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Journal articles on the topic 'Women in Chinese Films'
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Donald, S. "Women reading Chinese films: between orientalism and silence." Screen 36, no. 4 (December 1, 1995): 325–40. http://dx.doi.org/10.1093/screen/36.4.325.
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Rafman, Carolynn. "Imagining a Woman's World: Roles for Women in Chinese Films." Cinémas 3, no. 2-3 (March 15, 2011): 126–40. http://dx.doi.org/10.7202/1001195ar.
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Chinese cinema embraces a paradoxical relationship to its own traditions, especially concerning the abusive treatment of women. Films like Yellow Earth, Judou and Raise the Red Lantern which desire to uncover a repressed history, tend instead to reinforce and sustain an image of women's suffering to modern audiences. While exposing discrimination and injustice, some films perpetuate the stigma that women are still second class citizens. Three Chinese women filmmakers have challenged the dominant confusion ethos: "Male honorable, female inferior" (nan zun nü bei) by portraying women as independent and thinking individuals. This article analyses Passion (Zui ai) by Sylvia Chang, Song of the Exile (Ketu qiuhen) by Ann Hui and Three Women (San ge nüren) by Peng Xiaolian.
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Li, Meng. "Portrayals of the Chinese Être Particulières: Intellectual Women and Their Dilemmas in the Chinese Popular Context Since 2000." British Journal of Chinese Studies 9, no. 1 (April 4, 2019): 9–58. http://dx.doi.org/10.51661/bjocs.v9i1.25.
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This article studies the tension between post-Mao Chinese intellectual women and their dilemma in post-2000s Chinese popular media. TV dramas, films, songs and reality shows in which Chinese intellectual women and their dilemmas are identified, mis/represented, mis/understood and addressed are the research objects of this article. By foregrounding the two motifs of estrangement and escape in understanding and characterising post-Mao Chinese intellectual women, the article seeks to answer the following questions: In what ways are well-educated Chinese women consistently stigmatised under the unsympathetic limelight of the public? And for what reason are Chinese intellectual women identified as the être particulières in the popular context?
At time of publication, the journal operated under the old name. When quoting please refer to the citation on the left using British Journal of Chinese Studies. The pdf of the article still reflects the old journal name; issue number and page range are consistent.
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Biehl, Brigitte. "Women “in motion”: the kinaesthetic viewing experience in Chinese viral advertising films." Consumption Markets & Culture 23, no. 5 (March 20, 2019): 439–55. http://dx.doi.org/10.1080/10253866.2019.1586680.
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Liu, Chang. "The Cultural Communication Significance ofthe Mulan Films Made by Disney." Learning & Education 9, no. 3 (December 29, 2020): 68. http://dx.doi.org/10.18282/l-e.v9i3.1578.
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In September 2020, the live-action film “Mulan” shot by Disney in the United States was released in mainland China. This is the fourth time that Disney has put Mulan, a traditional Chinese character, on the screen. The first time was the animated version in 1998. After the success, the “Mulan II” was released in 2004, the third time was the 2012 animation version for children. This time, Disney put this historical story that is well-known in China on the screen in the form of a live-action version. The Chinese elements presented in these four versions are undoubtedly obvious. Although many people in China think that the Mulan created by Disney is not the Mulan in their minds, and the interpretation of traditional Chinese culture in the play is not necessarily accurate. However, by observing Chinese traditional culture from Westerners’ vision and interpreting Chinese traditional culture with Westerners’ concepts, Disney’s efforts objectively played a role in spreading Chinese traditional culture on a larger scale. It shows the traditional Chinese values of “loyalty, righteousness, courage and filial piety” and the two unique Chinese cultural symbols of dragon and phoenix to audiences all over the world, at the same time, the concept of caring for women and publicity of individuality is integrated into it, which makes this traditional character have a strong contemporary character and is more easily accepted by modern audiences. Its significance in cultural communication is worthy of recognition.
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Lo, Shauna. "Chinese Women Entering New England: Chinese Exclusion Act Case Files, Boston, 1911–1925." New England Quarterly 81, no. 3 (September 2008): 383–409. http://dx.doi.org/10.1162/tneq.2008.81.3.383.
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Chinese women who sought entry to the United States during the Chinese Exclusion Act (1882–1943) faced unique challenges. As case files (1911–25) from the Boston Immigration Office reveal, however, they became adept transnational migrants, overcoming great obstacles and adopting innovative strategies to reach their destinations in the Northeast.
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Li, Zhuying. "Female warriors: a reproduction of patriarchal narrative of Hua Mulan in The Red Detachment of Women (1972)." Media International Australia 176, no. 1 (May 8, 2020): 66–77. http://dx.doi.org/10.1177/1329878x20916955.
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During the Chinese Cultural Revolution, the CCP officially claimed that Chinese women achieved an equal position as men, and the Confucian patriarchal family was deconstructed. This article is an ongoing exploration of Maoist gender discourse by analysing the image of female warriors in the revolutionary opera film, The Red Detachment of Women (1972) which was made and popularised during the Cultural Revolution. This article finds that Maoist gender discourse failed to deconstruct the Confucian patriarchy. The image of female warriors in the revolutionary opera films was a reproduction of the patriarchal narrative of Hua Mulan, which served an ethical symbol of loyalty and filial daughter in the discourse of Confucian patriarchy. Similar to Mulan, the masculinised image of female warriors in the revolutionary opera films cannot be identified as a feminist representation yet a cultural and ethical symbol of filial daughter that leads to women’s subordination to men’s needs.
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Xia, Zhou, and Yiwen Liu. "Director Guang Chunlan in Conversation." Feminist Media Histories 5, no. 1 (January 1, 2019): 95–112. http://dx.doi.org/10.1525/fmh.2019.5.1.95.
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This interview features Guang Chuanlan, a Sibe director who has been active since 1976. Guang is known for establishing Chinese Muslim cinema made in the Xinjiang autonomous region in socialist China. Many of her films are released and awarded in Arabic countries and in India. Her enduring career exemplifies the key role women filmmakers have played in building Chinese cinema under state-driven film policies. While it is commonly believed that the Fifth Generation (represented by male directors such as Zhang Yimou, Chen Kaige, and Tian Zhuangzhuang) put post–Cultural Revolution Chinese cinema on the international map, Guang's career (along with those of other women directors) compels us to reexamine Chinese film historiography and excavate a more complex constellation, especially with regard to women's authorship in intersection with race/ethnicity and the state, and inter-Asian film interactions based on a shared religion—a dimension oftentimes obscured by the dominant paradigm of East-West internationality.
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Zhang, Chuyi. "Deconstructing the Other’s Other: Analyzing the Chinese Female Image in the Film Saving Face." Film Matters 12, no. 1 (March 1, 2021): 93–100. http://dx.doi.org/10.1386/fm_00133_1.
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The image of Chinese women portrayed in American films is essentially the West’s imagination of China, conveyed by the female body and constructed in the Orientalist discourse. Over the past one hundred years, Chinese women have been primarily depicted as docile, weak, submissive, voiceless, and in need of being rescued and guided by Occidentals. With the evolution of the global order and the rise of China’s international status, the silent Orient has taken the initiative to resist and reshape this voiceless, “other-ed” image. This article aims to focus on the female characters in Saving Face, an American film directed by Chinese American director Alice Wu in 2004, and analyzes how the director reverses the stereotyped Chinese female image based on the theoretical framework of Orientalism and postcolonial studies, not only “the other” with regards to men, but also “the other” as to the Occident, thus dismantling long-held misreadings of China.
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Berry, Chris. "Hitchcock with a Chinese Face: Cinematic Doubles, Oedipal Triangles, and China's Moral Voice (with DVD). By Jerome Silbergeld. [Seattle: University of Washington Press, 2004. 160 pp. £22.95. ISBN 0-295-98417-1.]." China Quarterly 182 (June 2005): 454–56. http://dx.doi.org/10.1017/s0305741005360267.
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Jerome Silbergeld introduced an art history approach into Chinese film studies with China into Film: Frames of Reference in Contemporary Chinese Cinema in 2000. Hitchcock with a Chinese Face goes further. Like an art historian selecting three seemingly disparate paintings and demonstrating their links, Silbergeld chooses a film each from Hong Kong, Taiwan and mainland China, but argues that they pursue similar aesthetic and political directions. The result is a virtuoso display of intense textual and inter-textual exegesis, informed by an in-depth knowledge of the pre-modern Chinese arts, contemporary Chinese political culture, and globally circulated Western culture (including Hitchcock). It is also a challenge to the discipline of film studies itself.The three films Silbergeld selects for analysis are Lou Ye's 2000 film from mainland China, Suzhou River (Suzhou he); Yim Ho's 1994 Hong Kong film, The Day the Sun Turned Cold (Tianguo nizi); and the final part of Hou Hsiao Hsien's 1995 Taiwan trilogy, Good Men, Good Women (Hao nan, hao nü,). He acknowledges that the project began as a personal indulgence allowing him to explore further some of his favourite films. However, his engagement with the films leads him to argue that each one, in its own way, deconstructs the commonly circulated idea of a unified Chinese culture, engages powerfully with morality, is narratively complex and anti-commercial, mobilizes a cosmopolitan knowledge of world cinema, and displays an unusual degree of interest in individual psychology and oedipality. The latter elements help to ground the comparisons to Hitchcock (as well as to Hamlet, Dostoevsky, Faulkner and others).
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Kerlan-Stephens, Anne. "The Making of Modern Icons: Three Actresses of the Lianhua Film Company." European Journal of East Asian Studies 6, no. 1 (2007): 43–73. http://dx.doi.org/10.1163/157006107x197664.
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AbstractBetween 1930 and 1937, the Lianhua Film Company was one of the major studios in China, and in many ways was a symbol of modernity. The policy of the Company towards its actors was quite new and contributed to the creation of a new social status for this group, especially for the women. This paper focuses on three female stars (Wang Renmei, Chen Yanyan and Li Lili,) who worked for the Lianhua Film Company. Through a detailed analysis of the photos published in its magazine, Lianhua Huabao, as well as feature films produced by the Company, we will study Lianhua's strategies to transform these women into professional actresses. Their image was created by the entanglement of three spheres: their private lives, their public lives and their fiction lives played on screen. We will consider the sometimes conflicting relationships between these spheres by looking at the visual sources (photos and feature films) in conjunction with the actresses' biographies and movie roles. This will underline the complexity and ambiguity of a process understood by the Lianhua Film Company not only as the making of professional actresses but also as the creation of a new, modern Chinese woman.
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Hu, Tingting, and Tianru Guan. "“Man-as-Nation”: Representations of Masculinity and Nationalism in Wu Jing’s Wolf Warrior II." SAGE Open 11, no. 3 (July 2021): 215824402110335. http://dx.doi.org/10.1177/21582440211033557.
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Through an in-depth analysis of gender representation in the box office record-breaking Chinese movie Wolf Warrior II, this study interrogates how the male body is used as a site for the projection of Chinese national power. Furthermore, it illustrates a revival of patriotic pride in China through a contemporary reading of cross-genre action-military films. Developing Shuqin Cui’s notion of “woman-as-nation,” which understands on-screen female victimization in Chinese films as signifying the past suffering of the nation, this study proposes the new concept of “man-as-nation” to explain how the masculine virtues of male protagonists in Chinese films signify the nation’s rejuvenation and strength. Framing male virtue into the paradigms of wu (武), as martial valor, and wen (文), as cultural attainment, this article argues that masculinity has come to symbolize China’s enhanced comprehensive power and to embody its ideological orientation in both global and domestic domains.
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Yanru, Chen. "From Ideal Women to Women's Ideal: Evolution of the Female Image in Chinese Feature Films, 1949–2000." Asian Journal of Women's Studies 14, no. 3 (January 2008): 97–129. http://dx.doi.org/10.1080/12259276.2008.11666052.
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Zhang, Y. "Engendering Chinese Filmic Discourse of the 1930s: Configurations of Modern Women in Shanghai in Three Silent Films." positions: east asia cultures critique 2, no. 3 (December 1, 1994): 603–28. http://dx.doi.org/10.1215/10679847-2-3-603.
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Shao, Chenyun. "The Social and Cultural Implications of the Egg Freezing Policy in China." International Journal of Social Science Studies 8, no. 6 (October 22, 2020): 86. http://dx.doi.org/10.11114/ijsss.v8i6.5014.
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The technology of egg freezing has become increasingly popular and has caused heated scholarly debates. However, most scholarships focus on egg freezing exclusively in the United States. This paper fills in the gap by investigating the social and cultural implications of the egg freezing policy in China. This paper first examines feminist rhetoric used by both sides in the global egg freezing debate. The paper then introduces the current Chinese egg freezing policy. This section addresses the question, “Why does the Chinese government implement the current egg freezing policy?” by analyzing how the Chinese culture views reproduction and single women. By analyzing egg freezing in context of the Chinese culture, I concluded that the older and younger generations have different views on egg freezing. Finally, I share the results from a survey that I designed and distributed to see how Chinese people perceive egg freezing. I found that most respondents support universal access to egg freezing in China but have questions on the risks and disadvantages of egg freezing. Many respondents also perceive egg freezing as a technology to “preserve/guarantee motherhood” for women, which ironically serves to pressure women into motherhood instead of giving them true reproductive freedom.
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Wong (黄以琳), Yee Lam Elim. "Overseas-Chinese Women and Education (华侨妇女与教育)." Journal of Chinese Overseas 12, no. 2 (November 2, 2016): 285–313. http://dx.doi.org/10.1163/17932548-12341330.
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Traditionally, Chinese women were seen as homemakers. They were expected to stay home and to take care of their children while their husbands were out at work. The overseas Chinese in Japan were no exception. Most of the first generation who followed their husbands to Japan were housewives. Although a number of women helped out in the family business alongside their husbands, overseas-Chinese women were positioned as “stay-home mothers” and “helping wives.” This research aims to question and reposition the perception of overseas Chinese women in Japan. I utilized fieldwork, primary and secondary textual sources, and oral-history interviews to study the representation of overseas-Chinese women in Yokohama’s Chinatown. Analysis of my fieldwork materials and life stories of the overseas-Chinese women allows me to argue that the second and third generations of overseas-Chinese women in Yokohama were no ordinary housewives but pioneers in supporting overseas-Chinese education. I explored how members of a women’s Association founded and managed education services and cultural activities in the Yokohama’s Chinatown community. This research is the first English-language project that investigates the relationship between overseas-Chinese women and education. It fills in the gaps in existing literature by highlighting the role of overseas-Chinese women, the history of overseas-Chinese education, and the relationship between ethnic-Chinese identity formation and the input of overseas-Chinese women in Yokohama’s Chinatown.传统中国妇女被一向视为主妇，以在家中照顾孩子扶助丈夫为业。在日华侨妇女也并无例外: 不少跟随丈夫来日的第一代华侨妇女一般都是家庭主妇。 虽然仍一有小部分华侨妇女与丈夫一同打理家庭生意，总的来说，第一代华侨妇女被塑造为「留家母亲」及「协助丈夫的妻子」的形象。 此研究旨在提出及重新检视在日华侨妇女的角色。 笔者以亲身考察与口述历史访问的方法，以一手及二手资料佐证，探讨日本横滨中华街的华侨妇女之情况。 透过实地考察和华侨妇女们的真实故事，笔者发现第二及第三代华侨妇女经已不在单单担任持家的主妇及母亲的角色，更是推动在日华侨教育的先锋。 此研究将深入探讨横滨一华侨妇女团体成立及发展华侨教育及文化活动的历史，为首个以英文撰写有关在日华侨妇女与华侨教育发展的学术论文。，旨在填补现时学述上有关华侨研究的空隙，包括华侨妇女角色、在日华侨教育之历史及在日华侨民族认同华侨教育的关系。This article is in English.
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Marchetti, Gina. "Handover Bodies in a Feminist Frame." Screen Bodies 2, no. 2 (December 1, 2017): 1–24. http://dx.doi.org/10.3167/screen.2017.020202.
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Hong Kong women have been taking up the camera to explore the changing nature of their identity. Linking the depiction of the gendered body with the demand for women’s rights as sexual citizens, several directors have examined changing attitudes toward women’s sexuality. Yau Ching, for example, interrogates the issues of sex work, the internet, and lesbian desire in Ho Yuk: Let’s Love Hong Kong (2002). Barbara Wong’s documentary, Women’s Private Parts (2001), however, uses the televisual talking head interview and observational camera to highlight the way women view their bodies within contemporary Chinese culture. By examining the common ground shared by these very different films, a vision of women’s sexuality emerges that highlights Hong Kong women’s struggle for full sexual citizenship.
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Cheung, Tammy, and Michael Gilson. "Gender Trouble in Hongkong Cinema." Cinémas 3, no. 2-3 (March 15, 2011): 181–201. http://dx.doi.org/10.7202/1001198ar.
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The authors conduct a brief survey of some recent examples of the Hongkong cinema, focusing on questions surrounding the portrayals of female and male characters in them. Today's Hongkong films, society and culture are just now taking tentative steps towards an awareness of gay and lesbian themes, and in some measure, of feminism. How are different types of female characters presented in contemporary Hongkong cinema? How does the traditional Chinese view of "male" differ from the West's? The recent trend that has "gender-bending" characters appearing in a number of Hongkong feature films is also examined. The authors maintain that stereotypical representations of women, men, and homosexual characters persist in the Hongkong film industry, that honest portrayals of gay and lesbian characters are mostly absent from the movie screens of the Crown Colony.
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Xinyi, Ma, and Hua Jing. "Humanity in Science Fiction Movies: A Comparative Analysis of Wandering Earth, The Martian and Interstellar." International Journal of Linguistics, Literature and Translation 4, no. 1 (January 30, 2021): 210–14. http://dx.doi.org/10.32996/ijllt.2021.4.1.20.
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Wandering Earth, released in 2019, is regarded as a phenomenal film that opens the door to Chinese science fiction movies. The Chinese story in the film has aroused the resonance of domestic audiences, but failed to get high marks on foreign film review websites. In contrast, in recent years, science fiction films in European and American countries are still loved by audiences at home and abroad, such as The Martian and Interstellar, which have both commercial and artistic values. It can be seen that the cultural communication of western science fiction movies is more successful than that of China. Taking the above three works as examples, this paper analyzes the doomsday plot, the beauty of returning home and the role shaping of scientific women in science fiction movies from the perspective of the organic combination of “hard-core elements of science fiction” and “soft value in humanity”, in an attempt to help the foreign cultural communication of domestic science fiction movies. As an attempt to facilitate the global development of Chinese science fiction, this paper concludes that certain Chinese traditional cultural spirit needs further spreading, that Chinese science fiction and humanity should be combined in a more natural way, and that in particular, female character need in depth and multi-dimensional interpretation.
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Wu, Hui. "Shakespeare in Chinese Cinema." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 71–81. http://dx.doi.org/10.2478/mstap-2013-0006.
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Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006—Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Hamlet story and transfer it to a specific time, culture and landscape. The story of The Banquet takes place in a warring state in China of the 10th century while The Prince is set in pre-Buddhist Tibet. The former as a blockbuster movie in China has gained a financial success albeit being criticised for its commercial aesthetics. The latter, on the other hand, has raised attention amongst academics and critics and won several prizes though not as successful on the movie market. This study examines how the two Chinese Hamlet movies treat Shakespeare’s story in using different filmic strategies of story, character, picture, music and style.
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Christoff, Peggy Spitzer. "An Archival Resource: INS Case Files on Chinese Women in the American Midwest." Journal of Women's History 10, no. 3 (1998): 155–70. http://dx.doi.org/10.1353/jowh.2010.0340.
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Curry, Ramona. "Benjamin Brodsky (1877-1960): The Trans-Pacific American Film Entrepreneur – Part Two, Taking A Trip Thru China to America." Journal of American-East Asian Relations 18, no. 2 (2011): 142–80. http://dx.doi.org/10.1163/187656111x603681.
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AbstractPart One of this essay traced a biography for Benjamin Brodsky and revealed surprising facets of the production of his 1916 feature-length travelogue A Trip Thru China. Part Two addresses the film's genre inscription and cinematic qualities and relates its embedded values to its enthusiastic reception across America 1916-18. Although the ethnographic documentary pays admiring tribute to laboring men and women throughout China, it also valorizes the moribund Chinese empire, as embodied in Brodsky's ultimate patron in China, President Yuan Shikai. While fully eschewing the "Yellow Menace" U.S. discourse of its period, Trip humorously delineates the East and West as essentially different. The rare work's exceptional critical and popular success from California to New York City points to Brodsky's skilled showmanship and ability to engage the support of independent movie distributors and investors. Why, then, the essay considers in conclusion, did Brodsky's subsequent experiences after his shift in 1917 to making films in Japan, including the feature-length travelogue Beautiful Japan (1918), so diverge in its outcome from his early filmmaking career in China?
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Wang, Leslie K. "“Leftover Women” and “Kings of the Candy Shop”: Gendering Chinese American Ancestral Homeland Migration to China." American Behavioral Scientist 61, no. 10 (September 2017): 1172–91. http://dx.doi.org/10.1177/0002764217732104.
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A growing body of research examines the experiences of highly skilled individuals who “return” to work in their ancestral homeland, but has tended to overlook the gendered dynamics that shape their decisions. This article fills this gap by analyzing how the gendered local context of China affects the experiences of American-Born Chinese (ABC) migrants. Through in-depth qualitative interviews with 52 second-generation ABC professionals in Beijing and Shanghai, I found that both women and men enjoyed comparable career growth and opportunities. Socially, however, men’s foreign citizenship, education, and higher wages transformed them into highly eligible dating and marriage partners, while ABC women were stigmatized as “leftover women” (a social category ascribed to urban, educated single women in China). Thus, ABC women must prioritize either their professional or personal lives, while their male counterparts can enjoy both. By highlighting the personal realm, this case reveals how the trajectories of first-world ancestral homeland migrants are uniquely gendered.
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Chen, Tina Mai. "Socialism, Aestheticized Bodies, and International Circuits of Gender: Soviet Female Film Stars in the People’s Republic of China, 1949–1969*." Journal of the Canadian Historical Association 18, no. 2 (June 11, 2008): 53–80. http://dx.doi.org/10.7202/018223ar.
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Abstract This paper analyses the importance of love relations and sexuality in Soviet film for Chinese socialism in the 1950s and 1960s. By looking at the movement of Soviet women across the Sino-Soviet border — in films and as part of film delegations — I highlight the international circuits of gender that shaped socialist womanhood in China. I examine Chinese discussion of Soviet film stars including Marina Ladynina, Vera Maretskaia, and Marina Kovaleva. I locate the movement away from 'fun-loving post-revolutionary' womanhood associated with Ladynina to socialist womanhood located in struggle and partisanship within the larger context of Maoist theory and Sino-Soviet relations. In my examination of debates over which female film stars were appropriate for China I draw out celebrated and sanctioned couplings of Chinese and Soviet film heroines, such as the links made between Zoya and Zhao Yiman. By looking at how Soviet film stars became part of Chinese political aesthetics, sexuality and love emerge as more important to our understanding of womanhood in Maoist China than has been recognized by most scholars of gender in China. This approach therefore offers a new perspective on Maoist ideologies of gender with its emphasis on non-Chinese bodies as constitutive of gender subjectivities in Maoist China. I argue that while gender in Maoist China was primarily enacted on a national level, internationalism and international circuits of gender were central to its articulation.
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Zhao, Jian. "Poor Dietary Diversity Is Associated With Postpartum Depression: A Cross-Sectional Study." Current Developments in Nutrition 5, Supplement_2 (June 2021): 836. http://dx.doi.org/10.1093/cdn/nzab046_133.
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Abstract Objectives Postpartum depression (PPD), a major maternal health concern, gives negative effects on women health, child development and family well-being. Recently, diet quality has emerged as a possible preventative measure in ameliorating PPD, however the evidence-base exploring this association is immature. The aim of this study was to investigate the association between diet diversity and depression of postpartum women. Methods A cross-sectional study was conducted on 554 postpartum women who set up files after delivery within 2 years at 10 community health service centers in Beijing from July to September 2017. The Edinburgh Postnatal Depression Scale(EPDS) in Chinese version was used to access the status of depression. Dietary intake was determined using a semi-quantitative food frequency questionnairea (FFQ). Dietary diversity score (DDS) was calculated based on scoring to the eight-food groups with frequency according to the Chinese Dietary Guidelines (2016). DDS ranged from 0–32, and was classified into two groups: low (≤26.5) and high (>26.5). Logistic regression models were used to estimate relationships between DDS and PPD. Results A total of 163 women (29.4%) were depressed above the EPDS cut-off score (≥ 13 scores). Mean (±-s.d.) of DDS was 27.9 ± 3.4. 28.7% of the subjects (n = 159) had low DDS and 71.3% (n = 481) had high DDS. After statistical adjustment for age and society correlation factors, lower DDS was significantly associated with PPD ([aOR] = 1.81, 95% [CI] = 1.13 - 2.89). Conclusions The present study found that low DDS, which means poor dietary diversity was associated with PPD in Chinese women after delivery within 2 years. Funding Sources This study was funded by grants from Chinese Academy of Medical Sciences Innovation Fund for Medical Sciences (2019-I2M-2-007).
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Avdashkin, Andrey A. "“He Was an Agent of Japanese Intelligence.” Fates of Chinese Migrants in Investigative Files of the Repressed in the 1930s: Archival Materials of the Chelyabinsk Region." Herald of an archivist, no. 4 (2020): 1034–45. http://dx.doi.org/10.28995/2073-0101-2020-4-1034-1045.
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The article draws on documents from the United State Archive of the Chelyabinsk Region to examine biographies of Chinese migrants repressed in 1937-38. Although main location of the Chinese in the Urals in the 1920-1930s was the Middle Urals (Perm and Sverdlovsk), their presence has been traced in the Chelyabinsk region. Comprehensive reconstruction of Chinese migration in the USSR demands introduction of these sources to scientific use. The 1930s archival documents, primarily the investigative files of the repressed, demonstrate socio-demographic features of the Chinese and their most typical biographies in the pre-war USSR. They were mostly of the Soviet era wave of migration, originating from the Shandong province. Some adapted well in society, married Russian women and had children. However, many remained illiterate, engaged in heavy physical labor. Qualitative analysis of personal files shows main trajectories of Chinese migration to the South Urals from the Far East or from large cities (Moscow, Irkutsk, Khabarovsk, etc.), where Chinese communities appeared in the 1920s. State pressure on the Chinese community strengthened in the late 1920s ? early 1930s, forcing them to change their place of residence. Political changes in the USSR made the Chinese abandon their private enterprises and trade, their main niche in the 1920s. In 1937–38, a wave of repression rolled and, according to our estimates, almost half of the Chinese in the Chelyabinsk region were declared “spies and agents of Japanese intelligence.” The biographies of the repressed testify that under favorable conditions they could have contributed to creation of an organized Chinese community, since they had influence over Chinese migrants, as well as experience of organizational work and of participating in the Civil War.
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Wang, Oliver. "Choosing to be the Hero, the Joker, the Villain: An Interview with Arthur Dong." Film Quarterly 73, no. 3 (2020): 41–46. http://dx.doi.org/10.1525/fq.2020.73.3.41.
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Oliver Wang interviews documentary filmmaker Arthur Dong. Originally from San Francisco, Dong began his career as a student filmmaker in the 1970s before releasing the Oscar-nominated short film, Sewing Woman in 1982. Since then, his films have focused on the role of Chinese and Asian Americans in entertainment industries as well as on anti-LGBQ discrimination. In the interview, Wang and Dong discuss Dong's beginnings as a high school filmmaker, his decision to turn the story of his seamstress mother into Sewing Woman, his struggle to bring together the Asian American and queer film communities and his recent experience in staging a “Hollywood Chinese” exhibit inside a renovated bar in West Hollywood.
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Woodacre, Elena. "Saints or Sinners? Sexuality, Reputation and Representation of Queens from Contemporary Sources to Modern Media." De Medio Aevo 10, no. 2 (August 25, 2021): 371–85. http://dx.doi.org/10.5209/dmae.76266.
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This article explores allegations of sexual scandal connected with premodern royal women in Europe and China. It begins by assessing expectations of queenly ideals, particularly the emphasis given to female chastity in European and Chinese culture. This forms a foundation for an extended discussion of tales of sexual impropriety of both real and legendary queens from China in the third century BCE to eighteenth century Europe. This survey highlights three key themes: the idea of dangerous and destructive beauty, the topos of the wanton and promiscuous queen and perceptions of transgressive affairs. Finally, the article assesses the connection between the portrayal of the sexual scandal of royal women in contemporary sources with the way in which these women’s lives are represented in modern media, particularly films and television series. Ultimately, it demonstrates that allegations of sexual scandal could both be a means to attack these women (and their royal husbands) in their lifetimes and could have long lasting negative impact on the memory of their lives, resulting in their political power, agency and activity being obscured by an emphasis on their love lives and supposed affairs.
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Zhang, Xiaodan. "A Path to Modernization: A Review of Documentaries on Migration and Migrant Labor in China - Manufactured Landscapes (2007) 90 minutes. Director: Jennifer Baichwal. Director of photography: Peter Mettler. Produced by Nick de Pencier, Daniel Iron, and Jennifer Baichwal. Released by Zeitgeist Films. - Bing Ai (2007) 114 minutes. Director, writer, and producer: Feng Yan. http://www.cidfa.com/modules/index.php - Up the Yangtze (2008) 94 minutes. Writer and director: Yung Chang. Director of photography: Wang Shi Qing. Producers: Mila Aung-Thwin, Germaine Ying-Gee Wong, and John Christou. Released by Zeitgeist Films. - Losers and Winners (2007) 96 minutes. Directors: Ulrike Franke and Michael Loeken. Released by Icarus Films. - China Blue (2005) 86 minutes. Producer and director: Micha X. Peled. Released by Bullfrog Films. - Mardi Gras (2007) 74 minutes. Producer, director, and editor: David Redmon. Directors of photography: David Redmon and Kathleen Rivera. Released by Carnivalesque Films. - A Decent Factory (2005) 79 minutes. Directed, written, and produced by Thomas Balmès for Margot Films/BBC, and Kaarle Aho for Making Movies. Released by First Run/Icarus Films." International Labor and Working-Class History 77, no. 1 (2010): 174–89. http://dx.doi.org/10.1017/s0147547909990317.
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None of the award-winning films reviewed in this article has a blissful tone. In these films, we watch young girls in assembly lines producing all sorts of commodities in China as well as four hundred Chinese workers disassembling a coking plant in Germany. We are immersed in people's personal stories, such as a peasant woman forced to leave her farm and her lone hut, located in the area due to be submerged by the Three Gorges Dam project, and a sixteen-year-old girl learning to labor on a cruise ship along the Yangtze River. In most of the films we also meet managers, Chinese or foreign, who are concerned with nothing but maximizing profit through intense exploitation of labor. These films document how the massive force of modernization in a globalized world affects lives of common people in China. Their struggles with poverty, corrupt officials, and greedy business owners are displayed in sharp contrast to both shining metropolitan glory and rural banality. In this regard, the Canadian photographer Edward Burtynsky's photographs of China, as shown in the film Manufactured Landscapes, seem emblematic enough: Modernization in China has altered the trajectory of people's lives as well as the landscapes of their nation. This article discusses the issues embedded in the stories the seven documentaries present: the impact of global capitalism; the relations between national development and globalization; the conflicts between corporate social responsibility and profit-making; and the predicament of migrant workers and their human agency.
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Chan, Kara, Yu Leung Ng, and Jianqiong Liu. "How Chinese young consumers respond to gendered advertisements." Young Consumers 15, no. 4 (November 11, 2014): 353–64. http://dx.doi.org/10.1108/yc-09-2013-00398.
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Purpose – The purpose of this study is to examine the effectiveness of advertisements with different female role portrayals in a second-tier city with “first-class opportunities.” Chinese girls and women represent a huge market for personal as well as household goods. Design/methodology/approach – An experimental study was conducted using a convenience sample of 216 male and female participants aged 17-21 years in Changchun, China. Participants were asked to respond to print advertisements using traditional and modern female images including housewife, cute female, female with classical beauty, sporty, career-minded and neutral (tomboy). Findings – Results revealed that female participants responded more favorably toward advertisements using female images than male participants. There was no difference in the responses to the six different female images among both male and female participants. Research limitations/implications – Young consumers in China are not sensitive to the different female images used in the print advertisements. Advertisers can, therefore, enjoy flexibility in the selection of female gender roles for advertisements. Originality/value – Little is known about how marketers and advertisements can best communicate with young consumers in China using advertisements with different female images. This study fills this literature gap.
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Lo, Kwai-Cheung. "Knocking Off Nationalism in Hong Kong Cinema: Woman and the Chinese “Thing” in Tsui Hark's Films." Camera Obscura: Feminism, Culture, and Media Studies 21, no. 3 (2006): 37–61. http://dx.doi.org/10.1215/02705346-2006-011.
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Ognieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.
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The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phenomena characteristic of art. Modern Korean art proves that the scientific and technological revolution and the dominant avant-garde component of mass culture in general cannot supplant the ultimate traditional artistic creativity. One of the characteristic features of contemporary Korean art is a demonstration of belonging to the culture of the country. First of all, this is the influence of the traditions of Confucianism, Buddhism, along with the painful memories of war and long-term colonization by Japan. One can note the simplicity, orderliness, harmony of colors and shapes as an inalienable feature of Korean contemporary art, but modern tendencies show the striving for the discovery of individuality of the artist, which manifests itself in non-standard artistic forms. Japanese visual art combines the works of autochthonous traditions and European artistic principles. Considerable attention is paid to the issue of the relationship between nature and man, reflected in the work of adherents of the synthesis of Japanese traditions and Western variety of forms. Particular attention is paid to contemporary artists in Japan with the latest technology – video art, 3D painting, interactive installations and installations-hybrids. Chinese cinema with the generation of directors, known as the Fifth Generation, reveals new trends. These artists initially sought to convey events and tragedies during the Cultural Revolution, but over time they turned to other themes and genres. Directors of the "Sixth Generation" paid special attention to social problems, the place of action in their films is unknown China – small settlements or cities. Modern Korean cinema covers two large areas: cinema for women – melodrama, and for men – adventure. Today the adventure genre is oriented mainly to teens, and the melodrama genre has been transformed from the problems of the middle-aged women's interest towards the youth audience, therefore, it is more likely to come closer to the romantic comedy. The tragedy of Korea, which is split up into two parts, worries the movie-makers. In recent years there have been changes in South Korean position in exposing North Korean residents. If the previous decades in South Korean cinema was cultivating the image of the enemy: North Korean could be either a spy or killer, but now the inhabitants of North Korea are perceived and presented in films differently, not embodying exclusively negative features. In Japanese cinema, the emphasis is on the visual array, which allows you to bring forward contemplation and the deep meaning is transmitted by artistic images typical of the oriental art in general. In films, much attention is paid to the smallest details; certain asceticism along with the aesthetization of the frame is a reflection of purely Japanese features – minimalism as the meaning of existence. Familiarity with the peculiarities of the development of contemporary art and cinema in China, Korea and Japan is a necessary component for further dialogue between the cultures of East and West in terms of balanced interaction and artistic transformations of the modern world.
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Shen, Vivian. "From Xin nüxing to Liren xing: Changing Conceptions of the “New Woman” in Republican Era Chinese Films." Asian Cinema 11, no. 1 (March 1, 2000): 114–30. http://dx.doi.org/10.1386/ac.11.1.114_1.
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G. Fowler, Jie, Timothy H. Reisenwitz, and Aubrey R. Fowler. "Fashion globally." Qualitative Market Research: An International Journal 17, no. 3 (June 3, 2014): 172–91. http://dx.doi.org/10.1108/qmr-04-2013-0022.
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Purpose – The aim of this study is to focus on consumers’ responses towards visual fashion ideal in hybrid magazine advertisements from a cross-cultural and generational perspective. Design/methodology/approach – This exploratory qualitative focus group study showed a set of validated advertisements to 64 female participants. Half of the sample was from the USA, the other half was from China. To examine generational differences, the interviewees were split by age in each group: half of the participants were between 18 and 34, and half were between the age of 45 and 65 years. Findings – Both Chinese and American target audiences viewed the trendy advertisements with an aspirational eye in which the advertisement was interpreted as representing an ideal self to which they aspired, one that they wanted to achieve but, for some reason(s), were not capable of achieving at the time. However, the degree of aspiration varied for Chinese and American audiences. Research limitations/implications – Because of the chosen research approach, the research results may lack generalizability. Therefore, future research may use survey and experimental research approaches. Practical implications – International marketers may need to design advertisements with more “realistic” imagery, while keeping the idealized Western style in Chinese advertising. Advertisers should also be cognizant of intergenerational influences in the Chinese market; many young Chinese women still rely on their mothers regarding fashion purchase decisions. Originality/value – This paper fills a need to understand both the similarities and the differences in marketing communications across cultures.
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Ancuta, Katarzyna. "The Waiting Woman as the Most Enduring Asian Ghost Heroine." Gothic Studies 22, no. 1 (March 2020): 81–97. http://dx.doi.org/10.3366/gothic.2020.0039.
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The waiting woman is a ghost who appears to be endlessly waiting – for recognition, for her lover, for a chance to reincarnate, or to exact revenge. In Asia, her roots can be found in early medieval Chinese records of the strange, arguably the oldest written ghost stories in the region. The romanticized version of this ghost, introduced in Tang Xianzu's drama Peony Pavillion ( Mudan ting, 1598), influenced many writers of Japanese kaidan (strange) stories and merged with East and Southeast Asian ghostlore that continues to inspire contemporary local fiction and films. The article proposes to read the figure of the waiting woman as a representation of the enduring myth of the submissive Asian femininity and a warning against the threat of possible female emancipation brought about by the socio-economic changes caused by modernisation.
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Zhao, Jian. "Low Consumption of Vegetables Is Associated with Postpartum Depression: A Cross Section Study." Current Developments in Nutrition 4, Supplement_2 (May 29, 2020): 1112. http://dx.doi.org/10.1093/cdn/nzaa054_184.
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Abstract Objectives Postpartum depression (PPD) is a critical public health concern, giving negative effects on women health and child development. Recently, diet quality has emerged as a possible preventative measure in ameliorating PPD, however the evidence-base exploring this association is immature. The aim of this study was to examine the association between consumption of food groups and depression of postpartum women within 2 years. Methods A cross-sectional study was conducted on 554 postpartum women who set up files after delivery within 2 years at 10 community health service centers in Beijing from July to September 2017. The Edinburgh Postnatal Depression Scale(EPDS) and a validated food frequency questionnaire (FFQ) were used to measure the status of depression and the consumption of food groups. The association of certain food groups with PPD were estimated by logistic regression. Results A total of 163 women (29.4%) were depressed above the EPDS cut-off score (≥13 scores). Lower consumption of vegetables and fruits were found in 59.0% and 63.5% of postpartum women separately. Meanwhile, higher consumption of meat and eggs were found in 68.6% and 63.4% of postpartum women separately. After statistical adjustment for age and society correlation factors, low consumption of vegetables (adjusted odds ratio [aOR] = 1.98, 95% confidence interval [CI] = 1.16–3.38) was significantly associated with PPD. Conclusions Low consumption of vegetables was associated with PPD. Funding Sources This study was funded by grants from Chinese Academy of Medical Sciences Innovation Fund for Medical Sciences.
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Knight, John M. "Mandated internationalism: Sino-Soviet friendship 1949-1956." Twentieth Century Communism 19, no. 19 (October 1, 2020): 26–60. http://dx.doi.org/10.3898/175864320830900536.
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The Sino-Soviet Friendship Association (SSFA) was China's largest mass organisation of the 1950s. Whether it was marking events on the socialist calendar, showing films, holding lectures, or arranging worker competitions, the SSFA had an inescapable presence in public life. Invariably, the Soviet Union was presented as China's benevolent 'elder brother,' guiding it to modernity. By taking part in SSFA activities, Chinese were interpellated into a discourse that legitimated communist rule and defined their nation, world, and future. Yet, even within such a top-down, closed discursive system, there remained room for the inquisitive to form authentic friendships with their foreign Other. In addition to examining internal documents and public activities of the Shanghai and Beijing branches of the SSFA, this essay covers three rounds of pen-pal exchanges between Lu Shuqin and 'Natasha,' young women workers from Beijing and Moscow. Rather than adhering to the expected inner-socialist bloc hierarchy, their letters reveal an egalitarian cosmopolitanism. When read against China's state-sponsored narrative of 'elder' and 'younger' brother, these pen-pal letters complicate and expand the discourse of Sino-Soviet friendship, showing how the mandated internationalism of the 1950s interacted with the self-directed behaviours of socialist individuals.
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Edwards, Louise. "Transformations of The Woman Warrior Hua Mulan: From Defender of The Family To Servant of The State." NAN NÜ 12, no. 2 (2010): 175–214. http://dx.doi.org/10.1163/156852610x545840.
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AbstractFor over 1500 years the Hua Mulan story has remained a popular source of inspiration for writers of plays, poems, and novels as well as films and television dramas. The sustained interest in Mulan rests in part with her daring cross-dressing and the humour that this challenge to gender norms provokes. This article shows that the various versions of the Mulan story also reveal the gendered nature of a key tension within the Chinese social and moral universe—how individuals manage the competing demands from their families and the central state. The article traces the transformations of her story from its inception in the Northern Wei ballad through to the 2010 cinema versions in order to trace the evolution of gendered norms of loyalty, patriotism, virtue and filial piety.
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Smith (Xu, Robert Paul, and Ke Shu). "Kintanti kinų tapatybė globalėjančiame pasaulyje." Informacijos mokslai 45 (January 1, 2008): 122–30. http://dx.doi.org/10.15388/im.2008.0.3378.
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Visuotiniame pasaulyje kinta kultūrinis žemėlapis. Greita ekonomikos plėtra skatina kinų kultūros pokyčius. Jaunimui būdingas individualumas, silpni giminystės ryšiai, meilės, sekso ir vedybų politikos pokyčiai. Dėl gimimų skaičiaus ribojimo Kinijoje vaikai ir jaunimas labiau linkę būti individualistai nei kolektyviški, tai skatinama ir per filmus ar televizijos serialus. Dažniau jie galvoja apie save nei apie Jus ar Juos. Giminystės ryšiai Kinijoje taip pat silpni, todėl šiame darbe daroma prielaida, kad būtent dėl tokių priežasčių 2006 m. labai padaugėjo santuokų su užsieniečiais. Taip pat tai atsiliepia ir vertinant požiūrį į partnerį. Kaip teigia pranešimo autorius, tai turi įtakos ir santuokai, seksualiniams santykiams.Chinese changing identities in globalised worldRobert Paul Smith (Xu, Ke Shu) SummaryThe cultural map is changing in the globalised world. The quickly developing economy changes the identities of Chinese quietly. Typically, the young generation is more individualistic, the traditional kinship weakens, and the ideology on love, sex and marriage changes. Because of Chinese birth control policy, the children and young people who grow up as the only child in her or his family respect individualism more than collectivism influenced by movies of Hollywood and Western TV soap plays. What they think most is in terms of “I”, not “you” or “they”. Kinship in China is now much weaker in Mainland China than it was in the past. In fact, there are many empty-nest families, in which children have left home to seek success in metropolis in China and cities in Foreign Countries, and their old, sick parents are suffering in loneliness. In the Chinese countryside, a lot of young couples refuse to support their old parents. Some old parents are even driven out and suffer from hunger. Now in China, DINK marriages and sexless marriages are common in the cities. More than 400,000 Chinese people have married foreigners till 2006. In 2005, more than 70,000 Japanese men and 41,000 Korean men have married Chinese women. Rich men change girlfriends or sex partners frequently. Some even keep special, private houses where their girlfriends live apart from their wives. Thousands of workers, drawn from farms to jobs in the cities, are sexually hungry and visit illegal striptease shows frequently. The new generation of Chinese people does not even value virginity very highly. There are too many quick marriages in China now. This was especially true in the lucky wedding year of 2006. Some married quickly and divorced very soon.Key words: change, identities, individualization, kinship, loven>
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Li, Yumin. "Shape shifters: Racialized and gendered crossings inPiccadilly(1929) andShanghai Express(1932)." Sexualities 23, no. 1-2 (November 21, 2018): 170–200. http://dx.doi.org/10.1177/1363460718779800.
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The Chinese American actress Anna May Wong (1905–1961) is today considered an ambivalent icon who, on the one hand, was the first Asian American film star to gain international recognition, and on the other hand, became a symbol of the hypersexualized Asian woman in film. In this article, I will analyse the crossing of racial and sexual boundaries in two of her films, Piccadilly (1929) and Shanghai Express (1932). The comparison of Piccadilly with Shanghai Express reveals the journey not only of transatlantic agents, like Anna May Wong, but also the simultaneous trajectory of sets of interrelated motifs, narratives, and aesthetic tropes. As discourses of gender and race converge into the figure of the transnational Asian American actress, Anna May Wong offers a key and privileged site to unpack and discuss them. The relationship between sexuality and race in these films has often been reduced to processes of exoticization. However, I will show that this relationship ought instead to be understood as interrelated through practices of appropriation, subversion, and cross-dressing.By applying the term ‘exotic’ to the analysis of Anna May Wong’s performances, I aim to foreground the entangled processes of sexualization and exoticization in order to reveal that the delineation of the ‘other’ is more ambivalent than clear. The films are particularly interesting in the context of ‘sexoticization’ because they do not construct a gendered and racialized ‘other’ that is clearly distinct to a western ‘us’. Modes of appropriation and masquerade complicate the representation of the ‘sexotic’, non-European ‘other’.
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Szeto, Kin-Yan. "Women in Chinese Martial Arts Films of the New Millennium: Narrative Analyses and Gender Politics. YA-CHEN CHEN . Lanham: Lexington Books, 2012. xvii + 293 pp. £44.95; $95.00. ISBN 978-0-7391-3908-0." China Quarterly 217 (March 2014): 269–71. http://dx.doi.org/10.1017/s030574101400006x.
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Zheng, Victor, and Siu-lun Wong. "Road to independence." Social Transformations in Chinese Societies 12, no. 2 (October 3, 2016): 114–32. http://dx.doi.org/10.1108/stics-08-2016-0012.
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Purpose The paper aims to explore the road to independence of the less-fortunate women in early Hong Kong society and their means in passing of wealth after death. In the 1970s, about 400 Chinese wills from the 1840s to the 1940s were dug up on a construction site in Hong Kong. One-fourth of these were from women who had held a substantial amount of property. How they obtained this property intrigued us because, at that time, women were seen as subordinate to men and excluded from the labor market. Why they had wills led to further questions about Hong Kong society of that time and the role of women in it. Design/methodology/approach The analysis of this paper is based on archival data gathered from the Hong Kong Public Records Office. These data include 98 women’s wills filed from the 1840s to the 1940s and a 500-page government investigation report on the prostitution industry released in 1879. The former recorded valuable information of brief testators’ family and personal life history, amount of assets, and profolio of investment, etc. The latter included testimonials of brothel keepers and prostitutes and their life stories and the background of legalizing prostitution in early Hong Kong. Apart from basic quantitative analysis on women’s marital status, number of properties, nature of wills and number of brothels, qualitative analysis is directed to review the testator’s life of self-reliance, wealth accumulation and reasons of using wills for arranging wealth transmission after death. Findings In this paper, the authors found that because the colonial government declared prostitution legal, and only women could obtain employment by becoming prostitutes or brothel keepers, they earned their own livelihood, saved money and finally became independent. However, because these professions were not seen as “decent”, and these women were excluded from the formal marriage system, intestacy could cause problems for them. Through their socio-business connections, they became familiar with the Western concept of testate inheritance. So, they tended to use wills – a legal document by which a person assigns someone to distribute his or her property according to his or her wishes after his or her death – to assign their property. Research limitations/implications Because only archival data are chosen for analysis, the research results may lack generalizability. Follow-up researches to examine whether the studied women acquired their wealth through their own work or simply as gifts from others are required. Originality/value This paper explores the understudied women’s life and method of estate passing after death in the early Hong Kong society. It fills the academic gap of women’s contribution to Hong Kong’s success and enriches our understanding on the important factors that could attribute women’s real independence.
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Dooling, Amy, and Li Yu-ning. "Chinese Women through Chinese Eyes." Chinese Literature: Essays, Articles, Reviews (CLEAR) 16 (December 1994): 175. http://dx.doi.org/10.2307/495320.
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Beaver, Patricia D., Hou Lihui, and Wang Xue. "Rural Chinese Women." Modern China 21, no. 2 (April 1995): 205–32. http://dx.doi.org/10.1177/009770049502100203.
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Jolly, Margaretta. "About Chinese Women." Women: A Cultural Review 11, no. 3 (January 2000): 295–98. http://dx.doi.org/10.1080/09574040050505556.
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Woon, Yuen-Fong, Denyse Verschuur-basse, and Elizabeth Rauch-Nolan. "Chinese Women Speak." Pacific Affairs 69, no. 3 (1996): 402. http://dx.doi.org/10.2307/2760929.
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Hooper, Beverley. "Demythologising Chinese women." Asian Studies Association of Australia. Review 11, no. 3 (April 1988): 119–26. http://dx.doi.org/10.1080/03147538808712528.
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Edwards, Louise. "Chinese Women Through Chinese Eyes.Li Yu-ning." Australian Journal of Chinese Affairs 32 (July 1994): 212–13. http://dx.doi.org/10.2307/2949855.
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Cheng, Lucie, Mary Sheridan, and Janet W. Salaff. "Lives: Chinese Working Women." Contemporary Sociology 14, no. 4 (July 1985): 499. http://dx.doi.org/10.2307/2069212.
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Kua, Ee Heok. "Chinese women who drink." Addiction 89, no. 8 (August 1994): 956–57. http://dx.doi.org/10.1111/j.1360-0443.1994.tb03354.x.
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