Keywords
China
Chinese cinema
Dead Pigs
Economic opening
How to Cite
Abstract
In this paper we intend to think about the influence of feminism on the cinema of mainland China, elaborating, first of all, an overview of the female presence in classical cinema and in the Maoist era cinema. Next, we will analyze the film Dead Pigs (2018), a Sino-American co-production directed by filmmaker Cathy Yan, seeking to identify critical positions to certain capitalist and masculinist values that have developed in China since the opening of the economy in 1978. Our methodology unites the review of the relevant bibliography, whether on cinema or on contemporary China, with emphasis on Zheng Wang, and also film analysis. Our hypothesis is that, by showing the intertwining of capitalist and masculinist values that permeates contemporary Chinese society, Cathy Yan updates the legacy of Chinese cinema feminism, which at important moments in its history was able to elaborate an inseparably feminist and class critique.
References
BORDWELL, D. Narration in the fiction film. New York: Routledge, 2013.
BOURDIEU, P. As regras da arte. São Paulo: Companhia das Letras, 1996.
BOURDIEU, P. Questões de sociologia. Rio de Janeiro: Marco Zero ,1983.
BUTLER, J. Problemas de gênero: feminismo e subversão da identidade. Rio de Janeiro: Editora José Olympio, 2018.
CUI, S. Women through the lens: Gender and nation in a century of Chinese cinema. Honolulu: University of Hawaii Press, 2003.
JIN Mei. (2007). Fighting for Women's Films: A Review of Chinese Feminist Film Criticism. Film Review (08), 8-9. Doi: 10.16583/j.cnki.52-1014/j.2007.08. 027. (金梅.为女性电影而战——中国女性主义电影批评述评.电影评介(08), 8-9, 2007).
KLEINMAN, A. et al. Deep China: The moral life of the person. Los Angeles: University of California Press, 2011.
MELLO, C. A metade do céu: mulheres e o cinema da China Continental. In: HOLANDA, Karla (org.). Mulheres de cinema. Rio de Janeiro: Numa Editora, 2019.
MELLO, C. The cinema of jia zhangke: realism and memory in chinese film. Londres: Bloomsbury Publishing, 2019.
MULVEY, L. Visual Pleasure and Narrative Cinema. In: Visual and other pleasures. Nova York: Palgrave, 1989.
NOCHLIN, L. Por que não houve grandes artistas mulheres. São Paulo: Edições Aurora, 2016.
OSBURG, J. Anxious wealth. Redwood City: Stanford University Press, 2013.
PINHEIRO-MACHADO, R. “A Ética Confucionista e O Espírito do Capitalismo”: Narrativas Sobre Moral, Harmonia E Poupança Na Condenação Do Consumo Conspícuo Entre Chineses Ultramar. Horizontes Antropológicos. Porto Alegre, ano 13, n. 28, p. 145-174, jul./dez. 2007.
REA, C. G. Chinese Film Classics, 1922–1949. New York: Columbia University Press, 2021.
ROFEL, L. Desiring China: Experiments in neoliberalism, sexuality, and public culture. Durham: Duke University Press, 2007.
TIANSHU, P. Place Attachment, Communal Memory, and the Moral Underpinnings of Gentrification in Postreform Shanghai. In: KLEINMAN, A. et al. Deep China: The moral life of the person. Los Angeles: Univ of California Press, 2011.
WANG, J. A Chinese view on feminism. Asian Studies Review. 15: 2, 177-180, 1991. DOI: 10.1080/03147539108712785.
WANG, L. Wang Ping and Women’s Cinema in Socialist China: Institutional Practice, Feminist Cultures, and Embedded Authorship. Signs, vol. 40, n. 3, 2015, pp. 589–622.
WANG, Z. Finding Women in the State: A Socialist Feminist Revolution in the People's Republic of China, 1949-1964. Los Angeles: Univ of California Press, 2017.
WOLF, M. Revolution postponed: Women in contemporary China. Stanford: Stanford University Press, 1985.
YAN, Y. The Changing Moral Landscape. In: KLEINMAN, A. et al. Deep China: The moral life of the person. Los Angeles: Univ of California Press, 2011.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Copyright (c) 2023 Marina Soler Jorge
Downloads
