The quieter side of Chinese feminism : The feminist phenomenology of Li Yu’s films

다국어 초록 (Multilingual Abstract)

2015年春晚引发的风波说明中国女性主义需要采取一种不同于西方女性主义的方法, 需要运用更柔和或更安静的声音。现象学方法是本文剖析中国女性主义的理论依据。李玉影片的现实呈现不仅使观众认识到了某些问题, 而且赢得了他们的同情, 激发了对妇女问题的讨论。本文仔细研究了李玉的两部影片《红颜》和《苹果》, 发现影片反映了诸多当代中国的女性问题, 例如少女怀孕、堕胎、父权、强奸、家暴、性交易、一夫一妻制、忠贞、二奶、小三、出逃结局等等。因此我们得出结论: 中国妇女在影视中的呈现开拓了中国妇女的话语权。

다국어 초록 (Multilingual Abstract)

An analysis of the 2015 Spring Gala indicates that Chinese feminism needs to assume a softer or quieter voice compared with western feminism. The phenomenological approach is employed as the paper’s theoretical framework to understand Chinese feminism. Li Yu’s realistic representation in her films not only elicits recognition but also empathy from the audience, stimulating a progressive discourse in women’s issues in China. Her two films, Hong Yan and Lost in Beijing, are closely scrutinized. These present issues of teen pregnancy, abortion, patriarchy, rape, domestic violence, sex trade, monogamy, fidelity, er nai (lit. second breast; fig. second wife), xiao san (lit. little three; fig. mistress)1 and escape as a solution. With this examination, we conclude that media representation about women in China is leading to greater discourse on women’s rights.

목차 (Table of Contents)

• Introduction
• Phenomenology and the role of film in cultural representation
• Hong yan and Lost in Beijing: Two stories of Chinese women
• The phenomenology of Hong yan
• The phenomenology of Lost in Beijing
• The phenomenology of escape as a solution
• Conclusion
• References
• Abstract in Chinese

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