Crack and Complicity – Bai Xianyong's The Last Night of Madam Jin Text and Film Adapting the Feminist Paradigm of Existence in a Double Space

Abstract

The group image of females in the entertainment world constructed by Bai Xianyong is an important part of the contemporary Chinese female literature. Characterized by gender manifestation, objectification and psychological reflection, it mainly studies the destiny of females in the entertainment scene world in the change of time and space. It makes multi-angle polishing on the distorted discourse of females under the pressure of materialism and females’ subjective understanding of self-identity. This not only brings the study of the image of females in the entertainment world, which is different from the traditional one in recent times, into a new feminist value category, but also provides a more three-dimensional space to explore the gender identity of this group under multiple perspectives. Apart from that, a more three-dimensional space is offered to explore the gender identity of this group in multiple perspectives. With the maturity of film adaptation, the female characters in the entertainment world, represented by “Madam Jin”, have both textual and cinematic critical perspectives, which jointly enrich the context of Oriental females’ studies and break the stereotyped, single impression of these females in mainstream culture. However, there are also inevitable cracks in the discourse.