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【美国《大西洋》月刊网站7月16日文章】题：《小时代》对中国女性而言是严重倒退
中国描述现代上海生活的电影《小时代》6月底上映当天就登上新闻头条，击败好莱坞大片《超人：钢铁之躯》跃居国内票房榜首，并创下中文2D电影上映首日的票房纪录。
影片讲述了四名女大学生的感情生活和职场抱负，但电影的主题是关于在一名帅哥所在的公司工作的女性向往奢侈的生活。尽管电影主角是女性角色，但《小时代》不是一部女性电影。这些女性从头到脚穿着名牌时装，极容易为相貌出众的男性神魂颠倒，而她们的梦中情人不是好莱坞传统类型的肌肉男，而是体格纤细、五官精致、仿佛青春永驻的亚洲花样美男。
《小时代》借鉴了主要迎合青少年和年轻族群的东亚流行偶像剧，主角由几乎谈不上什么演技的男女演员担纲。好的偶像剧常常以青春爱情为主题，主角往往藏有黑暗的秘密或痛苦的过去，引起痛苦与感伤。然而《小时代》完全抛弃了复杂的故事情节和性格发展。这部电影看起来不错但却缺少实质内容。
我们完全猝不及防，就被这部明目张胆地炫耀财富、魅力和男权，表现“女性就想要这些”的电影惊呆了。其思想之低俗以及完全缺乏自知之明十分惊人，但也许又不那么令人意外。这似乎是现代中国城市社会全面物质化的产品。这部电影迎合的是男性对女性渴望的幻想，完全围绕男性以及男性所能提供的最好的东西，无论物质上还是身体上。电影表现了一种扭曲的男性自恋，以及一种渴望父权和控制女性身体及情绪的男性欲望，并将这些曲解为女性的渴望。
毛主席的豪迈口号“妇女能顶半边天”现在怎么了？《小时代》中的中国社会已经倒退到更早的时代。多年来的经济加速增长带来了前所未有的社会流动性和地理流动性，增加了中国男性成功以及抛弃妻子追逐权力与金钱的压力。经济增长加剧了性别差距，复辟了文化传统，将女性降格至低人一等的地位。近年来人们在中国目睹的对女性的蔑视令人担忧。影片中的男性沙文主义恰恰是一个女性选择极其有限社会的征兆。女性在男权的压力下被鼓励成为物质女孩，那些敢于动用思考能力的女性被诅咒将陷入永恒的孤独，从而被驱赶到墙角。
China's 'Sex and the City' Film Is a Great Leap Backward for Women
The hit movie portrays Shanghaiese women as shallow, vapid, and beholden to bad men. So much for gender equality.
Ying Zhu and Frances HisgenJul 16 2013, 11:35 AM ET
(Le Vision Pictures)
Tiny Times, a Chinese feature film set in contemporary Shanghai, made headline news on its opening day in late June by knocking the Hollywood blockbuster Man of Steel from its perch atop the domestic box-office and breaking the opening-day record for a Chinese-language 2D release.
The film follows four college girls as they navigate romance and their professional aspirations, but the bulk of the film is about the female longing for a life of luxury in the company of a good-looking man. Tiny Times is not a women's film, though it does feature female characters, draped from head to toe in designer clothes and easily mesmerized by the presence of supposedly visually stunning males -- not the usual, muscle-bound Hollywood types, but Asian boys of androgynous demeanor with compact frames, exquisite facial contours and the look of perpetual youth.
At first glance, Tiny Times might be mistaken for a Sinicized Sex and the City, but soon it becomes clear that the four boy-crazed, mall-loitering characters in Shanghai have little in common with the fiercely independent career women in Candace Bushnell's New York. Positioned in the market by Le Vision Pictures of Beijing as a coming of age story, the rite of passage for one dazed girl in the film is to grow into a competent personal assistant to her oh-so-handsome male boss whose aloof demeanor and penetrating gaze constantly destabilizes her. Another girl from a nouveau riche family, showers her boyfriend with expensive clothes and accessories. The third girl -- chubby, suffering from stereotypically low self-esteem and emotional eating -- is made fun of throughout the movie as she obsesses over young tennis player, the one man in the movie who actually possesses something resembling muscle. The fourth girl, a budding fashion designer from a humble background, is trapped in an abusive relationship with yet another good-looking boy.
Taking a page from the book of popular East Asian "idol dramas" that cater primarily to youth in their teens and 20s, the film features popular singers, actors, and actresses, cast regardless of any actual acting ability. Good idol dramas frequently feature teen romance, in which brooding characters with dark secrets and painful pasts elicit pathos and real emotion. Tiny Times, however, has done away with complex story arcs and character development. The film looks great but ultimately lacks substance.
The four characters' professional aspirations amount to serving men with competence. The film is a Chinese version of "chick flick" minus the emotional engagement and relationship-based social realism that typically are associated with the Hollywood genre. The only enduring relationship in Tiny Times is the chicks' relationship with material goods. The hyper-materialist life portrayed carries little plot but serves as a setting for consumption, and is more akin to MTV or reality TV than real drama. With its scandalously cartoonish characters, the film would have worked better as a satirical comedy, except that the director is too sincere in his celebration of material abundance to display any sense of irony.
We were caught completely off guard, stupefied by the film's unabashed flaunting of wealth, glamor, and male power passed off as "what women want." Its vulgar and utter lack of self-awareness is astonishing, but perhaps not too surprising. It appears to be the product of full-blown materialism in modern, urban Chinese society. The film speaks to the male fantasy of a world of female yearnings, which revolve around men and the goods men are best equipped to deliver, whether materially or bodily. It betrays a twisted male narcissism and a male desire for patriarchal power and control over female bodies and emotions misconstrued as female longing.
Whatever happened to Chairman Mao's proclamation that "women hold up half the sky?" In Tiny TimesChinese society has regressed to an earlier era. Years of accelerating economic growth have brought unprecedented social and geographic mobility, and increased pressure on Chinese men to succeed, to follow the trail of power and money, leaving their women behind. Economic growth has exacerbated the gender gap, often reviving cultural traditions that reduce women to a sub-human status. The contempt for women that I have witnessed in China in recent years is alarming. The male chauvinism in the film is symptomatic of a society where the choices for women are severely limited. The ones with bodies are enticed to become material girls under the thumb of men, the ones with brains who dare to use their thinking faculties are condemned to eternal loneliness, and the ones possessing neither are banished to a corner.
Guo claims to represent the post 1990s "me generation" and has apparently hit a home run with the youth audience. According to the latest statistics from the China Film Distribution and Exhibition Association, the average age of a moviegoer in China has dropped to 21.2 years in 2012 from from 25.7 years in 2009. Tiny Times's owes its success partly to a marketing campaign that relied heavily on social media networks reaching tens of millions of students.
The Chinese film industry has come aboard celebrating a work of fiction with a dubious imagination, awful acting, and a story that is non-existent. One can only surmise that Chinese cinema has momentarily lost its way -- in its desperate pursuit of domestic market share in competition with a growing number of imported Hollywood blockbusters, the Shanghai International Film Festival traded cinematic quality for box-office returns. If this pattern holds, Chinese cinema will soon hang by a thin thread. It cannot rely on weightless movies like Tiny Times to sustain its market momentum.
It comes as a consolation to us that the film averaged low ratings of 3.4 and 5.0 out of 10 on China's two most-visited online movie portals, mtime.com and douban.com.
Director Guo said that Tiny Times allowed its viewers to dream about a future with "a great career, great friends, and a handsome boyfriend." We're not at all sure if this is what Chinese President Xi Jingping had in mind when he announced his opaque "Chinese Dream." We sure hope that both Chinese cinema and Chinese women can envision their own alternatives.
This post also appears at ChinaFile, an Atlantic partner site.
电影《小时代》剧组合影
中国描述现代上海生活的电影《小时代》6月底上映当天就登上新闻头条，击败好莱坞大片《超人：钢铁之躯》跃居国内票房榜首，并创下中文2D电影上映首日的票房纪录。
影片讲述了四名女大学生的感情生活和职场抱负，但电影的主题是关于在一名帅哥所在的公司工作的女性向往奢侈的生活。尽管电影主角是女性角色，但《小时代》不是一部女性电影。这些女性从头到脚穿着名牌时装，极容易为相貌出众的男性神魂颠倒，而她们的梦中情人不是好莱坞传统类型的肌肉男，而是体格纤细、五官精致、仿佛青春永驻的亚洲花样美男。
《小时代》借鉴了主要迎合青少年和年轻族群的东亚流行偶像剧，主角由几乎谈不上什么演技的男女演员担纲。好的偶像剧常常以青春爱情为主题，主角往往藏有黑暗的秘密或痛苦的过去，引起痛苦与感伤。然而《小时代》完全抛弃了复杂的故事情节和性格发展。这部电影看起来不错但却缺少实质内容。
我们完全猝不及防，就被这部明目张胆地炫耀财富、魅力和男权，表现“女性就想要这些”的电影惊呆了。其思想之低俗以及完全缺乏自知之明十分惊人，但也许又不那么令人意外。这似乎是现代中国城市社会全面物质化的产品。这部电影迎合的是男性对女性渴望的幻想，完全围绕男性以及男性所能提供的最好的东西，无论物质上还是身体上。电影表现了一种扭曲的男性自恋，以及一种渴望父权和控制女性身体及情绪的男性欲望，并将这些曲解为女性的渴望。
毛主席的豪迈口号“妇女能顶半边天”现在怎么了？《小时代》中的中国社会已经倒退到更早的时代。多年来的经济加速增长带来了前所未有的社会流动性和地理流动性，增加了中国男性成功以及抛弃妻子追逐权力与金钱的压力。经济增长加剧了性别差距，复辟了文化传统，将女性降格至低人一等的地位。近年来人们在中国目睹的对女性的蔑视令人担忧。影片中的男性沙文主义恰恰是一个女性选择极其有限社会的征兆。女性在男权的压力下被鼓励成为物质女孩，那些敢于动用思考能力的女性被诅咒将陷入永恒的孤独，从而被驱赶到墙角。
China's 'Sex and the City' Film Is a Great Leap Backward for Women
The hit movie portrays Shanghaiese women as shallow, vapid, and beholden to bad men. So much for gender equality.
Ying Zhu and Frances HisgenJul 16 2013, 11:35 AM ET
(Le Vision Pictures)
Tiny Times, a Chinese feature film set in contemporary Shanghai, made headline news on its opening day in late June by knocking the Hollywood blockbuster Man of Steel from its perch atop the domestic box-office and breaking the opening-day record for a Chinese-language 2D release.
The film follows four college girls as they navigate romance and their professional aspirations, but the bulk of the film is about the female longing for a life of luxury in the company of a good-looking man. Tiny Times is not a women's film, though it does feature female characters, draped from head to toe in designer clothes and easily mesmerized by the presence of supposedly visually stunning males -- not the usual, muscle-bound Hollywood types, but Asian boys of androgynous demeanor with compact frames, exquisite facial contours and the look of perpetual youth.
At first glance, Tiny Times might be mistaken for a Sinicized Sex and the City, but soon it becomes clear that the four boy-crazed, mall-loitering characters in Shanghai have little in common with the fiercely independent career women in Candace Bushnell's New York. Positioned in the market by Le Vision Pictures of Beijing as a coming of age story, the rite of passage for one dazed girl in the film is to grow into a competent personal assistant to her oh-so-handsome male boss whose aloof demeanor and penetrating gaze constantly destabilizes her. Another girl from a nouveau riche family, showers her boyfriend with expensive clothes and accessories. The third girl -- chubby, suffering from stereotypically low self-esteem and emotional eating -- is made fun of throughout the movie as she obsesses over young tennis player, the one man in the movie who actually possesses something resembling muscle. The fourth girl, a budding fashion designer from a humble background, is trapped in an abusive relationship with yet another good-looking boy.
Taking a page from the book of popular East Asian "idol dramas" that cater primarily to youth in their teens and 20s, the film features popular singers, actors, and actresses, cast regardless of any actual acting ability. Good idol dramas frequently feature teen romance, in which brooding characters with dark secrets and painful pasts elicit pathos and real emotion. Tiny Times, however, has done away with complex story arcs and character development. The film looks great but ultimately lacks substance.
The four characters' professional aspirations amount to serving men with competence. The film is a Chinese version of "chick flick" minus the emotional engagement and relationship-based social realism that typically are associated with the Hollywood genre. The only enduring relationship in Tiny Times is the chicks' relationship with material goods. The hyper-materialist life portrayed carries little plot but serves as a setting for consumption, and is more akin to MTV or reality TV than real drama. With its scandalously cartoonish characters, the film would have worked better as a satirical comedy, except that the director is too sincere in his celebration of material abundance to display any sense of irony.
We were caught completely off guard, stupefied by the film's unabashed flaunting of wealth, glamor, and male power passed off as "what women want." Its vulgar and utter lack of self-awareness is astonishing, but perhaps not too surprising. It appears to be the product of full-blown materialism in modern, urban Chinese society. The film speaks to the male fantasy of a world of female yearnings, which revolve around men and the goods men are best equipped to deliver, whether materially or bodily. It betrays a twisted male narcissism and a male desire for patriarchal power and control over female bodies and emotions misconstrued as female longing.
Whatever happened to Chairman Mao's proclamation that "women hold up half the sky?" In Tiny TimesChinese society has regressed to an earlier era. Years of accelerating economic growth have brought unprecedented social and geographic mobility, and increased pressure on Chinese men to succeed, to follow the trail of power and money, leaving their women behind. Economic growth has exacerbated the gender gap, often reviving cultural traditions that reduce women to a sub-human status. The contempt for women that I have witnessed in China in recent years is alarming. The male chauvinism in the film is symptomatic of a society where the choices for women are severely limited. The ones with bodies are enticed to become material girls under the thumb of men, the ones with brains who dare to use their thinking faculties are condemned to eternal loneliness, and the ones possessing neither are banished to a corner.
Much to our horror and dark amusement Tiny Times' director Guo Jingming, won the award for "best new director" at the recently concluded Shanghai International Film Festival. A film school dropout turned popular fiction writer, Guo aspires to be an author of contemporary Shanghai. Though not a Shanghai native, he nevertheless invokes the renowned Shanghai novelists Eileen Chang and Wang Anyi as his predecessors. Guo's imagination paints Shanghai as a world city whose very spirit is equated with wealth and the attendant decadence. Nevermind that he paints a world devoid of compassion and humanity. Nevermind that the fabulously wealthy Shanghai in his fictionalized world is hardly the reality for majority of citydwellers.Guo claims to represent the post 1990s "me generation" and has apparently hit a home run with the youth audience. According to the latest statistics from the China Film Distribution and Exhibition Association, the average age of a moviegoer in China has dropped to 21.2 years in 2012 from from 25.7 years in 2009. Tiny Times's owes its success partly to a marketing campaign that relied heavily on social media networks reaching tens of millions of students.
The Chinese film industry has come aboard celebrating a work of fiction with a dubious imagination, awful acting, and a story that is non-existent. One can only surmise that Chinese cinema has momentarily lost its way -- in its desperate pursuit of domestic market share in competition with a growing number of imported Hollywood blockbusters, the Shanghai International Film Festival traded cinematic quality for box-office returns. If this pattern holds, Chinese cinema will soon hang by a thin thread. It cannot rely on weightless movies like Tiny Times to sustain its market momentum.
It comes as a consolation to us that the film averaged low ratings of 3.4 and 5.0 out of 10 on China's two most-visited online movie portals, mtime.com and douban.com.
Director Guo said that Tiny Times allowed its viewers to dream about a future with "a great career, great friends, and a handsome boyfriend." We're not at all sure if this is what Chinese President Xi Jingping had in mind when he announced his opaque "Chinese Dream." We sure hope that both Chinese cinema and Chinese women can envision their own alternatives.
This post also appears at ChinaFile, an Atlantic partner site.
