An analysis of the 2015 Spring Gala indicates that Chinese feminism needs to assume a softer or quieter voice compared with western feminism. The phenomenological approach is employed as the paper's theoretical framework to understand Chinese feminism. Li Yu's realistic representation in her films not only elicits recognition but also empathy from the audience, stimulating a progressive discourse in women's issues in China. Her two films, Hong Yan and Lost in Beijing, are closely scrutinized. These present issues of teen pregnancy, abortion, patriarchy, rape, domestic violence, sex trade, monogamy, fidelity, er nai (lit. second breast; fig. second wife), xiao san (lit. little three; fig. mistress)Footnote1 and escape as a solution. With this examination, we conclude that media representation about women in China is leading to greater discourse on women's rights.
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Liu et al. (2016) studied this question.
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