ABSTRACT
Feminism made in China is different from feminism in the Western context. After analyzing the mass media films, some scholars believe that Chinese feminism is a one-sided feminism. The elite female class promotes the female consumerism of the elite class by taking positions in state institutions. Propagating a pseudo-feminism that is attached to male authority and compromises with the state at the expense or disregard of the interests of middle and lower class women. The short film All The Crows in The World is different from this propaganda context, and adopts novel narrative strategies and perspectives. Taking this short film as the research object, this paper applies feminist theories and combines the context of China's post-feminist culture to deconstruct the source and expression of power in the short film plot from three aspects: plot structure, narrative subject and shooting elements, and explains how the director realizes the reversal of viewing power. Through the third perspective narration, it breaks through the female weak image and puts the male power under the female gaze. The short film deliberately creates space for multi-meaning interpretation and special visual beauty through ambiguous and incomplete plots. Through the analysis of the short film All The Crows in The World, this paper aims to study the difference between it and mainstream Chinese films, analyze the root of female self-weakening in combination with Chinese local culture and mainstream ideology, and discuss how visual symbols can achieve meaning or resonance for non-local audiences.
