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Investigating Narrative Cinema with Female Protagonists Directed

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Investigating Narrative Cinema with Female Protagonists Directed Being Feminist as a Discourse? Investigating Narrative Cinema with Female Protagonists Directed by Chinese Post-Fifth-Generation Filmmakers Yin Huang A thesis submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Cultural Studies The University of Canterbury 2012 Abstract Since the naming of the Chinese Fifth Generation in the 1980s, generational study became an important methodology in Chinese film studies. The Chinese directors up to the mid-1980s are categorised into five generations. However, the directors emerging after the Fifth Generation do not so far have a certain generational name. Thus, the identification of this “nameless” group, which is called the post-fifth generation in this thesis, is an interesting issue reflecting the political, economical and cultural discourse in contemporary China. This thesis focuses on these directors’ films narrated with female protagonists, probes the reason why they chose female-centred narratives, and examines how they portrayed women and women’s stories in their filmic representation. In the light of Foucault’s theories of discourse and power, I examine the films as a kind of representation which is generated within discursive formation, and through which the directors identify themselves. The conclusion reached by the discussion is that both the female and the male directors studied in this thesis present very feminine discourse in their films. While the female directors are emphasising, even advertising their identity as women, their male counterparts are trying very hard to simulate and perform a feminine identification. This finding exactly answers the question in the thesis title. Since femininity is something that can be chosen, simulated, used, and played, the word “feminist” can also become a cultural brand from which the directors can benefit. I Acknowledgement I would like to first thank my supervisor, Dr. Adam Lam, who introduced me to New Zealand, picked me up at Christchurch airport, and inspired me to adopt my thesis topic. He and his excellent work always encouraged and supported me to finish this thesis in a second language. I would also like to thank Dr. Mary Wiles, my associate supervisor. As a woman and a westerner, she always provided me with some inspiring ideas from a point of view differing from Adam’s. I am particularly grateful to Dr. Peter Low who selflessly offered me invaluable help in proofreading my thesis. In my eyes, he is a typical kiwi guy in Christchurch, always happy to help others. His help is significant to my thesis. Then I would like to thank all my friends and fellow students. They have brought colour, courage and inspiration to my life which helped me through a time when I was down and lonely. A special thank you to Kelly, Sarah and their family. When we three were living together, they looked after me like sisters. They gave me a home away from home. Moreover, Kelly is always the initial proofreader of my drafts. Finally, I would like to thank my dear husband Glenn, who knows how to make me confident when I doubt myself, and how to make me happy when I am down. Kia ora koutou! Thank you!! II Contents Abstract ........................................................................................................... I Acknowledgement .......................................................................................... II List of Abbreviations ..................................................................................VII Chapter 1 Introduction ......................................................................................................1 1.1 Defining the Post-Fifth Generation 1.2 Major Research on Post-Fifth-Generation to Date 1.3 Research Scopes and Research Questions 1.4 Methodology 1.5 Terminology Chapter 2 A Feminine Discourse: Representation, Seduction and Identification .............................................36 2.1 Composing Filmic Discourse 2.2 Identification through the Filmic Discourse 2.3 Gaze and Seduction 2.4 Masquerade Play of Identities III Chapter 3 The Raped Women: Is There a Lesbian Statement? ......................................................................68 3.1 Review of “Women’s Film” in Mainland China after 1949 3.2 Synopsis of the Selected Films 3.3 Is It Queer? 3.4 Is It Real? 3.5 “Ethical” or “Revolutionary” Narrative? Chapter 4 Where Have All the Men Gone? The Women’s Stories with the Men’s Absence .......................................... 114 4.1 Synopsis of the Selected Films 4.2 Stories Uniquely for Women 4.3 Declining the Male “Gaze” 4.4 Is There a Female Spectator? 4.5 An Isolated World for Women: Is It an Achievement After All? Chapter 5 Melancholy Songs of Women: Women’s Tragedies Directed by Women ...................................................150 5.1 Synopsis of the Selected Films IV 5.2 Another Gaze: All about Her 5.2.1 Her-story: a sober narrative 5.2.2 To gaze for my identity 5.3 (Auto)Biography?! My-Story of the Other 5.3.1 On both sides of the lens 5.3.2 Docility or strategy: gazing as the Other 5.4 Belle Director: Legend of Talented and Beautiful Women Chapter 6 Make a Choice for Me, My Lady! The Male Bewilderment Hidden in the Female Images ...........................188 6.1 Synopsis of the Selected Films 6.2 Theme of the Chinese Veronique: Personal Passion and the City 6.3 Double Tasks of the Chinese Veronique: Avatar and Object 6.4 The Double Life of Chinese Veronique: the Marginalised or the Mainstream Chapter 7 How Close to Independence? After the (Self-)Proclaimed Independent Directors “Return Home” ...230 7.1 An Introduction to the Contemporary Independent Films in Mainland China 7.2 Synopsis of the Selected Films 7.3 An Awkward Film about an Awkward Woman V 7.3.1 Cynthia’s bewildering dilemma 7.3.2 When the cinematic-ness encounters the climate-sickness 7.3.3 Is it possible to cut both ways? 7.4 March on, My Girl! Destination: Home 7.4.1 From prison to home 7.4.2 From a son to a daughter 7.4.3 From an intellectual to a secularist 7.5 Independent or Not: It Is Still an Identity Issue Chapter 8 Discourse of the Weak Son’s Generation: Women’s Floating Love Life during Transitional Times..........................276 8.1 Synopsis of the Selected Films 8.2 Hide and Seek: Is She the (Only) Narrator? 8.3 Woman, Romance, or History? 8.4 When I Was Young and Weak … Conclusion ....................................................................................................312 Appendix: A Brief Review of Chinese Film ...............................................324 Filmography .................................................................................................361 Bibliography .................................................................................................381 VI List of Abbreviations Hanyu Pinyin Abbreviation English Chinese Original Romanisation Beijing Dianying BFA Beijing Film Academy 北京电影学院 Xueyuan The Central Academy of Zhongyang Xiju CAD 中央戏剧学院 Drama Xueyuan Chinese Central TV Zhongyang CCTV 中央电视台 Station Dianshitai Zhongguo CCP Chinese Communist Party 中国共产党 Gongchandang KMT Kuo Ming Tang 中国国民党 Guomingdang People’s Republic of Zhonghua Renmin PRC 中华人民共和国 China Gongheguo The State Administration Zhongguo Guojia 中国国家广播电 SARFT of Radio, Film and Guangbo Dianying 影电视总局 Television of China Dianshi Zongju VII Chapter 1 Chapter 1 Introduction 1.1 Defining the Post-Fifth Generation Film was introduced to China in the 1890s by French, American and Spanish showmen. The first recorded screening of a motion picture in China occurred in Shanghai on August 11, 1896, as an “act” on a variety bill. The Chinese participation in film production started with documentary filmmaking: a recording of Beijing Opera Conquering Jun Mountain (定军山, Dingjunshan, dir. Ren Qingtai, 任庆泰) was made in November 1905 as the first Chinese film.1 “As if by coincidence, the opera movie as a distinguished Chinese genre came into being.”2 However, Chinese filmmaking as an industry did not begin until 1912, when Zhang Shichuan (张石川) and Zheng Zhengqiu (郑正秋) cooperated with the Americans in charge of the Asia Company (亚细亚影戏公司, Yaxiya yingxi gongsi, set up by Benjamin Brasky in 1909) and produced The Difficult Couple (难夫难妻, Nanfunanqi, dir. Zhang Shichuan, 1913). Since its first attempt at filmmaking with Conquering Jun Mountain, Chinese cinema has accumulated a history of more than one hundred years. During these years, Chinese cinema has developed from a cluster of family businesses to a market of competing studios and theatres, has survived war devastation and government interference, and has enriched cinematic arts with ingenious narratives and visual 1 Martin Geiselmann, “Chinese Film History: A Short Introduction” (The University of Vienna- Sinologie Program, 2006), accessed July 20, 2011, http://www.univie.ac.at/Sinologie/repository/ueLK110_ChinFilmgesch/filmgeschichteSkript.pdf. 2 Zhang Yingjin, “Industry and Ideology: A Centennial Review of Chinese Cinema”, World Literature Today 77 (Oct.-Dec. 2009): 8. 1 Chapter 1 inventions. Despite being launched later than its European and American counterparts, Chinese cinema has become a significant player in the international film arena by regularly receiving top awards at various international film festivals and stepping into the international film market. Since this thesis will focus only on the Chinese language features made by directors born and raised in mainland China, those Chinese language films made in Hong Kong, Taiwan or other territories are not discussed. From
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