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Feminist Criticism in the Film Wild Goose Lake

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DOI: 10.23977/artpl.2022.030501 | Downloads: 10 | Views: 529

Author(s)

Cancan Yang 1

Affiliation(s)

1 School of Theater, Film and Television, Communication University of China, Beijing, 100024, China

Corresponding Author

Cancan Yang

ABSTRACT

The film Wild Goose Lake is one of recent fabulous Chinese art films. It mainly tells the story that, Zhou Zenong, played by Hu Ge, kills the police by mistake and sets off on the journey of escape from arrest under great reward. In order to let his wife get the reward, Zhou Zenong finally finishes his self-redemption by death. There are two major female images in the film. One is Liu Aiai, swimming companion who wants to help Zhou Zenong get the reward of 300,000 yuan, and the other is Yang Shujun, Zhou Zenong's wife. The swimming companion image is projected on the screen as a male "lust", while the wife, as a symbolism of stable family, is viewed as the "hope" in the patriarchal society. Men strive to gain the hope represented by women to complete self-redemption, which further reinforces the patriarchal society.
 

KEYWORDS

Film, Feminism, Wild Goose Lake, Male supremacy

CITE THIS PAPER

Cancan Yang, Feminist Criticism in the Film Wild Goose Lake. Art and Performance Letters (2022) Vol. 3: 1-4. DOI: http://dx.doi.org/10.23977/artpl.2022.030501.

REFERENCES

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[6] Rollo May. Love and Will. Translated by Feng Chuan. Beijing: International Culture Publishing Company, 1987: 357.
[7] Ren Ding, Jiao Shigang. Analysis on the Personality Structure of Tragic Individuals in the "Wild Goose Lake". Radio &TV Journal, 2021, (08): 60-61.
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