DOI: 10.31806\/2542-1158-2026-10-2-130-146<\/p>\n\n\n\n
\u0423\u0414\u041a 7.096<\/p>\n\n\n\n
Craveiro T.1<\/sup><\/strong><\/p>\n\n\n\n 1<\/sup> South Ural State University (National Research University), Chelyabinsk, Russia.<\/p>\n\n\n\n Abstract<\/strong>. Mao Zedong\u2019s famous phrase \u201cWomen hold half the sky\u201d (\u5987\u5973\u80fd\u9876\u534a\u8fb9\u5929, f\u00f9n\u01da n\u00e9ng d\u01d0ng b\u00e0nbi\u0101n ti\u0101n<\/em>) marked a significant milestone in China\u2019s gender equality policies. It gained popularity among other socialist movements in Third World countries during the Cold War and resonated with left-wing intellectuals in Western countries. Women\u2019s liberation had been a crucial aspect of revolutionary struggles in China since the Xinhai Revolution of 1911, which overthrew the Qing imperial dynasty. The study draws on Chinese films from the seventeen-year Maoist period (1949\u20131966), characterized by the establishment and development of socialism in China under significant Soviet influence. During this period, Chinese women emerged as important figures in both society and cinema. The female protagonists in these films reflected the new social status of Chinese women, while their images were inspired by Soviet socialist realist films, which became the foundation for the development of cinema in \u201cNew China\u201d as a liberated, democratic, and socialist state. The article examines the representation of female characters in the films \u201cBasketball Player No. 5\u201d (1957), \u201cHuang Baomei\u201d (1958), \u201cThe Red Detachment of Women\u201d (1961), and \u201cTwo Stage Sisters\u201d (1965). These films were directed by Xie Jin, one of the most prominent directors of third-generation Chinese cinema, who devoted his work to portraying female strength and drew on both his personal experience and the heroines of Soviet cinema. It is important to emphasize that Xie Jin used the female figure as a representation, or even an allegory, of China itself in its process of liberation and revolution, linking cinema to the various stages of this major historical event in twentieth-century China.<\/p>\n\n\n\n Keywords<\/strong>: DIALOGUE OF CULTURES, POLITICAL CULTURE AND ART, HISTORY OF CINEMA, CHINESE AND SOVIET CINEMA OF THE MAOIST PERIOD, EMANCIPATION OF WOMEN IN CHINA<\/p>\n\n\n\n Get access to the full version of this article<\/a><\/strong><\/p>\n\n\n\n \u0412\u0430\u043d\u0441\u043b\u043e\u0432, \u0412.\u0412. \u0427\u0442\u043e \u0442\u0430\u043a\u043e\u0435 \u0441\u043e\u0446\u0438\u0430\u043b\u0438\u0441\u0442\u0438\u0447\u0435\u0441\u043a\u0438\u0439 \u0440\u0435\u0430\u043b\u0438\u0437\u043c \/ \u041d\u0418\u0418 \u0442\u0435\u043e\u0440\u0438\u0438 \u0438 \u0438\u0441\u0442\u043e\u0440\u0438\u0438 \u0438\u0437\u043e\u0431\u0440\u0430\u0437\u0438\u0442. \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432. – \u041c\u043e\u0441\u043a\u0432\u0430: \u0418\u0437\u043e\u0431\u0440\u0430\u0437\u0438\u0442\u0435\u043b\u044c\u043d\u043e\u0435 \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e, 1988. – 158 \u0441. <\/p>\n\n\n\n \u0420\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u0430\u044f \u0410\u043a\u0430\u0434\u0435\u043c\u0438\u044f \u0425\u0443\u0434\u043e\u0436\u0435\u0441\u0442\u0432. \u0421\u043b\u043e\u0432\u0430\u0440\u044c \u0442\u0435\u0440\u043c\u0438\u043d\u043e\u0432. – Available at: https:\/\/rah.ru\/science\/glossary\/?ID=21322&let=%D0%90 (Accessed 10 March 2026).<\/p>\n\n\n\n Aumont, J. Dicion\u00e1rio te\u00f3rico e cr\u00edtico de cinema \/ Jacques Aumont, Michel Marie; tradu\u00e7\u00e3o Eloisa Ara\u00fajo Ribeiro. – Campinas, SP: Papirus, 2003. – 167 p. <\/p>\n\n\n\n Chan, J. K. Y. Translating \u2018montage’: The discreet attractions of Soviet montage for Chinese revolutionary cinema. Journal of Chinese Cinemas. – 2014. – \u2116 5:3. – P. 197-218,. DOI: 10.1386\/jcc.5.3.197_1 <\/p>\n\n\n\n Chan, J. K. Y. Chinese Revolutionary Cinema: Propaganda, Aesthetics and Internationalism 1949-1966. – I.B. Tauris, 2019 – 293 p.<\/p>\n\n\n\n Chen, T. M. Socialism, Aestheticized Bodies, and International Circuits of Gender: Soviet Female Film Stars in the People’s Republic of China, 1949-1969 \/ T. M. Chen \/\/ Journal of the Canadian Historical Association, 2007. – 18 (2). – P. 53-80. <\/p>\n\n\n\n Craveiro, T. Chinese Revolutionary Cinema and Ballet. The representation of female characters in The Red Detachment of Women \/ T. Craveiro \/\/ Master’s thesis. University of S\u00e3o Paulo (ECA-USP), 2022. – 281 p. <\/p>\n\n\n\n Elsaesser, T. Tales of Sound and Fury: Observations on the Family Melodrama \/\/ Imitations of life: a reader on film and television melodrama. Edited by Marcia Landy. – 1991 by Wayne State University Press, Detroit, Michigan. – 619 p. <\/p>\n\n\n\n Harris, K. Re-makes\/Re-models: The Red Detachment of Women between Stage and Screen. The Opera Quarterly, Volume 26, Number 2-3, Spring-Summer 2010. – P. 316-342 (Article) Published by Oxford University Press. <\/p>\n\n\n\n Liu, X. Red Detachment of Women: Revolutionary Melodrama and Alternative Socialist Imaginations \/\/ Differences: A Journal of Feminist Cultural Studies. – Vol. 26. – \u2116 3. – Duke University Press, 2015. <\/p>\n\n\n\n Thomas, K. Xie Jin in the America he knew only from film \/ K. Thomas \/\/ Los Angeles Times. May 16, 1985. – Available at: latimes.com\/archives\/la-xpm-1985-05-16-ca-17649-story.html(Accessed 10 March 2026). <\/p>\n\n\n\n Yang, J. Textile worker awarded top medal for lifelong contribution \/ J. Yang \/\/ City News Service. – July 3, 2021. – Available at: https:\/\/www.shine.cn\/news\/in-focus\/2107031466\/ (Accessed 10 March 2026). <\/p>\n\n\n\n Zhong, X. Women Can Hold Half of the Sky \/\/ Words and Their Stories: Essays on the Language of the Chinese Revolution. Edited by Ban Wang. – 2011 by Brill, Leiden\/Boston. – 342 p.<\/p>\n<\/details>\n","protected":false},"excerpt":{"rendered":" DOI: 10.31806\/2542-1158-2026-10-2-130-146 \u0423\u0414\u041a 7.096 Craveiro T.1 1 South Ural State University (National Research University), Chelyabinsk, Russia. Abstract. Mao Zedong\u2019s famous phrase \u201cWomen hold half the sky\u201d (\u5987\u5973\u80fd\u9876\u534a\u8fb9\u5929, f\u00f9n\u01da n\u00e9ng d\u01d0ng b\u00e0nbi\u0101n ti\u0101n) marked a significant milestone in China\u2019s gender equality policies. It gained popularity among other socialist movements in Third World countries during the Cold … Read more<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"cybocfi_hide_featured_image":"","_locale":"en_US","_original_post":"http:\/\/intelsiberia.ru\/?page_id=9790","footnotes":""},"wf_page_folders":[],"class_list":["post-9792","page","type-page","status-publish","en-US"],"acf":[],"_links":{"self":[{"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/pages\/9792","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/comments?post=9792"}],"version-history":[{"count":1,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/pages\/9792\/revisions"}],"predecessor-version":[{"id":9793,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/pages\/9792\/revisions\/9793"}],"wp:attachment":[{"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/media?parent=9792"}],"wp:term":[{"taxonomy":"wf_page_folders","embeddable":true,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/wf_page_folders?post=9792"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}References<\/strong><\/summary>\n