity of female image===
+=== 1 The diversity of female image===
 The new era for the creation of movie art provides a great social and cultural space, with the trend of cultural diversity. The development of female image also presents a diversified trend. In the 17 years of the movie, women are expressed as with the same group of men, so in which their sex is destroyed by mud.The so-called independence, but in fact is wiped to the female consciousness and in another identity into the ideological discourse. After entering the new period, the female body gradually be restored. But as a result of 17 years and the cultural revolution caused by the fracture between traditional and modern, China's female sex there is no way to find out the survival of self-awareness in modern society, so only to the history to find, so inn the early period of the new era, the image of women in the movie is mostly based on the image of his wife, mother and other inclusive, they are full enough to heal and moral expectations of people's desire.With the promotion of market economy and the change of women's economic status change, women’s desires and requirements to be publicized, women for their own positioning also gradually clear. In the eight or nine
 ten years of the movie, there are two types of female image is noteworthy, one is the image of independent women, two categories is the image of the lover on behalf of desire. Into the century, the influence of consumerism gradually penetrate. Cosumer characteristics become increasingly apparent, which is the emergence of consumer images of women. As the new era of movie works very much, and the limited space of this article, so can only select some representative works and image.This paper discusses the process and overall context of social change in the new era.
 .1Wife and Mother
 At the beginning of the new period, with the rise of scar literature and reflective literature, women were placed in the historical context to write. In the movie, women have the double identity of the strong and the weak. In the narrative discourse of the fourth generation of directors, women and men have experienced the cultural revolution, famine and other political and natural disaster damage, in front of the suffering of the irresistible, their nature is weak, but they also to the selfless and sacrifice aroused men around, from this perspective they are strong. As a result, this
-The image is also known as the "Mother of the Wife" image.The appearance of these women not only changed the narrative of integration in the period of seventeen years, but also completed the transcendence of the traditional moral women.The typical representative of this aspect is the Feng Qinglan in the Legend of Tianyun Mountain and Li Xiuzhi in the Wrangler. Xie Jin's 'Legend of Tianyun Mountain' can be regarded as the image of this wife and mother of the movie, because of its work shown
+The image is also known as the "Mother of the Wife" image.The appearance of these women not only changed the narrative of integration in the period of seventeen years, but also completed the transcendence of the traditional moral women.The typical representative of this aspect is the Feng Qinglan in the Legend of Tianyun Mountain and Li Xiuzhi in the Wrangler. Xie Jin's 'Legend of Tianyun Mountain' can be regarded as the image of this wife and mother of the movie, because of its work shown women's great tolerance and moral sense, this kind of women is also known as the image of the earth mother.In the day yunshan legend, the hero's identity is down and out scholar, although they were born in a scholarly family, has a very good culture, but the cruelty of political struggle but let them suddenly had nothing.In their down and out, xie jin arranged for a woman to save them. Xie Jin's arrangement, let the emergence of women with a strong sense of mission.In Xie Jin's works, women are not only lovers and wives, but also protectors of men.Their forbearance, strength, tolerance and generosity have established a harbor of expectation for men.Despite the storm or political struggle outside, but when the door was closed at that moment, everything is insignificant, The warmth of family removed everything.In fact, the emergence of this image is actually a male expectations, contains men in frequent complex political struggle after the exhaustion of seeking spiritual comfort and the idea of sustenance.
-Women's great tolerance and moral sense, this kind of women is also known as the image of the earth mother.In the day yunshan legend, the hero's identity is down and out scholar, although they were born in a scholarly family, has a very good culture, but the cruelty of political struggle but let them suddenly had nothing.In their down and out, xie jin arranged for a woman to save them. Xie Jin's arrangement, let the emergence of women with a strong sense of mission.In Xie Jin's works, women are not only lovers and wives, but also protectors of men.Their forbearance, strength, tolerance and generosity have established a harbor of expectation for men.Despite the storm or political struggle outside, but when the door was closed at that moment, everything is insignificant, The warmth of family removed everything.In fact, the emergence of this image is actually a male expectations, contains men in frequent complex political struggle after the exhaustion of seeking spiritual comfort and the idea of sustenance.
+As we can see, in the day yunshan legend, when Feng Qing Luo Qun take back with a scooter, actually like a mother, accepted his son abandoned by society.And when Luo Qun was political recognition, Feng Qing years old has passed away.Therefore, Xie Jin with his deep lens language constantly shooting Feng Qing When I was young photos, rags vest, small wooden bridge, etc., line sent his praise for Feng Qingwei. Xu Lingjun in The Wrangler, like Luo Qun, is also a political exile.In xiu-zhi li appeared later, Xu Lingjun re-ignited hope for life. Xu Lingjun and Li Xiuzhi married and had children, Li Xiuzhi also Xu Lingjun's life is taken care of meticulously.  Li Xiuzhi also has the characteristics of Mother Earth. She is not only diligent in keeping the house, but also dissolves Xu Lingjun's unhappy mood with her gentleness.
- As we can see, in the day yunshan legend, when Feng Qing Luo Qun take back with a scooter, actually like a mother, accepted his son abandoned by society.And when Luo Qun was political recognition, Feng Qing years old has passed away.Therefore, Xie Jin with his deep lens language constantly shooting Feng Qing When I was young photos, rags vest, small wooden bridge, etc., line sent his praise for Feng Qingwei. Xu Lingjun in The Wrangler, like Luo Qun, is also a political exile.In xiu-zhi li appeared later, Xu Lingjun re-ignited hope for life. Xu Lingjun and Li Xiuzhi married and had children, Li Xiuzhi also Xu Lingjun's life is taken care of meticulously.  Li Xiuzhi also has the characteristics of Mother Earth. She is not only diligent in keeping the house, but also dissolves Xu Lingjun's unhappy mood with her gentleness.
+At the same time, it should be noted that Li Xiuzhi appears as a positive role in the movie, which also implies the affirmation of a mainstream discourse. Therefore, Li Xiuzhi said,"I have settled the rebellion for him since the day of marriage." After the vindication, Xu Ling has the qualification to inherit the property of his father. But he flatly refused. This is the thought that she has been in Li Xiuzhi's body to find the position of mother and father, so his break with his father is not only a moral break, but also means that the psychological level of break. In addition, there were many similar roles appear. They and men together, as men in different periods of different needs of the materialization, bear different historical functions. In short, in the affirmation of these women, their connotation and value of the image at the same time, need to see their value is based on the men and show her perseverance and suffering is to forgive men and happiness. Obviously, this woman's reversion was revealed. Women were banished to a history. In years later, these images gradually launched the screen, and with the fifth with the rise of acting directors, some new female images began to appear in people's vision.
 At the same time, it should be noted that Li Xiuzhi appears as a positive role in the movie, which also implies the affirmation of a mainstream discourse. Therefore, Li Xiuzhi said,"I have settled the rebellion for him since the day of marriage." After the vindication, Xu Ling has the qualification to inherit the property of his father. But he flatly refused. This is the thought that she has been in Li Xiuzhi's body to find the position of mother and father, so his break with his father is not only a moral break, but also means that the psychological level of break. In addition, there were many similar roles appear. They and men together, as men in different periods of different needs of the materialization, bear different historical functions. In short, in the affirmation of these women, their connotation and value of the image at the same time, need to see their value is based on the men and show her perseverance and suffering is to forgive men and happiness. Obviously, this woman's reversion was revealed
 .2 Independent Female
 In the late nineties, China appeared to work hot and hot to go abroad, a group of women in the era of inspiration get out of your home and find your place in society.They like men, the success of the career as the my value realization scale. At the time of the TV series, this theme is very common, but in the movie such female image is less.In this kind of female image of the movie, a warm to listen to the "sand bird" and huang shu sequence of "ghost" is a typical representative.
- Movie sand hired is about the China women's volleyball team's main players sand step due to illness failed to participate First Volleyball International Championship.This is full of ideal sand is not acceptable, so the sand better constantly training hard, hope to be able to take part in the game.Sata was finally allowed to compete and won the silver medal, but she not relegated to this. Still want to try to win the championship. The image of Shahe not only reflects the charm of the individual, but also perfectly combines with the spirit of the times in the 1980s. In the movie, Sha Juan's boyfriend Shen Wei was killed in the process of climbing Mount Everest. Under this blow, Sha Ta chose to cheer up and eventually became the coach of the women's volleyball team.For the sand cuckoo, this choice is not only personal, but also national.In the preface to Huang Shu's Ghost Love, the actress Qiu Yun is also an artistic image worth mentioning. Huang Shuxu in the movie created the actress Qiuyun this independent, spicy, firm actor image.In the movie, Qiu Yun is a career pursuers. Qiu Yun from an early age to learn drama, the purpose is to seek their own self-help. His father did not allow Qiu Yun to learn drama, but was eventually moved by Qiu Yun, personally taught her, so that her career has a good start. Indeed, the movie showed the pressure faced by Qiu Yun, but Huang Shu Xu stressed that this movie focuses on Qiu Yun for their own destiny of the active choice.
+Movie sand hired is about the China women's volleyball team's main players sand step due to illness failed to participate First Volleyball International Championship.This is full of ideal sand is not acceptable, so the sand better constantly training hard, hope to be able to take part in the game.Sata was finally allowed to compete and won the silver medal, but she not relegated to this. Still want to try to win the championship. The image of Shahe not only reflects the charm of the individual, but also perfectly combines with the spirit of the times in the 1980s. In the movie, Sha Juan's boyfriend Shen Wei was killed in the process of climbing Mount Everest. Under this blow, Sha Ta chose to cheer up and eventually became the coach of the women's volleyball team.For the sand cuckoo, this choice is not only personal, but also national.In the preface to Huang Shu's Ghost Love, the actress Qiu Yun is also an artistic image worth mentioning. Huang Shuxu in the movie created the actress Qiuyun this independent, spicy, firm actor image.In the movie, Qiu Yun is a career pursuers. Qiu Yun from an early age to learn drama, the purpose is to seek their own self-help. His father did not allow Qiu Yun to learn drama, but was eventually moved by Qiu Yun, personally taught her, so that her career has a good start. Indeed, the movie showed the pressure faced by Qiu Yun, but Huang Shu Xu stressed that this movie focuses on Qiu Yun for their own destiny of the active choice.
-For the emergence of independent female images during this period, Dai Jinhua(2000) said,"If we say that in contemporary literary circles, many women writers pursue and create their works of women’s style or become a deliberate, or not to do the women's strategy; In the movie world, the emergence of female style has become a mark of historical progress and a step in the difficult emergence of invisible women. Interestingly, most of their movies share the same cultural and social themes as the male directors of the same generation, but because of the selection of female stories and the unexpected entry and disclosure of female life experiences, they have translated and rewritten them into a female version. "This sentence affirms the efforts of female directors in creation. Pointed out that the previous works of women into the social stage when the neglect of their own gender identity.
+For the emergence of independent female images during this period, Dai Jinhua(2000) said,"If we say that in contemporary literary circles, many women writers pursue and create their works of women’s style or become a deliberate, or not to do the women's strategy; In the movie world, the emergence of female style has become a mark of historical progress and a step in the difficult emergence of invisible women. Interestingly, most of their movies share the same cultural and social themes as the male directors of the same generation, but because of the selection of female stories and the unexpected entry and disclosure of female life experiences, they have translated and rewritten them into a female version. "This sentence affirms the efforts of female directors in creation. Pointed out that the previous works of women into the social stage when the neglect of their own gender identity. We admit this period of independent female image reflects the women in the process of entering society, the pressures and obstacles faced, but also concerned about their adherence to their own values. This makes their image three-dimensional up.
 We admit this period of independent female image reflects the women in the process of entering society, the pressures and obstacles faced, but also concerned about their adherence to their own values. This makes their image three-dimensional up.
 ===2 Female consciousness in Chinese movie===
 After combing the female images in the movies of the new period, the process of female images gradually becoming full is actually the process of female consciousness awakening. As far as the relationship between female consciousness and female image is concerned, the deeper female consciousness is, the fuller female image will be the image of women in the movie in the new era, although different from the past, but both are grown in China culture. However, in the new era, some new values and elements also take on new connotations. The new period movie began to women's self in-depth table.

@@ Line 148: / Line 148: @@
 After combing the female images in the movies of the new period, the process of female images gradually becoming full is actually the process of female consciousness awakening. As far as the relationship between female consciousness and female image is concerned, the deeper female consciousness is, the fuller female image will be the image of women in the movie in the new era, although different from the past, but both are grown in China culture. However, in the new era, some new values and elements also take on new connotations. The new period movie began to women's self in-depth table.
 Now, women's self-reliance, self-esteem and self-respect side was presented in front of the audience. And women are beginning to realize that since reputation and achievement, try to get rid of the influence of patriarchal consciousness, with their own efforts.
 .1 Female Identity Consciousness
-In Second Sex, Beauvoir pointed out that women are not naturally occurring, but by social construuction. In the Chinese calendar history, the influence of patriarchy is very long, women in history is far away from the political and cultural center, is suddenly depending on the secondary. In Macro view, the center of the history of discourse is mastered by men, they become history set, women tend to appear in the image of the foil, is absent on the stage of history. At home family environment, the male is also the core of the family and the family, women became a reproductive tools. After her death, women still have no right to speak, as the so-called "husband died from the child."If we want to understand the relationship between men and women, we must discuss the concept of "home."It is well known that the family is made up of men and women, and that the history of the family constitutes the history of the nation and of mankind.In China traditional culture, the family is the foundation of the country and has an equally important position.Home country is regarded as a world expression of the whole and put forward by the power discourse, it is not only the basic form of China traditional social structure, but also the root of China culture and national psychology.In a family, women's identity is generally wife, mother and daughter, which is a kind of orientation of women's identity.Because men struggle outside, when men struggle frustrated, back home, women will assume the role of the soother.And if men are facing the test of life and death, so women are the saviors.From the perspective of this division of labor and role orientation, women were imprisoned in the home and became the victim of the patriarchal system.In the new period of the movie, women also play the role of the savior, but should see the female of this period sex rescuer role is in the context of ideological emancipation, is the identity and status of women are covered after complex.Now under the background of the movie, this rescue directly against the damage caused by the Cultural Revolution, it has distinct characteristics of the times.As the analysis of this article before, as this period of women's salvation is not pure the essence is to return to the traditional, they show is mainly a kind of personal spiritual pursuit and choice.In Legend of Tianyun Mountain, Feng Qingjian's love for Luo Qun comes from her worship of intellectuals, while in Horse Shepherd, Li Xiuzhi’s extreme rescue of Xu Lingjun is also because Xu Lingjun is the person she really likes. Therefore, this kind of salvation can not be simply understood as the virtue of traditional women, because this idea can only appear in the specific context of the new era. Although the two image is art, but certainly at the time China's hundreds of millions of people, must have a large number of women like set feng and xiu-zhi li, and these women in the previous era is difficult to appear. The ultimate significance of the emergence of this image is that in the past, they are not described as a single revolutionary role, but through this identity they have returned to the position of women, to find their own female identity. In other words, that is, as this section emphasizes, save the ideas and consciousness of female identity with the confluence. In Dai Jinhua's words, it is "if we say that women originally did not have their own language, always struggling the control of male culture and language. " If we say,"Hua Mulan type situation," is the modern female common face of gender, self predicament; In order to get out of the predicament of "Hua Mulan," women return to their families and become mothers, wives and daughters, which actually indicates the awakening of women's identity consciousness. Of course, we should see the strategy of this expression.
+.1 Female Identity Consciousness
- In fact, after the end of the Cultural Revolution, in the continuous development of society, women are considered to be weak by society, and thus they do not have to struggle outside, it should be back to the family Xiangfujiaozi. It is through this description, women from the family to find their own value. As the analysis of this article before, in Xie Jin's movie , as the officer of the heroine eventually return to the family, became the mother and wife, it is also a scratch to save a representation of the fusion of knowledge and female identity consciousness.
-.2 Independent consciousness
+In Second Sex, Beauvoir pointed out that women are not naturally occurring, but by social construuction. In the Chinese calendar history, the influence of patriarchy is very long, women in history is far away from the political and cultural center, is suddenly depending on the secondary. In Macro view, the center of the history of discourse is mastered by men, they become history set, women tend to appear in the image of the foil, is absent on the stage of history. At home family environment, the male is also the core of the family and the family, women became a reproductive tools. After her death, women still have no right to speak, as the so-called "husband died from the child."If we want to understand the relationship between men and women, we must discuss the concept of "home."It is well known that the family is made up of men and women, and that the history of the family constitutes the history of the nation and of mankind.In China traditional culture, the family is the foundation of the country and has an equally important position.Home country is regarded as a world expression of the whole and put forward by the power discourse, it is not only the basic form of China traditional social structure, but also the root of China culture and national psychology.In a family, women's identity is generally wife, mother and daughter, which is a kind of orientation of women's identity.Because men struggle outside, when men struggle frustrated, back home, women will assume the role of the soother.And if men are facing the test of life and death, so women are the saviors.From the perspective of this division of labor and role orientation, women were imprisoned in the home and became the victim of the patriarchal system.In the new period of the movie, women also play the role of the savior, but should see the female of this period sex rescuer role is in the context of ideological emancipation, is the identity and status of women are covered after complex.Now under the background of the movie, this rescue directly against the damage caused by the Cultural Revolution, it has distinct characteristics of the times.As the analysis of this article before, as this period of women's salvation is not pure the essence is to return to the traditional, they show is mainly a kind of personal spiritual pursuit and choice.In Legend of Tianyun Mountain, Feng Qingjian's love for Luo Qun comes from her worship of intellectuals, while in Horse Shepherd, Li Xiuzhi’s extreme rescue of Xu Lingjun is also because Xu Lingjun is the person she really likes. Therefore, this kind of salvation can not be simply understood as the virtue of traditional women, because this idea can only appear in the specific context of the new era. Although the two image is art, but certainly at the time China's hundreds of millions of people, must have a large number of women like set feng and xiu-zhi li, and these women in the previous era is difficult to appear. The ultimate significance of the emergence of this image is that in the past, they are not described as a single revolutionary role, but through this identity they have returned to the position of women, to find their own female identity. In other words, that is, as this section emphasizes, save the ideas and consciousness of female identity with the confluence. In Dai Jinhua's words, it is "if we say that women originally did not have their own language, always struggling the control of male culture and language. " If we say,"Hua Mulan type situation," is the modern female common face of gender, self predicament; In order to get out of the predicament of "Hua Mulan," women return to their families and become mothers, wives and daughters, which actually indicates the awakening of women's identity consciousness. Of course, we should see the strategy of this expression.In fact, after the end of the Cultural Revolution, in the continuous development of society, women are considered to be weak by society, and thus they do not have to struggle outside, it should be back to the family Xiangfujiaozi. It is through this description, women from the family to find their own value. As the analysis of this article before, in Xie Jin's movie , as the officer of the heroine eventually return to the family, became the mother and wife, it is also a scratch to save a representation of the fusion of knowledge and female identity consciousness.
 The development of the new era has given people to change the reality of expectations and opportunities, so women are increasingly willing to seize this opportunity. So when the background of the whole narrative with society to replace the family, women want to be able to prove that they can because of a place in social affairs and qualified in the family as well as men.For example, in Middle Age, Liu Wenting shoulders the pressure of family and career, not only to face up to the plight of women, but also to safeguard the role of wife and mother.Lu Wenting's image profoundly shows the double confusion faced by women in life and work.In Zhou Xiaowen's "Second Aunt," the significance of the second aunt is that she has been eager to get rid of the influence of male values, and the television has become the most distinctive symbol in the movie.At the same time two aunts also has another identity--the lover of the blind.In the pursuit of mother, family, career identity, the pressure faced by the second aunt is palpable.And the same wavelength of the final outcome, though helpless, but her pursuit is valuable from the new era of the movie as a whole, for the discussion of these issues has become a mainstream in the field of movie.The words.Using art to reflect society has also become the pursuit of some directors.At the same time, women also open beginning for some reflection and analysis of their own.The reflection of women have a very distinct personality, also to have their own skills, to be able to live independently and from the bondage of men, so as to realize the value of self.
 For example, in the ghost, autumn non-success in order to escape the fate of women and play men, as the doors, this became a classic metaphor for women to escape. In the 'sand raven', the sand is also faced with career and family dilemma. In addition,Daughter House,Childhood Friends,Youth Festival and other movies, women are faced with the pressure of this dual force, so their struggle also appears to be extremely decisive.In general, this period of women in the process of moving towards society to strengthen self-awareness, self-realization and value has become a driving force for their struggle. Although most of their struggles have experienced great hardships and pain, and most of the struggle is also a failure as the outcome, but their pursuit of the spirit and enthusiasm has never changed. It can be seen that the new era of movie from the original in accordance with the standards of men to express the awakening of women to women's consciousness, body reveal the process of women's pursuit of self-improvement, the expression of women's consciousness in the movie in the new era to a new situation.
 ===Conclusion===
 Before the New Age, the most characteristic feature of the portrayal of women in Chinese cinema was the integration of a single "revolutionary" woman as the classic representative of subjectivity. The single 'revolutionary' image of women became the classic representation of subjectivity. These images embodied the gender consciousness of "gender equality".But in the call of the times for 'equality', women lost their gender identity and became masculine images. These images reflect the existence of a gender consciousness of 'equality between men and women', but in the call of the times for 'equality' women lose their gender identity and become masculine.Since the beginning of the new era, the portrayal of women in Chinese cinema has undergone a historical transformation. The image of women and gender narratives gradually reveal gender. The difference between the sexes gradually emerged in the portrayal of women and gender narratives. The first is the emergence of the 'Madonna' image, which began in the 1930s.The image of the Madonna has a strong sense of relief and salvation, as she uses her body and mind to save men from the suffering of history. The connotation of this giving is not a replication of traditional virtues, but rather an autonomous identification and choice of the object of their giving. They have the autonomy to identify and choose their own objects of giving.After a new period of transformation in the image of women and their consciousness, new gender relations are being constructed and positioned in Chinese cinema, especially with regard to the definition of women, which is entering the world of thought at an unprecedented pace. There is every reason to believe that with the development of the times, the image of women and women in Chinese cinema will certainly make greater progress.

20220630 Culture 9 - Revision history

Zhang Guohao: /* Reference */

Zhang Guohao: /* Reference */

Zhang Guohao: /* Reference */

Zhang Guohao: /* 英语笔译 张国浩 Zhang Guohao 202170081606 */

Zhang Guohao: /* 英语笔译 张国浩 Zhang Guohao 202170081606 */

Yang Xinyi: /* The diversity of female image */

Yang Xinyi: /* 2 Female consciousness in Chinese movie */

Yang Xinyi: /* 英语笔译 杨心怡 Yang Xinyi 202170081604 */

Yang Xinyi: /* 英语笔译 杨心怡 Yang Xinyi 202170081604 */

Zhang Minfeng at 06:05, 5 July 2022

Zhang Guohao: /* 英语笔译张国浩 Zhang Guohao 202170081606 */

Zhang Guohao: /* 英语笔译张国浩 Zhang Guohao 202170081606 */

Yang Xinyi: /* 英语笔译杨心怡 Yang Xinyi 202170081604 */

Yang Xinyi: /* 英语笔译杨心怡 Yang Xinyi 202170081604 */