Women Through the Lens: Gender and Nation in a Century of Chinese Cinema

Index [Includes Back Cover]

Index A A Cheng, 104 Ai Xia, 23 Althusser, Louis, 53, 203 Army Nurse (Nüer lou), xxiii, xxvi, 200 female point of view: cross-cultural analysis, 205; personal desire through point of view shots, 206–207; political censorship, 210; spatial division, 208; spectatorship, 207; as viewing subject, 204 female voice: different voices, 215; disjunction between image and voice, 212, 213, 214; narrated monologue, 216; relation to female authorship, 215–216; silence, 217; the speaking subject, 211, 212 public and private discourse: process of interpellating, 203; public and private sphere, 209 Arzner, Dorothy, xviii Azalea Mountain (Dujuan shan), 69 B Be There or Be Square (Bujian busan), 246 Beijing opera, 6, 151, 153 Berry, Chris, 63, 119, 207 Big Road (Da lu), 119 Black Mountain Road, The (Heishan lu), 112, 115 Blue Kite (Lan fengzheng), 106, 107–108 Blush, 243 Branigan, Edward, xxiv, 200 C Cai Chusheng, 20–23, 40 Chatman, Seymour, xxiv Chen Kaige, xxi. See also Farewell My Concubine Chen Xiaomei, 65, 76; Occidentalism, 76, 78 Chen Xihe, 5 Chen Yanyan, 46 Cheng Bugao, 10 Cheung, Maggie, xxii, 30, 33, 34–35 Childbearing, 163–164 Chow, Rey, 106, 111, 129, 171 Cinema of the other, 115; in academic writings, 117; Fredric Jameson’s comments, 116–117; Homi Bhabha’s arguments, 117 Class: collective identity, 54, 79; difference, 82; overpowering of gender relations, 56–57 Cold War, xii, 74 Conquering Jun Mountain (Ding junshan), 5 Consensus and collectivity, 200 Cross-cultural analysis: feminist perspectives, 118–119; problems, 118 Cross-dressing, 160 Cultural Revolution, 64, 65, 100, 108, 151–152 D Dafoe, Willem, 246 Dai Jinhua, 180 Dai Qing, 172 Days since I Left Lei Feng, The (Likai Lei Feng de rizi), 246 De Lauretis, Teresa, xvii, xix Derrida, Jacques, xxii “Diary of Miss Sophia, The” (Shafei nushi de riji), 19 Difficult Couple, The (Nanfu nanqi), 7 Ding Ling, 19 Dirlik, Arif, 72 Dislocation (Cuo wei), 102 Document and documentary: contradiction, 44–46; relation, 44 Dong Kena, 181; Who Is the Third Party? (Sheishi disanzhe), 181–182 Dozoretz, Wendy, xviii E Early film production, xi, xiv, 4, 239 East Palace, West Palace (Donggong xigong), 247–248 Economic reform, xiii Elsaesser, Thomas, 115 Emperor and the Assassin, The, 121 Ermo, 112, 114 Evans, Harriet, 176 F Farewell My Concubine (Bawang biji), xxi, xxiii, xxv, 106, 110–111, 112, 120, 152–153, 242 corporal punishment: the body, 155–156; in Chinese tradition, 155; internalization, 156; punishment as spectacle, 155; social position, 156–157 costume as mask: audience perception, 158; as disguise, 158; homosexuality, 159; as metaphor, 160; on and off stage, 159; opera tradition, 157; self and role, 157, 160 gender relation: Juxian with Dieyi, 164–166, 167; Juxian with Xiaolou, 161–164 symbolic castration: Freudian concept, 153; relation between personal loss and historical trauma, 154; spectacle, 154 Fei Mu, 28, 240 Female: consciousness, 200; experience, 219; impersonation, 150, 166; sexuality, 127; subjectivity, 79 Female image: in male desires, 161; socially repressed and sexually seductive, 113; and Western audience, 167 Feminism and nationalism, 176 Feminism and postmodernism: compatibilities and contradictions, 31; postcolonial Hong Kong and postsocialist China, 32 Feminism with “Chinese characteristics”: in the discourse of nationalism, 174–176; explained by Li Xiaojiang as an ontological construction, 173; from a historical perspective, 174; from a Marxist perspective, 173–174, 175 Feminist film criticism: Chinese women’s responses to, 172; the concept of sexual difference, xvi, 79; conflicting voices, 172; the construction of gender, xvii; a constructive defining of women’s cinema, xviii; a deconstructive rereading of classical cinema, xvii; problems and challenges, xix; questioned in China, xix; transnational, xx, xxi, 177 Feng Xiaogang, 246 Fifth generation film directors, 99; autobiographical accounts, 100; end of generation, 121–122; perception of their films, 103; transition, 104–105; their works, 101–103 Fliterman-Lewis, Sandy, xviii Foreign distribution and exhibition, 5 Friedman, Susan Stanford, 176 G Gender: denial of sexual difference, 55, 183–184; difference, 114; INDEX 300 gender equality, 56; genderless symbol under the socialist system, xiii; historical review, xiii–xvi; image of modern woman, xiii; and nation, xiii; representation, 12–13; sexual commodity in the era of economic reform, xiii; women’s liberation, 55 German cinema, 115 Girl in Disguise, The (Huashen guniang), 12 Goddess (Shennü), 16–18, 239 Gong Li, 112, 113, 129 Good Morning Beijing (Beijing nizao), 188 Great March, The (Da jinjun), 75–76 H Harris, Kristine, 31 Heath, Stephen, xxii History: from a child...