Women in film are generally considered as passive objects that peeped by men.
Due to the impact of Confucianism and Patriarchal system, mother in China and SK has been a role of victim and subordinate to man for a long time. Moreover, in male films, mother is also regarded as a supporting role ...
Women in film are generally considered as passive objects that peeped by men.
Due to the impact of Confucianism and Patriarchal system, mother in China and SK has been a role of victim and subordinate to man for a long time. Moreover, in male films, mother is also regarded as a supporting role to assist the leading man.
With the development of feminism, women began to obtain the rights to fight for equality. The consciousness to improve their social positions as well as life circumstances has been rising, which gave birth to female films marked with this feminist consciousness. In these films, women are no longer subordinate to men but individuals with independent character, wisdom and willpower instead. Owing to the immatureness of female films in China and SK, female directors are on the opposite extreme to male ones, where the former work on their own and thus relatively subjective perspectives and feelings as female, deliberately weakening the male roles, and the latter try to weaken the male roles by imaginarily stay in the position of women, inevitably with certain limitation from their male perspective.However, a number of problems emerge as the development of feminism, one of which is the crisis faced by families such as high divorce rates, employment of single mothers and alimonies for children after divorce. These issues have all become major contents of films nowadays. After examine female films after 2000, this article suggests that single mother has become a major character in the Chinese and Korean films in this period.
In addition, the society used to define the so called model wives and model mothers from the male’s point of view. In contrast, the films after 2000 redefine the model mothers as ones that are not restricted to the traditional view, but mothers who love their children unconditionally and sacrifice themselves for their children, even if the love of the mothers has gone beyond the scope of law and contradicted to the traditional viewpoint.
This paper analyze the different positions between Chinese and Korean directors on the subject of “the good mother” through specific examples. Mother is no longer the victim of family. They are in the same position with their husbands, having their own ideas and consciousness. Both films selected in this paper are based on real events, which are closer to reality than other fictions. On the same setting of “mother no longer devoted blindly to the family”, the Chinese director tends to emphasize the mother's social status, while the Korean director highlights her family status. These setting and tendency reveal the social conditions in China and South Korea as well as how Feminism affects these two societies, sharing more concerns for mothers from men and acquiring a positive feedback from increasing attentions to these strong-minded mothers.
Women in film are generally considered as passive objects that peeped by men.
Due to the impact of Confucianism and Patriarchal system, mother in China and SK has been a role of victim and subordinate to man for a long time. Moreover, in male films, mother is also regarded as a supporting role to assist the leading man.
With the development of feminism, women began to obtain the rights to fight for equality. The consciousness to improve their social positions as well as life circumstances has been rising, which gave birth to female films marked with this feminist consciousness. In these films, women are no longer subordinate to men but individuals with independent character, wisdom and willpower instead. Owing to the immatureness of female films in China and SK, female directors are on the opposite extreme to male ones, where the former work on their own and thus relatively subjective perspectives and feelings as female, deliberately weakening the male roles, and the latter try to weaken the male roles by imaginarily stay in the position of women, inevitably with certain limitation from their male perspective.However, a number of problems emerge as the development of feminism, one of which is the crisis faced by families such as high divorce rates, employment of single mothers and alimonies for children after divorce. These issues have all become major contents of films nowadays. After examine female films after 2000, this article suggests that single mother has become a major character in the Chinese and Korean films in this period.
In addition, the society used to define the so called model wives and model mothers from the male’s point of view. In contrast, the films after 2000 redefine the model mothers as ones that are not restricted to the traditional view, but mothers who love their children unconditionally and sacrifice themselves for their children, even if the love of the mothers has gone beyond the scope of law and contradicted to the traditional viewpoint.
This paper analyze the different positions between Chinese and Korean directors on the subject of “the good mother” through specific examples. Mother is no longer the victim of family. They are in the same position with their husbands, having their own ideas and consciousness. Both films selected in this paper are based on real events, which are closer to reality than other fictions. On the same setting of “mother no longer devoted blindly to the family”, the Chinese director tends to emphasize the mother's social status, while the Korean director highlights her family status. These setting and tendency reveal the social conditions in China and South Korea as well as how Feminism affects these two societies, sharing more concerns for mothers from men and acquiring a positive feedback from increasing attentions to these strong-minded mothers.
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