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Women in Chinese Martial Arts Films of the New Millennium - Narrative Analyses and Gender Politics (Hardcover)
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Women in Chinese Martial Arts Films of the New Millennium - Narrative Analyses and Gender Politics (Hardcover)
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Women and Gender in Chinese Martial Arts Films of the New
Millennium, by Ya-chen Chen, is an excavation of underexposed
gender issues focusing mainly on contradictory and troubled
feminism in the film narratives. In the cinematic world of martial
arts films, one can easily find representations of women of Ancient
China released from the constraints of patriarchal social order to
revel in a dreamlike space of their own. They can develop
themselves, protect themselves, and even defeat or conquer men.
This world not only frees women from the convention of
foot-binding, but it also "unbinds" them in terms of education,
critical thinking, talent, ambition, opportunities to socialize
with different men, and the freedom or right to both choose their
spouse and decide their own fate. Chen calls this phenomenon
"Chinese cinematic martial arts feminism." The liberation is never
sustaining or complete, however; Chen reveals the presence of a
glass ceiling marking the maximal exercise of feminism and women's
rights which the patriarchal order is willing to accept. As such,
these films are not to be seen as celebrations of feminist
liberation, but as enunciations of the patriarchal authority that
suffuses "Chinese cinematic martial arts feminism." The film
narratives under examination include Crouching Tiger, Hidden Dragon
(directed by Ang Lee); Hero (Zhang Yimou); House of the Flying
Daggers (Zhang Yimou); Seven Swords (Tsui Hark); The Promise (Chen
Kaige); The Banquet (Feng Xiaogang); and Curst of the Golden Flower
(Zhang Yimou). Chen also touches upon the plots of two of the
earliest award-winning Chinese martial arts films, A Touch of Zen
and Legend of the Mountain, both directed by King Hu.
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