The main features of European and North American films are different from each other, but they have common features.

In 1994, The Independent published the interim conclusion of Maggie Brown's report "A Follow-up Survey of the British Film Academy", with a half-page title "Women working in the media work too hard to have children". This survey used detailed questionnaires and records, and conducted a sample survey of 520 TV workers through ingenious grading settings, tracking and analyzing their origins, status and aspirations during the period of rapid change in the TV industry. The transformation of TV industry to temporary or short-term contract workers has a special impact on women and nursing children. Two-thirds of the men surveyed have children, while only 30% of women have children. The researchers commented that this difference cannot be explained by age, birth or education. But an independent filmmaker, a woman, pointed out the problem. "The same salary can pay twice the workload, avoiding the vacation time of social security, and there is no maternity leave salary, and there is no need to pay the salary during the period of caring for children-TV has once again become the industry of young men."

A freelance researcher without children commented: "In the current TV industry, there is no room for both (children and career) and there is no room for women to have children. If you are a freelancer, you will work month after month. Suppose I work from 8 am to evening 10, how can this be coordinated? " The woman pointedly pointed out that the dilemma of "children and career" is not complete, especially in the last century, which can be regarded as feminism, especially for women working in the TV industry. Judging from the statistics of the film industry that has been unstable, the situation of women is just as bad. However, some women try their best to change the status quo. In this article, I want to discuss some movies and TV programs made by women in11990s.

I want to investigate the reappearance of women's experience in British films from 65438 to 0990, and especially want to emphasize the most noteworthy problem in many works, that is, how to "realize" femininity and particularity. I suggest putting movies and TV together, which will help us to think-not from too many angles according to the growth of the film and television industry-but from their visual style, common role and reproduction angle. I especially want to use the concept of "covering all female characteristics" to express the female characteristics identified by post-feminists, that is, it has both the desire to continue the past and the fantasy they identify.

In the early 1968+0990' s, the most important films written and directed by women were Sally Potter's Orlando (1992) and Gurinder Chadha's Ba Baji on the Beach (1993), which absorbed, borrowed and transformed some things from the British film tradition. Orlando the Beautiful Woman is Sally Potter's second work. She began to pay attention to gender issues from the 1970' s. The film reveals and shows the achievements absorbed and inherited by a modernist with a highly formal structure, an unmistakable interpretation of Virginia Woolf's novels and a thorough thinking of the characters' appearance and heart. This avant-garde absorption and inheritance is clearly reflected in the director's early works, such as Thriller (1979) and Nuggets (1983). In Orlando, A Beautiful Woman, the director outlined the traditional features of English style in a strange way (Elizabethan era, country house, English dynasty, Victoria). 1992 may be an important stage of inheriting the films developed in Britain in the 1980s. Porter explained what a movie is with his own thinking. She reshaped the fate of the British into a drama with gender expression and traditional characteristics in the past. Orlando, the hero, changed his gender, lost his property, but got a daughter and wrote a novel in his future life.

On the contrary, the film Pumping by the Sea, which was created by Milla Hill, directed by Gurinder Chadha and produced by Nadine Marsh-Edwards, was shot for the British Film Academy. It is another tradition of British movies-like Play Away (1986) by holas Oeove-which is similar to the comedy produced by Yining, with a story carefully designed by a group of people with different identities at a specific time. A group of Indians and British Asians took a minibus from the Sacri Women's Center in Birmingham to Blackpool. During the journey, different people began to have a slightly different understanding and understanding of their situation. This trip to Blackpool, which has the characteristics of Yining movies, is different for two reasons: just like the implication of juxtaposing Indian things with British places of interest in the movie title, Asha (played by Rarita Ahmed) imagines the tradition of Indian popular movies; The other is the Asian characteristics directly possessed by three people of different ages who go to resorts frequented by British workers. They ended their trip on the same day. However, Chadeha and Cillard are concerned about conveying the diversity of Asian women's identities, from the traditional "aunt type" like Pushpa (played by Gera Siegel), the well-informed Indian woman Reka who came to Britain for sightseeing (she claimed that Blackpool was "like Mumbai"), to the young British women who can choose their own marriage, have received medical care training and are social activists. Chadeha and Cillard are concerned about the fate and identity of women, but they put these issues in the complicated post-colonial multi-ethnic coexistence in contemporary Britain. In this film, the most wonderful place is that the tourists set off, which is embodied in their cover of cliff richard's best-selling song "Ask for Leave" in Punjabi.

Beauty Orlando and Yum by the sea pay special attention to women's experience. Other feature films directed by women, such as The Pastor (directed by antonia Bird, 1994) and Beautiful Things (directed by Hetty mcdonnell, 1995), mainly focus on gay stories. We can find a multicultural Britain in Beautiful Things and Pumping by the Sea, while the theme expressed by Ngozi Onwurah (1994) can be found in Beautiful Things and Pumping by the Sea, which expresses Britain in the form of extreme pessimism about the future. I want to seize a desperate clue to discuss two shocking films, Stella Dodds' Trick (directed by Coky Giedroyc, 1996) and Under the Skin (directed by Carine Adler, 1996), which were shot in the late 1990s, as well as the screenplay by Joe hodges and the film directed by Roberto bangura. These three films all have gloomy themes, which show the helplessness and despair in the heroine's life. Each film has successfully surpassed the tradition of mainstream British film production to varying degrees and conveyed the face of the film industry outside London. However, this expression is not only because of the relationship with the history of British movies, but also because of the relationship with angry young people. Desperate young women are very important. My personal opinion is that in the 1990' s, works that reproduce women's fate were scheduled to be shown and broadcast at more and more important times for female audiences, and such films should also be viewed in combination with female series broadcast in prime time on TV, such as (Debbie horsfield, screenwriter of Debbie horsfield, 1987) and (Kay Mailer). 1995- 1996), and The Real Woman (written by Susan Odot) in 1998. The people who participated in the creation of these TV dramas are quite famous, and each role has its own very distinctive female characteristics. Similarly, these works can only show the overall style together with some costume dramas, such as 1995 BBC's Pride and Prejudice, Bridget Jones's Love, and 1998' s elaborate Away from the Madding Crowd, which are directed at the World Cup. At the end of1990s, in the words of Rachel Blancstein, the dramatic story of "women become heroes" was expressed in different texts and media, many of which occupied a central position in culture, while the past tradition was a fiction of women's gender.

We need to get close to these novels, which are the products of several different historical periods. First of all, there is an understanding that for film and television, there are female audiences with different class identities. Since the end of 1970, advertisers and program planners have become more and more interested in professional women with high income and high consumption. They think that these women have all female characteristics. Secondly, with the increase of domestic TV programs and the introduction of masculine satellite channels (sports and movies) into TV networks, the prime-time programs of TV networks have always been biased towards women. Finally, the promotion of cultural industry by industrial pressure has just produced many female screenwriters, female directors and producers. In other words, the demand for new products can be partially met by the different imagination and attention of new and old creators. The older generation, including Kay Mailer and Sally Potter, finally ensured the recognition of the audience. The new generation was cultivated from the feminist viewpoint of1970s, which is true to some extent. A large number of women under the age of 30 who participated in the research of the British Film Academy particularly emphasized this point. In Britain, television plays a particularly important role in the cultural life of the country, which can be said to be a favorable contrast with France. In Britain, the number of women employed in the audio-visual industry has increased dramatically in the past 65,438+05 years. Although few directors are recognized as authors-however, in the film and television industry, women have been expanding to become playwrights, documentary producers, animation producers and producers (for example, Molly Dining, Candy Guard, Lucy Gannon, Debbie horsfield, beeban kidron, Nadine Marsh-Edwards, Lynda La Plante, Verity Lambert, Kay Melo, Winsome Pinnock, Jane Root, jennifer saunders Jennett Stree-Porter, meera syal, Janet Winterson), in a sense,

The growing interaction between British film and television is regarded as a major feature of the British video industry. However, apart from becoming a cliche, such as "British movies are broadcast live on TV, and they are lively and full of vitality", there are also different understandings and views on the significance and results of this interactive communication between movies and TV. We can still distinguish between "TV-based viewpoint" and "movie-based viewpoint". We seldom express our views on the former, but this is clearly expressed in john kofi's paper The Logic of Convergence. In his article, he discussed that the naturally occurring "British-Teto mixing" of art films is an unstable balance of "European sentiment and North American market", and this kind of art film depends on TV economically. Coffey cautiously welcomed this personal work, which spans the two media modes of film and television, but also raised a series of questions. He believes that those "uncoordinated and complex phenomena with local characteristics within a country and a nation" are conducive to the reproduction of the country and the nation. "By grasping some images that can convey the complexity and diversity of the country and the nation itself and its surrounding things, we can establish the identity characteristics of the country and the nation, reproduce ourselves well outside, and ensure the continuity of our own characteristics when we enter the global market."

These differences are enlightening when I discuss the fictional text with me and when I do marketing, because it is even more difficult if I regard these clear female stories as the "reappearance" of the country and the nation-unless the heroine is Elizabeth I, dramatists like Debbie horsfield and Kay Mailer, and their works always have a strong local color, and they are concerned about "the local characteristics, uncoordinated and complicated phenomena within a country and a nation" Stella's Style, shot by A.L. Kenned and Coky Giedroyc, and Girl with Brain foots, shot by Roberto bangura and Joe hodges, are doing the same work in another way. What I want to explain is that the interaction and communication between movies and TV plays an important role in promoting the drama story of female subject consciousness. It is precisely because it is really difficult to be a woman and represent British characteristics; Therefore, in Coffey's view, these fictional texts are necessary and can play a typical role, but they cannot be said to be appearances. What's really true is "One Take Off to the End" and "Psychedelic Train" (also translated as "Trainspotting"). These two stories with male consciousness have played a role in reproducing the country and the nation, rather than fictional texts of these women.

Stella Make a Difference and Deep Down of Desperate Women have similar production backgrounds: they are both produced by the British Film Academy, with a budget of less than 700,000 pounds, funded by local incentive funds, and some scenes are completed outside London (Glasgow and Liverpool); Both films were made by Barry Akrod (who worked with ken loach), and both were the first feature films directed by women. The focus of every movie pays close attention to the heroine. Almost every shot, not to mention every scene, the heroine, almost every shot, not to mention every scene, the heroine will appear in it. Due to cultural considerations, there is always sexual embarrassment and confusion, and every movie has a lot of content about sex. The Girl with a Brain on Her Feet was independently produced by Lexington Pictures with a budget of less than 1 10,000. Moreover, this film also has provincial scenes (1Leicester in the 1970s). Its script and director are both making feature films for the first time. These stories are all about desperate women. I want to summarize some elements that we need to think about when analyzing these films.

As a feature of an English film, Stella is familiar with it. Akrod's photography style in this film is more like Rocky: low-key, natural and inconspicuous. The visual presentation of location shooting in London and Glasgow is quite different. The scenes in London are all shot in the middle and long streets-the framing of the frame is always slightly larger than that of the person in focus, but it does not stretch, giving people a sense of space and distance. The city is full of hotels, cafes, apartments and dusty inner city street parks. The shooting angle of the camera rarely exceeds the horizontal height of the human eye. In this way, we can only see a little sky scenery in the park scene. The only beautiful places are a shabby rest place in the park (Stella was forced to masturbate to Mr. Peters, the pimp, who pretended to eat ice cream) and the flower shop where Stella worked after she got rid of prostitution. The composition of the flower shop scene is also very depressing, and you can't see a long shot. The florist introduced it through a close-up of a row of flowers, and later there was a close-up of picking a bunch of lilacs. Stella brought some plants home from the flower shop to decorate the bedroom she shared with Eddie. Glasgow is very different from London. It is in a state of imagination and memory, so it is more open, and it is often expressed by a long lens with dim light. Especially around the long lens symbolizing Stella's father's pride and joy, this makes the pigeon cage wide and far, to show that life here should have been smooth sailing.

Stella Making a Mistake tells the story of a Glasgow woman who works as a prostitute under the protection of a man named Mr. Peters (played by James Bolam) in London. In the first part of the film, she is also Mr. Peters' favorite person. As Peters points out, Stella (played by kelly macdonald) has the ability to "think about other things during sex". London and Stella's uncertain scenes in Glasgow are alternately edited together, including little Stella without a mother, her father (Ewan Stewart), an alcoholic temporary comedian, and her strict aunt Irene. Some scenes in Glasgow are clearly fresh in my memory; Some are omniscient flashbacks, such as the conversation between Stella's father and Irene; When they saw the conversation between Stella's father and Irene in the street below: when they saw Stella dancing in the rain in the street below, he claimed that what Stella needed was love; Other scenes may be fantasy. Stella decided to leave Peters when she let him take drugs. One night Peters couldn't find Stella (she went to avenge a beaten girl) and took in Eddie, a drug addict. They went to Glasgow together, where Stella took revenge on her respectable aunt and fierce father. When they returned to London, Stella found a job in a flower shop and began to decorate his apartment. She was still eager to escape from the past, but Eddie couldn't get rid of his drug addiction.

This film has a two-tier structure. First of all, the title explains two meanings. Stella did at least two heinous things. In American slang, she engages in prostitution ("dose trick"); But with abundant energy, she showed amazing behavior. For example, swimming underwater, and aunt Irene put many balloons blown by condoms in the suburban garden that everyone likes. The film also shows two outrageous things. One is the dirty communication with middle-aged men. Although pornographic performances are avoided during shooting, it also conveys the sadness and exploitation of the parties. The other is what stella did when she was angry. She wants revenge for the injustice she suffered in the past and now. She gave a prostitute a particularly spicy candy, a "fisherman's treasure" that stimulates the anus, but it was not a drug. On her way home, she smashed the car's searchlight and destroyed the car's antenna and reflector. Then at the climax of revenge, she set fire to a car, her father's dovecote, and even her father's nakedness. Stella did go too far, but what she should do most, but she couldn't succeed, was to get rid of prostitution and turn over a new leaf. She fantasized that Eddie could become a healthy and normal person.

Under such a two-tier structure, the juxtaposition of London and Glasgow tries to describe Stella's inner world and motives. We can also see the present situation and the past situation. A child without a mother, a father who is deviant in love-we gradually see a further double-layer structure in Stella's painful love for Mr. Peters and her memory of her fierce father. However, she is one because she told Mr. Peters. However, she is a practitioner, regardless of other identities. She first behaves as a narrator of a story: "Sisters, sisters, write this down, I can write everything down, that's my business, I have the ability." Stella's skills shaped her into a spokesperson, thus breaking the tradition that naturalists used to regard prostitutes as ready-made victims.