Abstract:

Since the foundation of the new China, the Chinese film, according to the requirement of the ideology of the country, has cooperated with the mainstream politics. On the one hand, it uses revolutionary speeches to make an overall requisition and transformation of traditional story forms, especially the images of the bottom women, so s to construct the personal attachment to the class or the personal obedience to the political party; and on the other hand, it seeks to finish the substituting of modern revolutionary speeches for traditional ideologies. The film such as this, although making a concentrated creation of women’s characters, cannot get away from the old rut of the patriarchal discourse, because the proletarian speech of revolution possesses an inherent rejection of women’s consciousness. The socalled women take on a function of construction for the mainstream ideology but lack of the speech for women themselves, which displays that they are only classsigns instead of gendersymbols. During the “17 years” film in the new China, it is rare for real modern women.