冰心老人曾经说:“世界上要是没有了女性,将缺少二分之一的真,三分之二的善,四分之三的美。”然而,当如今的女权主义(已经逐渐成熟渐进到“女性主义”理论)已成为一个学界热点并积极介入到对历史传统、社会政治、媒介文化中的性别歧视和压迫全面批判的时候,在最近的几部国产影片中,我们看到的女性的命运仍旧是被侮辱与被损害的(这是当代中国女性社会身份与地位处境尚没有完全得到确认和肯定的折射),个别女性形象仍旧是被扭曲的(这是从创作者角度分析,是被他(她)们对女性所抱持的下意识态度和习惯性视角决定的)。无论是从遥远偏僻的云南山区(《婼玛的十七岁》以下简称《婼》),到在宁静中渐变着 Ice heart old man once said: “If there is no woman in the world, will be missing one half of the truth, two thirds of the good, three quarters of the United States.” However, when today’s feminism (has gradually matured to “Feminist” theory) has become a hotspot in the academic field and actively intervenes in the comprehensive criticism of gender discrimination and oppression in historical traditions, sociopolitics and media culture. In recent domestic films, we have seen that women Fate is still being insulted and damaged (this is the contemporary Chinese women’s social status and status of the situation has not yet been fully recognized and affirmed refraction), individual female image is still distorted (which is from the creator point of view, is His / her subconsciousness and habitual perspective on women). Whether it is from the remote and remote mountainous areas of Yunnan (“Emma’s seventeen” hereinafter referred to as “Emu”), to the gradual change in peace