How The Avant-garde Chinese Media Distort The Customary Woman

There are three images of a woman in the avant-garde Chinese media: a) exquisite and weak b) beautiful and betrayer c) beautiful and secondary to men. Customary women has been a best-loved subject of debate in the modern China. Many Chinese women want to erase this perspective and change it into a avant-garde one that means a total opposite of the aforementioned characteristics: a) unlovely and strong b) ugly and loyal c) ugly and primary to men. But, we can assume that the avant-garde Chinese media prefers the customary for an obvious reason (who wants to be ugly?).

In one Chinese movie, the dominating characters are acrobatic men and women characters are just a exquisite background. Another breathtaking Chinese film shows a female who has the great role. She is exquisite and men are fully consecrated to her, but she betrays her loyal lover. On the one hand, a Chinese woman, who is betraying her lover, is praised as strong and truly avant-garde that she subverts the customary role of a Chinese woman.

On the other hand, this avant-garde female character presents a distorted image of a woman. Lastly, one female character, who is also a great role, tries to free herself from a curse by finding pure love. When she has finally freed herself, her superb beauty made her a defenseless victim of different men. She was only saved by a stouthearted Prince Charming who, by the way, appeared from the faraway place of nowhere. The apprehensive Chinese women say that these images are not actually subversions of their customary character but rather a deformation of their image. They also gripe that these assorted images are not even a representation of what is customary, for they are mere parody of being a woman in China.