ABSTRACT
Objectives: This study examines the topics of feminism, education, and Chinese cinema. This study examines how Chinese films ingeniously tackle gender issues that deviate from educational norms, as films serve as a crucial pedagogical instrument. Methodology: The analysis focuses on the patriarchal gender norms and power dynamics prevalent in Chinese filmmaking, utilising critical cinema theory, gender studies, and postcolonial perspectives. This study employed a mixed research strategy to validate the findings. The analysis of China's vibrant film industry is conducted using postcolonial perspectives, gender studies, and critical film theory. Jia Zhangke and Zhang Yimou accurately portray governmental authority, social restrictions, and feminine subjectivity. Women encounter daily challenges in autonomous Chinese films like "Springtime in a Small Town." An analysis of Chinese feminist cinema. Gender is influenced by the historical, societal, and cinematic factors. Results: This study examines the manner in which Chinese films tackle the subject of feminism and influence the general public's understanding and viewpoint. Gender relations in Chinese cinema are depicted through the use of historical settings, cultural norms, and cinematic methods. Conclusion: The poll indicates a significant presence of female characters in Chinese films. Women are often perplexed by the intricate storytelling techniques employed by renowned directors and the subtle approach taken by independent films. The feminist discourse in Chinese film can be elucidated via the lens of historical and cultural factors. Implications: This research can be advantageous for legislators, filmmakers, and nonacademic educators. The cinema medium fosters active engagement in the classroom and stimulates analytical thinking. Chinese educators can utilise feminist films as educational tools to instruct about gender. Examining the diverse genres, artists, and artistic trends that constitute Chinese cinema is of utmost significance. This study examines the shift of feminist education in Chinese cinema. The findings have significant ramifications for educators, artists, as well as gender studies and film theory. This essay examines the intricate and subtle feminism present in Chinese cinema.
