A lot has changed in the past 18 years, according to film director Louisa Wei. In , realising that the female pioneers of Chinese cinema were repeatedly being missed from the history books, she took it upon herself to rewrite the narrative. By Wei had published a book featuring interviews with 27 Chinese and Japanese women directors, as well as several academic journals on the subject of Chinese women in film. Despite a slow initial uptake, it turned out her efforts were not in vain. While teaching film classes as an associate professor at City University in Hong Kong, Wei started to notice more and more female students in her audience every year, and they wanted to know about the women who had come before them.
Celebrating Women in Global Cinema
Home Sweet Home ( film) - Wikipedia
IN , This shift towards late marriage took place during a period of across-the-board advances in employment for women and a remarkable improvement in their education. The status and role of women in the community has come a long way in a relatively short time. And the elevation of women's education and status has had an impact on the way they deal with their identity in regard to love, conjugal relationships and sexuality. Middle-aged Chinese women in Hong Kong who live their lives according to a "conventional" heterosexual life script are referred to as si-nai. The two Chinese characters in the term mean "teacher" and "breast," respectively. The term, which originated in Hong Kong in the s, was initially one of respect, but now carries the derogatory meaning of a "middle-aged married woman who is ignorant, overweight, and 'penny wise but pound foolish.
Beyond Obedience and Virtue: Love, Sex and Marriage in Hong Kong > Articles
In we will host a year-long programme of films and special events highlighting and celebrating women in film from across the world. From specially curated retrospectives, seasons and special events, to takeovers of annual favourites such as Not Just Bollywood, this branded series of screenings and events will explore and challenge the place and space of female filmmakers from a variety of cultural, social and political perspectives. We have many more features to be announced over the coming year, but for now keep an eye out for the Celebrating Women in Global Cinema badge in our programme and join in the celebration and conversation online with WomenAtHOME.
May moves into a new apartment in Hong Kong with her husband Ray and son Chi-lo. While they are moving in, Chi-lo and May see a hideous creature. They tell Ray what they have seen and he suggests moving out.