A criminally violent turn - changing patterns of female transgression and deviance in contemporary Chinese-language cinemas

Abstract

This thesis delves into the evolving patterns and representation of female transgression and deviance in contemporary Chinese-language cinema, specifically productions from the People’s Republic of China (PRC) and Hong Kong. By analysing case studies from big heroine dramas, horror and new magic films, and crime narratives, it explores how depictions of imperial women, female ghosts and spirits, and criminal characters challenge traditional norms, offering evolving insights into gender dynamics and societal shifts. The study principally draws on the concept of ‘post-feminist masquerade’, which has its origins in feminist film studies. This concept suggests that although powerful, independent female protagonists appear to oppose patriarchal structures, they paradoxically reinforce traditional gender roles through their agency and autonomy. Moreover, it regards femininity as a reactionary construct, complicating the portrayal of women’s empowerment in Chinese cinema. The concept of ‘post-feminist masquerade’ subtly manifests in emerging film genres, delving deeper into the intricate connections among female portrayals, gender norms, and social transformation within Chinese-language movies.