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法国著名导演弗朗素瓦·特吕弗曾深有体会地说过:“电影是女性的艺术”。的确如此,电影作为人类表达思想与情感的载体,它的叙事从未离开过女性这一话题。20世纪80年代中国电影曾经历过一次历史的辉煌。电影导演们塑造了一大批表现女性内心体验,具有新时代特质的光彩夺目的女性形象。但进入90年代,导演们在创作时更多地考虑市场票房,女性的声音在逐渐削弱与消解,女性意识也呈退守状态。她们不是被男性声音所覆盖,同化于强势的男性表达．就是在与男性影像话语“共谋”中陷落。整体说,女性在1990年后的中国电影文化中基本上是缺席的,沉默的,失语的。这些女性形象大致可分为以下三种类型:
The famous French director, François Truffer, once said with deep feeling: “Movies are the art of women.” Indeed, the film as a human expression of ideas and emotions, its narrative has never left the topic of women. Chinese films in the 1980s have experienced a brilliant history. Film directors have created a large number of dazzling female images that show the inner experience of women and the qualities of the new era. However, into the 90’s, directors in the creation of more consideration when the box office market, women’s voices are gradually weakened and digested, women’s awareness also retreated state. They are not covered by the male voice, assimilated to the strong male expression. Is in the male video discourse “complicity” in the fall. Overall, women are largely absent, silent and aphasic in the Chinese film culture after 1990. These female images can be roughly divided into the following three types: