Since the 1980s, following significant advancements in feminism, postfeminism, which questions the necessity of feminism, has gained popularity in Western countries. This scepticism is reflected through the medium of film, with chick flicks serving as a crucial platform for postfeminist discourse. For Eastern countries, both postfeminism and chick flicks are cultural imports. While sharing strikingly similar characteristics with their Western counterparts, Eastern countries also exhibit distinct features. In China, there is an absence of systematic and extensive discussions on postfeminism. Nonetheless, postfeminist phenomena are evident in contemporary Chinese cinema. My research posits that, unlike the criticism and scepticism often directed at Western chick flicks and postfeminism, the postfeminist ideology presented in Chinese chick flicks displays certain positive aspects. For instance, Chinese chick flicks reveal various transformations in the lifestyles and ideologies of young Chinese women in the 21st century, showcasing their active participation in global trends. Therefore, my research aims to elucidate the complex significance of postfeminism in China by analysing the following nuanced aspects presented in Chinese chick flicks. Firstly, this research examines the shift towards a health-oriented lifestyle and the strict demands of female bodies. Secondly, it explores the interplay between women’s self-empowerment through travel and the consumerism that emerges in this process. Lastly, it investigates the rise of individualism and its conflict with traditional Chinese family culture. While reflecting the return to and retention of patriarchal elements similar to Western postfeminism and chick flicks, these aspects also highlight the modernity and progressiveness of Chinese feminist consciousness.

Authors:
Jiaoyang Guo, University of Southampton, United Kingdom

About the Presenter(s)
Ms Jiaoyang Guo is currently a PhD student in Film Studies at the University of Southampton, UK.

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