How to interpret the female consciousness of the movie "Send Me to Qingyun"?
With the vigorous development of feminism, the media field has become an important carrier for expressing women's consciousness, and many theorists have begun to pay attention to the image of women in media products, and carry out a series of critical analysis activities around this female image.
Film and television media are one of the most closely contacted media for the public, and it can be said that "the importance in ideological research has surpassed literature and other artistic styles to some extent."
Therefore, analyzing the image of women and the situation of women on the film screen, and discussing the root causes of the female image on the screen and the cause of the audience's love have become one of the important ways for feminists to complain about the shackles of male power.
Since the 21st century, Chinese feminist films have begun to present a three-dimensional feminist appearance, men are no longer high, women are no longer dependent on men for survival, and Chinese women's films at this time present a new aesthetic significance.
The film "Send Me to Qingyun" directed by Teng Congcong and starring Yao Chen perfectly inherits the characteristics of Chinese women's films in the new era, "taking the spiritual experience of a post-80s literary and artistic young woman who has matured without struggle and pain as the perspective, outlining a 'ukiyo-e' in the process of China's modernization".
The film meticulously describes women's psychology, consciousness, spirit and the state of male and female relations, and when writing and describing women's living conditions, it also writes about women's survival conditions neutrally and objectively by describing men's survival dilemmas, which makes the film not only a feminist movie, but also a picture of life.
Feminist films do not portray women as a kind of "vase" image.
As a feminist film with a realistic theme, "Send Me to Qingyun" puts women in the first position of the film, but this primacy does not degrade men, but puts men and women in an equal position.
As the protagonist, Sheng Nan has not been given a "protagonist aura", and can even be said to be imperfect, but this imperfection has experienced many tribulations, which is the true portrayal of most urban women who work hard in the city.
Sheng Nan is an independent woman, and her native family and her own upbringing experience make her have her own views on everything.
As a journalist, she is able to look at all kinds of affairs calmly and objectively, and has long been accustomed to being alone and maverick. But when Sheng Nan was suffering from cancer, in order to stay alive and pay for high treatment costs, she agreed to write an autobiography to the father of the "local tycoon" Li Zong.
Sheng Nan seems to have lost his independence in the face of money, but through her dialogue with Mr. Li, the film depicts her disdain for Mr. Li into three points, which reveals Sheng Nan's independent consciousness engraved in the bone marrow from the side.
Therefore, the presentation of "sex" in feminist films has become an important carrier for constructing women's sense of independence and autonomy.
Because he learned from a friend that he would no longer have physical desires after suffering from ovarian cancer, Sheng Nan wanted to find love and satisfy his desires.
In the process of searching, Sheng Nan met Liu Guangming and bluntly expressed his thoughts and desires, but Liu Guangming was frightened and fled.
At this time, Liu Guangming was cowardly and embarrassed, completely different from the previous image of kindness and elegance, Liu Guangming's escape, from the side, reflects the attitude of men when they face women's desire for desire, and profoundly reveals the unequal status of women in gender relations.
"As the most popular form of entertainment, film clearly embodies ideological constraints, and the main purpose of feminist film criticism is to break down the traditional suppression and exploitation of women in film."
Following this principle, many films have accused the oppression of women in a patriarchal society, that is, the situation of women in a patriarchal society is the main problem expressed in feminist films.
Therefore, many feminist films only focus on women, and rarely depict the survival plight of men.
The portrayal of men in these films as controllers and hedonists of patriarchal society separates the binary relationship between men and women, and in fact seriously hinders the spread of feminist consciousness.
"Send Me to Qingyun" changes the way traditional feminist films are spoken, not only telling the story of women being oppressed in a patriarchal society, but also emphasizing the view that men are also victims in a patriarchal society.
Emphasizing the double oppression of men and women in a patriarchal society is actually putting men and women in an equal position.
The theme of "men are also oppressed by patriarchal social forms" in feminist films can also prompt men to think deeply.
In the movie "Send Me to Qingyun", Liu Guangming's appearance makes him look like an intellectual, he has deep thoughts about astronomy and philosophy, and successfully attracts the attention of the heroine Sheng Nan.
But in fact, although Liu Guangming has knowledge, he is bitter in his heart because of his origin and fame.
He wanted to study hard and study for further study, but he was admitted to the ideal university three times, and finally he could only study a junior college in loneliness, he longed to be respected, but he married the rich second-generation lady, and was in a state of ridicule and ignorance by his father-in-law every moment.
His knowledge became material for his father-in-law to humiliate him, and experiences such as reciting pi in front of guests and being ridiculed for not going to college destroyed Liu Guangming's heart.
He wanted to end his life by jumping off a building, but ended up with disability, which makes the fate of this character even more tragic.
The construction of the patriarchal society in the film is centered on Liu Guangming's father-in-law "Mr. Li", and the patriarchal society is jointly constructed by men and women.
For example, Liu Guangming's wife also completely continues the way of thinking of "Mr. Li", and the movie "Send Me to Qingyun" attacks the hypocrisy of patriarchal society from a gentle perspective, pointing out that the male dilemma is caused by men as abusers.
The protagonist of the movie "Send Me to Qingyun", Sheng Nan, has the misfortune of the original family, the sadness of unfulfilled ideals, the pain of loss of health, the sorrow of lack of money, etc., the film is a mirror that reflects social reality, allowing the audience to see the real and typical female survival situation in real life.
Overall, this film continues the narrative section of previous feminist films, taking women's consciousness as the theme of the film, but its outstanding part is that it does not directly attack women's encounters and ugly human nature, but shows the psychological process of women's struggle from a feminist perspective.
