Abstract

Analysis of the star image of Ruan Lingyu, constructed in the early Chinese films of the 1930s and rearticulated in Stanley Kwan's Center Stage (1992), demonstrates the contradictions between feminism and postmodernism. In addition, when placed in the context of Hong Kong's return to China, the fragmented female image reveals a concern for the uncertain relations between history and representation.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 60-80
Launched on MUSE
2000-08-01
Open Access
No
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