From Invisible to Visible

The Gentle Power of East Asian Female Directors in Shaping Women

in Screen Bodies
Author:
Xinyue Wang Graduate Student, Beijing Film Academy, China

Search for other papers by Xinyue Wang in
Current site
Google Scholar
PubMed
Close
Restricted access

Abstract

Asian women are often marginalized in global contexts, and they are often disembodied or presented in sexualized images in film and television productions. Even in the Asian region, Asian women have difficulty giving themselves a voice in popular culture. This essay has selected three films and tends to explore the gender connotation, body, and sexuality in the film works of East Asian female directors in recent decades, with the intent to explore the female sexual desire that is expressed and reflected in those female directors’ works.

Contributor Notes

Xinyue Wang is a graduate student from Beijing Film Academy whose research interests focus on feminist film theory, female-authored genre film, female pleasure, and critical media industry studies.

  • Collapse
  • Expand

Screen Bodies

The Journal of Embodiment, Media Arts, and Technology

  • Bovenschen, Silvia, and Beth Weckmueller. 1977. “Is There a Feminine Aesthetic?New German Critique 10: 111137.

  • Butler, Alison. 2002. Women's Cinema: Contested Screen. London: Wallflower.

  • Ching, Yau. 2011. “Masochist Men and Normal Women: Tang Shu Shuen and The Arch (1969).” Chinese Women's Cinema: Transnational Contexts, edited by Lingzhen Wang. New York: Columbia University Press.

    • Search Google Scholar
    • Export Citation
  • Chow, Rey. 1995. Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema. New York: Columbia University Press.

    • Search Google Scholar
    • Export Citation
  • Cui, Shuqin. 2003. Women through the Lens Gender and Nation in a Century of Chinese Cinema. Honolulu: University of Hawai'i Press.

  • Fischer, Lucy. 1989. Shot/Countershot: Film Tradition and Women's Cinema. Princeton, NJ: Princeton University Press.

  • Irigaray, Luce. 1985. This Sex Which Is Not One. Ithaca, NY: Cornell University Press.

  • Johnston, Claire. 1973. Notes on Women's Cinema. London: Society for Education in Film and Television.

  • Karatsu, Rie. 2016. “Female Voice and Occidentalism in Mika Ninagawa's Helter Skelter (2012): Adapting Kyoko Okazaki to the Screen.The Journal of Popular Culture 49 (5): 967983.

    • Search Google Scholar
    • Export Citation
  • Mulvey, Laura. 1989. Visual and Other Pleasures. New York: Palgrave Macmillan.

  • Wang, Lingzhen, ed. 2011. Chinese Women's Cinema: Transnational Contexts. New York: Columbia University Press.

  • Wang, Lingzhen. 2021. Revisiting Women's Cinema: Feminism, Socialism, and Mainstream Culture in Modern China. Durham, NC: Duke University Press.

    • Search Google Scholar
    • Export Citation
  • Young, Iris Marion. 1980. “Throwing like a Girl: A Phenomenology of Feminine Body Comportment Motility and Spatiality.Human Studies 3 (1): 137156.

    • Search Google Scholar
    • Export Citation
  • Zhang, Jingyuan. 2011. “To Become an Auteur: The Cinematic Maneuverings of Xu Jinglei.” Chinese Women's Cinema: Transnational Contexts, edited by Lingzhen Wang, New York: Columbia University Press.

    • Search Google Scholar
    • Export Citation
  • Cai, Chusheng. 1935. The New Woman (Xin Nv Xing).China.

  • Ninagawa, Mika. 2012. Helter Skelter. Japan.

  • Qu, Vivian. 2017. Angels Wear White (Jia Nian Hua). China.

  • Teng, Congcong. 2019. Send Me to the Clouds (Song Wo Shang Qing Yun). China.

  • Kim, Do-young. 2019. Kim Ji-young, Born 1982 (82 Nyeonsaeng Gim Jiyeong). South Korea.

Metrics

All Time Past Year Past 30 Days
Abstract Views 324 324 48
Full Text Views 25 25 1
PDF Downloads 25 25 1