The Mute in the Shadow in the Distance: Towards a New “Oriental Femininism”

Hui-qing LIU

Abstract


Ruan Lingyu as a film illustrating “women as women” as real women denies radical Feminism of film studies to remarkable degree: there’s no sexual appeal, thus no “male gaze” in sense of humiliating females; there is persecution of patriarchism, yet what finally leaves her no choice other than death is that the three men she loves would not give her real love in return. Though the woman is in “center stage” position, as if “the whole sky”, she’s especially unhappy. And, how striking her beauty, silence, endurance, her will are, even and especially in the distance in the shadow. Here the “Oriental” Femininism is in fact for the mute among all the women in this world, for those who never pronounce anger and resistance, because their happiness lies not simply in “equality”, “liberation”, but in “love”, no matter in the “first” or “second” or “third” world they are. Key words: Oriental Femininism; Subject; Object; Aesthetics of femininityResumé: Ruan Lingyu est un film qui illustre "les femmes en tant que femmes». Les vraies femmes dénient le féminisme radical. Il n'y a pas d'appel sexuel, donc pas de "regard masculin" dans le sens de l'humiliation des femmes; il y a une persécution du patriarcat, mais ce qui l'a finalement privée des choix de vivre sont les trois hommes qu'elle aime, et qui ne lui donnerait pas leur véritable amour en retour. Bien que la femme est dans la position de "la scène centrale" , elle est particulièrement malheureuse. Et malgré sa beauté fulgurante, son silence, son endurance et sa volonté sont, même et surtout au loin dans l'ombre. Ici le fémininisme "oriental" est pour la muette parmi toutes les femmes dans le monde, pour celles qui ne prononcent jamais leur colère et résistance, parce que leur bonheur ne réside pas simplement dans "l'égalité", dans la "libération", mais dans "l'amour", peu importe qu'elles sont dans le premier, deuxième ou tiers monde.Mots-clés: fémininisme oriental; sujet; objet; esthétique de la féminité

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DOI: http://dx.doi.org/10.3968/j.ccc.1923670020100604.006

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