英文摘要 |
The study is divided into three parts. The first part offers a brief introduction to several generations of mainland female directors and stresses at the same time the importance of historical specificity in studying “women’s cinema” in Chinese film studies. The second part examines the relationship between women’s autobiographical writing and women directors’ autobiographical mode of cinematic representation in contemporary mainland China, illustrating the contribution of the former to the rise of the latter. The last part focuses on Ma Xiaoying’s Gone Is the One Who Held Me Dearest in the World, a film made in the market era and adapted from the same-titled autobiographical writing by Zhang Jie. In addition to discussing the pronounced unconventional mother-daughter relationship represented in both the writing and the film, this part emphasizes and explores the role of female gaze in constituting a new female subjectivity and imaginary in the field of vision. |