WHY WOMEN’S POSITIVE SPATIAL EXPRESSION IS MISSING IN CHINESE FEMALE FILMS BASED ON SPATIAL PERSPECTIVE

Amid the progression of Chinese cinema, female films have embraced an undeniable position, yet the challenge in the development of such films persists over the century-long history of Chinese cinema. Whether in terms of female film creators or films embodying a female perspective, both find themselves in a collective state of “absence.” The proliferation of films with female themes has been notable, with select male directors now embracing a female perspective in their craft, delving into themes that resonate with the challenges confronted by women. Conversely, female directors are dedicated to conveying a distinctive female experience and illuminating feminine consciousness through their cinematic endeavors. Such films are transitioning from their initial niche status to becoming integral components of the mainstream cinematic landscape. Albeit with various positive initiatives aimed at promoting gender equality in Chinese society, female films continue to bear the imprint of patriarchy in their conception. Customarily, they merely exploit the veneer of feminine consciousness without genuinely affording women a substantial discursive space. This study circumstantiates this phenomenon by shedding light on spatial representation and expression issues in Chinese female films spanning the past decade. This research centers on the analysis of three films — Love Education (directed by Sylvia Chang, 2017), Send Me to the Clouds (directed by Teng Congcong, 2019), and Lost in the Stars (directed by Cui Rui and Liu Xiang, 2023) — serving as case studies to elucidate the paradox of space prevalent in Chinese female films. Comprehending and rectifying these issues are pivotal for the future creation and advancement of films within this genre. This study is firmly anchored in theoretical frameworks such as Michel Foucault’s Discipline Theory, Laura’s gaze theory, Kaplan’s feminist film theory, and Judith’s gender performativity theory. Capitalizing on these theoretical lenses, the analysis probes into the social space inhabited by women, the interplay of “gaze” and “anti-gaze” within spatial contexts, psychological spaces, and the realm of gender performativity evident in the three specifically chosen Chinese female films. The scrutiny of spatial dimensions in the examined trio of films reveals a paradox in the representation and expression of space within Chinese female films. Despite purportedly adopting a “female perspective,” a predominant trend is observed wherein these works tend to attribute negative spatial connotations to women. Such representations include themes of oppression, susceptibility to the gaze, encounters with death, fear, and confinement. These films often fall short of liberating themselves from male influence, failing to provide affirmative spatial portrayals for women or aligning closely with the contemporary socio-cultural realities faced by women. As such, they miss the mark in presenting the most authentic facets of the female experience. This study bears significance for future formulation, advancement, and breakthroughs in Chinese female films.