女性主义电影理论产生于上个世纪六十年代,经过多年的自身脉络发展而成为了一套自成体系的电影批评理论。运用女性主义电影理论审视张艺谋前期的三部作品可以发现女性自身形象的自相矛盾,即她既推动叙事又作为奇观被展示。而女性形象的这种矛盾性存在,根源于电影制作者与电影观众达成的“共谋关系”。 Feminist film theory, which originated in the 1960s, became a self-contained theory of film criticism after many years of development of its own context. The use of feminist film theory to examine the three works of Zhang Yimou in the early period can reveal the self-contradiction of women’s own image, that is, she is both narrating and spectacular. The contradictory existence of the female image is rooted in the “complicity relationship” between the movie producer and the film audience.