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Silenced no more: examining gender stereotypes in Chinese language and culture

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Silenced no more: examining gender stereotypes in Chinese language and culture

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Content Copyright 2024 Yuqi Yang
SILENCED NO MORE:
EXAMINING GENDER STEREOTYPES IN CHINESE LANGUAGE AND
CULTURE
by
Yuqi Yang
A Thesis Presented to the
FACULTY OF THE USC ROSKI SCHOOL OF ART AND DESIGN
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF FINE ARTS
(DESIGN)
May 2024

ii
Acknowledgments
I would like to express my sincere gratitude to Professors Ewa Wojciak, Peter Robbins,
Alexis Nicole Zoto, and Laurie Burruss for their invaluable guidance and support throughout my
research and the development of this thesis. From the initial topic selection to the research
process, writing, and the entire design project, their assistance and constructive feedback have
been instrumental. Their encouragement and affirmation have provided me with the confidence
needed to undertake such a challenging endeavor.
Special thanks to Professor Ewa, my academic mentor, who not only guided the direction
of my thesis but also encouraged me to explore the realms of art and topics that truly resonate
with me. The success of this thesis would not have been possible without the attention and
support of everyone involved.
I extend my heartfelt appreciation to my parents and family for their unwavering support
in both my academic pursuits and artistic endeavors. Additionally, I am grateful for the
collaboration of every participant in my film project; each one played an indispensable role in
the success of my research.
This journey has been both challenging and rewarding, and I am fortunate to have had
such an exceptional team of mentors, friends, and family by my side. Thank you for being an
integral part of this significant chapter in my academic and creative pursuits.

iii
Table of Contents
Acknowledgments........................................................................................................................... ii
List of Figures................................................................................................................................ v
Abstract.......................................................................................................................................... vi
Introduction..................................................................................................................................... 1
Chapter 1: Gender Stereotypes in Chinese Society ........................................................................ 3
1.1 What are Ancient Chinese Gender Stereotypes? .................................................................. 3
1.2 The Historical Context of Chinese Womens Roles and Status ............................................ 4
1.3 Influence of Traditional Chinese Culture on Female Identity .............................................. 6
Chapter 2: Chinese Characters: Visual Symbols ........................................................................... 9
2.1 Chinese Characters as Visual Symbols................................................................................. 9
2.2 Introduction to The Composition of Chinese Characters and The Concept of Radicals.... 11
Chapter 3: Stories of “女 Women” Radical Characters............................................................... 13
3.1 History and Meanings of The “女 Women” Radical ........................................................ 13
3.2 Gender Signifiers in Chinese Characters............................................................................ 15
3.3 Implicit Gender Stereotypes in Language........................................................................... 17
Chapter 4: Challenges in The Lives of Contemporary Chinese Women ..................................... 21
4.1 The Social Status of Contemporary Chinese Women......................................................... 21
4.2 Family Relations and Women’s Social Status ................................................................... 23
4.3 Workplace Challenges and Gender Discrimination ........................................................... 24
Chapter 5: Self-Identity and Gender Equality ............................................................................ 28
5.1 The Significance of Self-Identity ....................................................................................... 28
5.2 Self-Identity for Contemporary Chinese Women .............................................................. 29

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5.3 Empowering Women: Embracing Unique Identities and Values ..................................... 30
Chapter 6: Project Presentation and Visual Expression................................................................ 32
6.1 Unveiling the Visual Narrative .......................................................................................... 32
6.2 Behind the Lens: Personal Experiences and Observations................................................. 37
6.3 Artistic Integration of Audio Track and Vision.................................................................. 39
Conclusion .................................................................................................................................... 43
Bibliography ................................................................................................................................. 45

v
List of Figures
Figure 1. Dream of Red Mansions by Cao Xueqin........................................................................ 7
Figure 2. Chinese. Evolution image of China’s earliest hieroglyphs........................................... 10
Figure 3.The emergence and font evolution of the Chinese character “女 Women” .................. 14
Figure 4. AFP News, China’s “men only” job culture slammed in new report........................... 26
Figure 5. The shooting of the “女 female” Chinese character pictograph................................... 33
Figure 6. Screenshot from the film “女 women”-a woman’s hands are bound by a man. ........ 34
Figure 7. Screenshot from the film “女 women”-a woman cover her eyes............................... 35
Figure 8.Screenshot from the film “女 women”-“male gaze”.................................................. 36
Figure 9. Screenshot from the film “女 women”......................................................................... 40
Figure 10. The poster of the film “女 Women”.. ......................................................................... 41

vi
Abstract
Silenced No More: Examining Gender Stereotypes in Chinese Language and Culture
Yuqi Yang
In contemporary society, women continue to struggle with entrenched gender stereotypes
and social cultures that affect their self-perception, body image and social roles. This study -
explores the gender social problems and prejudices caused by “language” as a cultural product of
society, which are habitually ignored. Moreover, these biases and preconceptions towards
women in language and words are continually reinforced through everyday communication.
The thesis explores gender stereotypes particularly focusing on the historical context of
Chinese women in society from ancient times to the present, negative gender stereotypes
associated with female roles in the Chinese language, and the subtle connections and
relationships between the historical evolution and meanings of the Chinese character radical of
“女(women)” and the social status of women. This research reveals the long-term existence of
gender biases in Chinese society, and additionally, these issues demonstrate the real-life
experiences of Chinese women that currently prevail. Contemporary Chinese women face
challenges in their lives, careers, and the impact of factors include the male gaze and attitude on
their well-being, mindset, and social standing. The challenge lies in researching Chinese
traditional culture and examining how society has shaped and perpetuated gender stereotypes,
particularly those related to women’s roles and status. Additionally, my thesis investigates how
the Chinese language reinforces negative stereotypes associated with female roles through its
characters and phrases, and the impact of this on societal perceptions.
My design projects explore self-identity and self-acceptance in the pursuit of gender
equality. The portrayal and experiences of Chinese women throughout history have hindered

vii
their ability to express their thoughts and emotions openly and boldly. Deconstructing these
stereotypes is not only a necessary step towards achieving gender equality but also a way to
empower women to embrace their unique identities and values.
Explorations of this topic are manifested in photography and film, where the visual
impact of color has a psychological influence on the viewer. My personal experiences as a
Chinese woman serve as the impetus for the photographic projects, drawing from observations of
societal events, and phenomena observed within family settings. By merging Chinese characters
with the female form, the work aims to evoke a strong visual impact and narrative, around
damaging gender stereotypes in current society. By intertwining Chinese character culture and
history, the content focuses on the injustices and biases that Chinese women have faced and still
face today.
Keywords: Gender Stereotypes, Self-Perception, Language biases, Women’s experiences，
Chinese language and culture, “女(women)” radical

1
Introduction
In contemporary society, the ongoing struggle against deeply ingrained gender
stereotypes and the pervasive influence of social culture continues to be a significant challenge
for women. These stereotypes cast a long shadow over women’s self-perception, body image,
and social roles. The inspiration for my thesis stems from a photography project I embarked
upon in 2022 titled “NO TAG.” The project’s research explored today's societal demands and
definitions of “beauty” for women. Through this project, I gained initial insights into the
circumstances and anxieties faced by Chinese women in contemporary society. Why are
women’s bodies continually under scrutiny as a hot topic in society? Why are the sizes of
women’s clothing from fashion brands continuously shrinking? Why is the appearance of women
a subject for discussion by social media influencers? What defines beauty, and what constitutes
ugliness? These topics, whether consciously or unconsciously, forcibly define women in today’s
society.
On Chinese social media, hashtags such as #白瘦美 (white, thin, beautiful), #蚂蚁腰 (ant
waist), #女高中生 (female high school student), #蜜桃臀 (peach butt), and so on are prevalent.
Who are these unwritten definitions and labels meant to please? Is it men, society, or women
themselves? What has caused Chinese women to become objects of entertainment aimed at
pleasing the masses? What leads to a situation where, in 2023, Chinese women must still speak
out for their choice of clothing, where revealing fashions can still be used as a justification for
someone's violation, and women may still be prime targets for criminals?
All of these societal phenomena have ignited a desire to delve into the history and
cultural education that China has undergone, leading from its origins as a matriarchal society

2
where women were revered, to the current state where women, as a marginalized group, must
vocally advocate for their rights to earn respect. Education and culture serve as the guiding
forces of women’s circumstances in society over time. They mold the worldviews and conduct
of each generation, from newborns to students. As a Chinese woman, I intimately understand the
situations and experiences that a Chinese woman encounters within both the societal and familial
contexts while growing up. Through an in-depth exploration of Chinese history, culture, and
society, in this thesis and through the artwork I have created, I aim to inspire readers to have a
deeper understanding of the challenges faced by Chinese women and encourage society to pay
more attention to gender equality issues.

3
Chapter 1: Gender Stereotypes in Chinese Society
Gender stereotypes in Chinese society are a topic deeply rooted in history. They have
long influenced people’s perceptions, values, and behaviors within the context of Chinese culture
and social structure. Throughout China’s Feudal Society history1 , men have typically been seen
as the primary pillars of both the family and society, while women were expected to fulfill
traditional roles as caregivers within the home. These notions are deeply embedded in China's
ancient literature works, philosophy, and social systems, shaping rigid gender roles in Chinese
society. Despite significant transformations in modern Chinese society, some traditional gender
stereotypes persist, particularly in expectations related to women’s appearance, family
roles/responsibilities, careers, and social conduct. Additionally, the rise of social media and
popular culture has introduced new influences on gender stereotypes, molding the values of
younger generations. Therefore, comprehending gender stereotypes in Chinese society are
crucial for unveiling contemporary gender inequalities and striving for change with regard to
gender equality.
1.1 Ancient Chinese Gender Stereotypes
Gender stereotypes in ancient China originated in influential philosophical and cultural
traditions, such as Confucianism, Taoism, and Legalism. Confucianism emphasized the
importance of hierarchical relationships and prescribed strict gender roles within the family and
society. As Lai Karyn notes in her article2, “Rightly or not, Confucianism has frequently been
1 “封建制度 (中國),” Wikipedia, December 19, 2023, https://zh.wikipedia.org/zh-hans/封建制度_(中
國).
2 Karyn Lai, “Reviewed Work: Confucianism and Women: A Philosophical Interpretation by Li-Hsiang
Lisa Rosenlee,” Shibboleth authentication request, January 2007, https://www-jstororg.libproxy1.usc.edu/stable/20066284?seq=1.

4
associated with the subjugation of women, especially as regards the customary practices and
daily lives of women in China.” Within this hierarchical structure, men were seen as the heads of
households responsible for upholding family honor and maintaining social order. In contrast,
women were expected to obey their fathers before marriage, their husbands after marriage, and
their sons in widowhood. This rigid framework restricts women’s freedom and their right to
make choices for themselves.
1.2 The Historical Context of Chinese Women’s Roles and Status
The historical context of Chinese women's roles and status reflects a complex interplay of
cultural, political, and social forces. During the early dynastic periods in China, women enjoy a
certain degree of freedom and rights. This era encompassed the Xia (2070 BC - 1600 BC) 3,
Shang (1600 to 1045 B.C.) 4, and Zhou (1046BC - 256 BC) 5 dynasties, during which women, in
some regions, even held leadership positions and wielded influence. However, the late Zhou
Dynasty saw the emergence of Confucianism6
, which had profound and lasting effects on gender
roles, laying the groundwork for centuries of female oppression. Confucianism emphasized strict
hierarchical7 family structures, where men were considered heads of households. Women were
confined to domestic spheres, playing roles of obedient wives and devoted mothers. This period
3 “Xia Dynasty,” Wikipedia, January 17, 2024, https://en.wikipedia.org/wiki/Xia_dynasty.
4 “Shang Dynasty,” Wikipedia, January 25, 2024, https://en.wikipedia.org/wiki/Shang_dynasty.
5 “Zhou Dynasty,” Wikipedia, January 16, 2024, https://en.wikipedia.org/wiki/Zhou_dynasty.
6 “Confucianism,” Wikipedia, January 24, 2024, https://en.wikipedia.org/wiki/Confucianism.
7 Eman M Elshaikh, “Read: Confucianism (Article),” Khan Academy, 2021,
https://www.khanacademy.org/humanities/whp-origins/era-3-cities-societies-and-empires-6000-bce-to-700-c-e/35-
development-of-belief-systems-betaa/a/read-confucianismbeta#:~:text=Confucian%20family%20structures%20were%20also,roles%20outside%20of%20the%20home.

5
marked a significant shift towards patriarchal systems8 and the suppression of women’s rights.
The influence of Confucianism persisted and solidified during the Han Dynasty (202 BC – 9 AD,
25–220 AD)
9, where the doctrine of “The Three Obediences and Four Virtues”10 became deeply
ingrained. Men were expected to be the primary breadwinners, responsible for supporting their
families and upholding their honor through societal contributions. Confucianism prescribed
women’s primary duties as managing households and nurturing virtuous sons. Women were
discouraged from pursuing education or engaging in public life, as these activities were deemed
unsuitable for their gender.
Simultaneously, the deeply rooted culture of “重男轻女 Zhong Nan Qing Nv (favoring
sons and belittling daughters)” in ancient China reinforced the idea that only men could fulfill
the role of family inheritance, rendering women's existence within the family structure purely
functional and replaceable. For instance, as Li-Hsiang Lisa noted, “A woman's gender role as a
wife and mother within the realm of ‘内 nei’ bears no distinct mark of her own person; she is
merely functional for perpetuation of the male heir.”11 These gender roles were reinforced in
ancient China through literature, art, and cultural norms.
8 Stevan Harrell and Gonçalo Santos, Transforming Patriarchy: Chinese Families in the Twenty-First
Century (University of Washington Press, 2017),
https://www.jstor.org/stable/j.ctvcwnbv9#:~:text=The%20Chinese%20patriarchal%20family%20system,capitalist%
20present%2C%20although%20the%20institutional.
9 “Han Dynasty,” Wikipedia, January 27, 2024, https://en.wikipedia.org/wiki/Han_dynasty.
10 Linsun Cheng, Berkshire Encyclopedia of China (Great Barrington, MA: Berkshire Publishing Group,
2009).
11 Li-Hsiang Lisa Rosenlee, Confucianism and Women: A Philosophical Interpretation (1st ed. Albany:
State University of New York Press, 2006).

6
While the Tang Dynasty (618 to 907) 12 is often considered a more progressive era for
women, primarily among the elite, it’s crucial to recognize that these freedoms were limited to
specific social classes. The Song Dynasty (960 to 1279) 13 marked a resurgence of stricter
Confucian values, intensifying traditional gender roles.
The early history of China witnessed a complex interplay between women's freedom and
oppression. While some women in specific regions and social strata enjoyed relative autonomy,
the dominance of Confucianism contributed to the widespread suppression of women’s rights
and freedoms. This historical backdrop provides context for understanding the deeply entrenched
gender stereotypes prevalent in contemporary Chinese society.
1.3 Influence of Traditional Chinese Culture on Female Identity
In the historical context of early Chinese society, both the family and society had a
significant influence on the upbringing of women. Firstly, women faced the strong shaping of
family values, being taught to embody qualities of humility, endurance, and filial piety. These
traits were regarded as virtues for women and became integral parts of their characters, shaping
their behavior in both the family and society. “Humility” meant that women should modestly
present themselves, avoiding being too conspicuous or arrogant. “Endurance” implies that they
should endure hardships and misfortunes without complaint or the display of emotions. “Filial
piety” emphasized that women should respect and obey their elders, especially their parents.
These “virtues” became ingrained in their personalities, influencing their conduct in society. This
perspective was reinforced through ancient Chinese literary works and educational traditions,
12 “Tang Dynasty,” Wikipedia, January 23, 2024, https://en.wikipedia.org/wiki/Tang_dynasty.
13 “Song Dynasty,” Wikipedia, January 25, 2024,
https://en.wikipedia.org/wiki/Song_dynasty#:~:text=The%20Song%20dynasty%20(%2Fsʊ,Dynasties%20and%20T
en%20Kingdoms%20period.

7
such as the “孝经 Classic of Filial Piety”14, a classical Confucian text emphasizing the value and
importance of filial piety, which had a profound impact on Chinese culture, especially in terms
of expectations for women; the “女戒 Lessons for Women”15,a Chinese ancient women’s moral
textbook that emphasizes virtues for women, including humility, endurance, and filial piety; and
literary works like “红楼梦 Dream of the Red Chamber”16, it describes life in feudal society in
Qing Dynasty, including the role of women in family and society. The female characters in the
novel exhibit different personality traits and family position (Figure 1).
Figure 1. Dream of Red Mansions by Cao Xueqin. Lin Daiyu enters Jia’s house, a classic plot in the TV
series Dream of Red Mansions.https://i.ifeng.com/c/8IR87o0Ru6t.
14 “Classic of Filial Piety,” Wikipedia, November 21, 2023,
https://en.wikipedia.org/wiki/Classic_of_Filial_Piety.
15 “Lessons for Women,” Wikipedia, June 21, 2023, https://en.wikipedia.org/wiki/Lessons_for_Women.
16 Cao Xueqin, Dream of the Red Chamber: Hung Lou Meng or, a Dream of Red Mansions (Boston:
MobileReference.com, 2010).

8
Secondly, marriage held significant social status and identity for women in early Chinese
society, but their autonomy in choosing spouses was limited. Their marriages were typically
arranged by parents and elders, and a wife’s social status often depended on her husband’s social
standing. At the same time, Li-Hsiang Lisa pointed out17,
In Chinese society, the category of ‘woman’ describes the role of a wife and mother, and
the role of a wife and mother are, in turn, perceived as constitutive of a woman’s gender
identity. These kinship roles are not external additions to the 'core' concept of woman. It
is only through occupying these roles that a woman becomes a socially recognizable
woman. Marriage is the definitive marker of womanhood, and hence by definition an
unmarried girl is, in a sense, not fully gendered.
A woman without entering marriage essentially lacked a permanent social status. This
phenomenon deeply affected women's self-identity and way of life, tightly associating their
identities with marriage.
In summary, early Chinese society, with its cultural, familial, and societal factors,
significantly affected the formation of women's character and identity. Recognizing these
influences is essential for understanding the persistent gender stereotypes that exist in today’s
contemporary Chinese society.
17 Li-Hsiang Lisa Rosenlee, Confucianism and Women: A Philosophical Interpretation (1st ed. Albany:
State University of New York Press, 2006).

9
Chapter 2: Chinese Characters: Visual Symbols and
Women's Status
Chinese characters, as an ancient and intricate writing system, not only encapsulate the
essence of the Chinese language and culture but also mirror the evolution and history of Chinese
society. This chapter will explore the nature of Chinese characters as visual symbols and their
unique and significant role within Chinese culture. Further, the relationship between Chinese
characters and women’s status helps clarify how these characters shape and reflect gender
perceptions in Chinese society.
2.1 Chinese Characters as Visual Symbols
Chinese characters, commonly referred to as “汉字 Hanzi,” are one of the world's oldest
writing systems. The evolution and origin of these Chinese characters are crucial to
understanding their role as visual symbols and their impact on the perception of gender roles,
particularly those of women. At the same time, Chinese characters, as visual symbols, represent
the culmination of thousands of years of cultural heritage. Each character has a unique
historical and cultural background closely associated with Chinese philosophy, history, religion,
and societal values. Therefore, they play a pivotal role in cultural continuity and identification,
being not just a script but also a vessel or record of Chinese culture.
The story of Chinese characters dates back thousands of years, and like all scripts,
Chinese writing originated from what is often called “象形文字 pictograms” ( Figure 2), which
simple drawings were used to represent the words of objects. However, as society grew
increasingly complex, it became evident that using pictures to represent words was insufficient

10
as an ideographic script to convey abstract ideas. As William G. Boltz notes in his book18,
“Clearly such a primitive device as drawing a picture to represent the intended word will soon
prove unable to cope with even the simplest abstractions, much less with the manifold semantic
complexities of the whole language.”
Figure 2. Chinese. Evolution image of China’s earliest hieroglyphs.2018.
https://pinyin.info/readings/texts/visible/.
18 William G. Boltz, “Early Chinese Writing,” World Archaeology 17, no. 3 (February 1986): 420–36,
https://doi.org/10.1080/00438243.1986.9979980.

11
This necessity drove the evolution of the script as people started experimenting with
more abstract ways of expressing vocabulary. This marked the gradual transition of Chinese
characters from pictograms to ideograms and phonograms. This process involved combining
elements to create new symbols that no longer merely represented objects but began to carry
broader and more abstract meanings. This evolution allowed Chinese characters to effectively
convey information, including abstract concepts and complex semantics. Such a form of Chinese
characters also became more versatile, adapting to the growing complexity of society and
expanding knowledge. Hence, the development and evolution of Chinese characters reflect the
cultural and intellectual progress of Chinese society, meeting the increasing demands of
communication. This emphasizes the complexity and adaptability of Chinese characters as a
system of ideographic script, representing not only language but also the profound heritage of
history, culture, and thought.
2.2 Introduction to The Composition of Chinese Characters and
The Concept of Radicals
Chinese characters, known as Hanzi (汉字), are at the core of the Chinese writing system.
Unlike alphabetic languages, where letters represent sounds, Chinese characters are logograms,
which means they represent words or morphemes. Understanding how these characters are
composed and organized is essential for comprehending the written Chinese language.
One fundamental concept in Chinese character composition is the radical, which is often
referred to as “bushou” (部首) in Chinese. Radicals are the building blocks of Chinese
characters. They are individual components or elements within a character that often hint at the
character's meaning or pronunciation. For example, in the character “日” (rì), which means “sun”
or “day,” the radical is the left part “口” (kǒu), which means “mouth.” While the “mouth” radical

12
doesn't directly relate to the meaning, it helps categorize the character within a group of similar
characters based on pronunciation. Radicals serve as a kind of organizational principle in
dictionaries and reference materials. They allow learners to look up characters more easily and
understand their structure. The classification of characters based on their radicals is essential for
learning the language effectively.
Furthermore, the composition of Chinese characters often tells a story. Characters may be
composed of various elements that provide clues about their meaning or pronunciation. For
instance, the character “好” (hǎo), meaning “good,” consists of two parts: “女” (nǚ), meaning
“woman,” and “子” (zǐ), meaning “child.” This character is thought to depict a woman with her
child, symbolizing the idea of goodness, as a mother and child relationship is considered
virtuous.
In summary, Chinese characters are fascinating and intricate, and their composition
reflects Chinese culture, history, and language evolution. The concept of radicals and how
characters are built from these radicals is crucial for anyone looking to understand, read, and
write in the Chinese language. It’s a fascinating journey into the heart of one of the world’s
oldest and most sophisticated writing systems.

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Chapter 3: Stories of “女 Women” Radical Characters
Exploring Chinese characters containing the “女 women” radical is the important step
that help us into the China’s woman history and Chinese character’s stories. Behind the radical
“女 women” , it is not just a character’s radical, it is part of a broader narrative, which contains
the historical depiction of culture and society’s understanding of women in Chinese characters.
The radical of “女 women” encompasses numerous characters related to female roles. For
instance, “妈” (mā) designates mother, “姐” (jiě) signifies elder sister, “婚” (hūn) symbolizes
marriage, “妻” (qi) refers to wife, and so forth. These characters vividly depict the diverse roles
of women in Chinese culture, encompassing areas of family, kinship, social interactions,
marriage, and more. The structural composition of these characters, to some extent, reflects
specific expectations for women within the cultural context and descriptions of their societal
roles. This chapter delves into “女” radical’s historical evolution, explores their cultural
significance, and scrutinizes the gender stereotypes they implicitly carry.
3.1 History and Meanings of The “女 women” Radical
The word “女 women” originated from hieroglyphics. In oracle bone inscriptions, the
character “女 women” depicts a posture of sitting with hands and knees, emphasizing the
characteristics of women doing housework at home (Figure 3). The kneeling posture was a
common sitting method for ancient people at home, while the folded hands symbolized the
posture of serving others. Different from the word “女”, “男 man” is a “会意字 compound
Ideograph.” “说文解字 Shuo Wen Jie Zi”19, which compiled by Xu Shen, a scholar from the
19 Shen Xu, Shuo Wen Jie Zi, Chinese Text Project, accessed 2024, https://ctext.org/shuo-wen-jie-zi.

14
Eastern Han Dynasty of China explains: “Male, husband. From the fields, it means that men are
strong in the fields.” Obviously, the shape of the character “男” implies farming activities. As
society entered the farming stage, men became the main bearers of agricultural production due to
physical strength, which determined their elevated status in society.
Figure 3.The emergence and font evolution of the Chinese character
“女”.https://quizlet.com/202165581/chinese-character-components-flash-cards/.

15
Zhao Aiwu mentioned in his analysis of the book “Shuowen Jiezi” 20 :
“Shuowen Jiezi” collected 238 Chinese character with “女” radical, from which we can
see the change of women's social status. This change is mainly reflected in three levels:
first, in the period of matriarchal clan society, women are the core of the clan and enjoy a
high status; the second is entering the patriarchal clan society, the status of women has
plummeted, but the mother is respected; third, beautiful women are just men's playthings
or tools for reproduction, and while admiring and envying them, they also slander and
insult them.
We can see that the evolution of the Chinese character which with radicals of “女” in
Chinese characters accurately interprets the positioning and change of women’s status under the
development of Chinese society.
3.2 Gender Signifiers in Chinese Character
Notably, the word “女(woman)” is often embedded in characters associated with women
or feminine attributes, such as “妈 (mother),” “姐(sister),” “妇(married woman),” and “娘
(niang),” which become gender symbols in Chinese characters. The way these radicals are used
and the way they are placed or combined in the word implies traditional perceptions and
expectations of gender roles in the culture. An article-汉字里的性别暴力与文化偏见 (Enduring
Prejudices of Gender Woven Into Chinese Language) from “The New York Times in China”
explains very well how Chinese characters are used as gender symbols in Chinese society.
David Moser, a linguist and the head of the CET Chinese language program at Capital Normal
University, also mentioned in the article21, “All languages encode gender, but due to the visual
nature of Chinese, it's particularly salient.” It's almost instinctive for anyone, when encountering
20 Aiwu Zhao, 从《说文解字》女部字看女性社会地位的变化, February 28, 2005, https://doi.org/1003-
0964(2005)02-0091-04.
21 Yufei Di, “汉字里的性别暴力与文化偏见 Enduring Prejudices of Gender Woven Into Chinese
Language,” The New York Times, December 4, 2015, https://cn.nytimes.com/china/20151204/c04chinajian/dual/.

16
a character containing the ‘女’ radical that conveys negative connotations, to subconsciously link
it to woman. David posed a question in the article: “How many Chinese people are aware that in
the gender reference of every idiom, males always appear first?” As a Chinese individual, I must
admit that some language orders which have been present from my birth, seem natural, and
reversing them feels erroneous. For instance, “父母” (fùmǔ) refers to father and mother, with
“父”(fù - father) preceding “母” (mǔ - mother). If reversed to “母父”, it sounds awkward. These
words and language reinforce what seems to be a “natural” hierarchical structure.
Moreover, in Chinese characters, the pronoun for males, “他 (tā/he),” includes the radical
“人 (rén)”—the symbol for “person”. In contrast, the pronoun for females, “她 (tā/she),”
contains the radical “女”—visually indicating a clear and inherent distinction. Because men, as
the first sex under patriarchy, do not need separate radicals, they can directly use the word “人
person” radicals. Men are “person” and women are “women.” It seemingly suggests that
“women” are separated as a sub-section from the whole human race, whereas men, categorized
under the broader “人 (person)” group, lead the entirety. The ongoing debate regarding why the
male pronoun “他” does not originate from the radical “男” has been a topic of discussion in the
evolution of Chinese characters.
The gender symbols in Chinese characters reveal the perception of gender and social
status in Chinese culture. This distinction may not be a simple linguistic difference, but more
likely reflects a deep social ideology. In additional, these gender symbols in Chinese characters
also imperceptibly shape people’s role orientation of men and women and perpetuate and
strengthen gender stereotypes. This phenomenon has sparked discussions on gender equality and

17
social justice, prompting us to think and reflect deeply to promote a more equal and inclusive
social environment.
3.3 Implicit Gender Stereotypes in Language
Implicit gender stereotypes in language represent deep-seated assumptions reflected in
language structures that unconsciously perpetuate social gender norms. The study will focus on
three controversial Chinese characters with the “女 women” radical. The first one is “奴” (nú),
composed of “女” and “又.” Its original meaning was to capture or loot women, making them
slaves. In ancient China, women would sometimes refer to themselves as “奴家 slave” or “妾
concubine” as a form of strong self-effacing. This idea reflects the prevalent notion that women,
being a vulnerable group, lacked resistance. Simultaneously, within a society that upheld male
superiority and female inferiority, not only were they looked down upon, but even basic rights of
survival were challenging to secure. However, from its initial creation, “奴” did not carry a
negative connotation; it merely reflected the harsh reality of women's survival at the time to
some extent.
But with the passage of time and the evolution of Chinese characters, the word “奴”
(slave) took on a new meaning, expressing contempt for people and representing low status.
Despite this semantic shift, the character's original form, including the “女” radical, remained
unchanged. In contemporary Chinese society, “奴” is frequently used to form new internet slang,
such as “房奴” (mortgage slave), “车奴” (car slave), and “老婆奴” (wife slave). Indeed, while
the creation of words like “奴” (nú) with the “女” radical doesn't have an explicit bias against
women, it easily suggests to unaware audiences to contemplate its association with women. At
the same time, the idea of “奴 slave” of women in Chinese society is deeply rooted, and women

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are the slaves of safeguarding the family, the slaves of workplace discrimination, the slaves of
children, and the slaves of marriage. These stereotypes and cultural traditions have not changed
over time; on the contrary, in the form of traditional cultural inheritance, they still are a powerful
tool to restrain women.
The second character is “姻” (yīn) from the word “婚姻” (hūn yīn), which means
marriage. The meaning of this character reflects a woman’s reliance on her marital partner or a
woman marrying into a dependable husband's family. In a feudal society22, marriage is seen as an
opportunity for women to find lifelong support. This perception contributed to viewing women
in ancient society as a group without independence, needing to rely on their husbands. Therefore,
women were expected to adhere to the principles of “三从四德” (sān cóng sì dé) 23, meaning
“three obediences and four virtues.” These principles reinforced the role of women, emphasizing
their subservient position, obeying their fathers before marriage, their husbands after marriage,
and their sons in widowhood, underscoring their subordinate status at various life stages.
This historical background reflects the deeply ingrained gender norms and marriage
expectations in ancient Chinese society. Today, marriage remains a shackle for contemporary
Chinese women. During my upbringing, elders often discussed a predominant topic during
gatherings: pressuring young women around the age of 25 to get married. Phrases like “When
girls reach the age of marriage, no one will want them if they don't get married after that age.”
“At every stage of life, you have to do what you should do at that stage. Your task now is to find
a partner.” repeatedly appeared in discussions among the elders. In today’s Chinese society, “姻
22 “封建制度 (中國),” Wikipedia, December 19, 2023, https://zh.wikipedia.org/zh-hans/封建制度_(中
國).
23 Linsun Cheng, Berkshire Encyclopedia of China (Great Barrington, MA: Berkshire Publishing Group,
2009).

19
Marriage” still is one of the most crucial stages in a woman’s life, and finding a good husband
and a reliable family to depend on remains a significant factor influencing a woman’s happiness
in the latter part of her life. Every voice in society seems to convey that a woman who remains
unmarried or doesn’t marry may lead an unfulfilling and unhappy life in the future.
The third character is “奸 evil,” originally meaning is illicit sexual relations, evil, and
traitor. Over time, especially in feudal society, sexual activities gradually became a subject of
moral judgment. Consequently, “奸 evil” evolved to signify negative behaviors like lewdness,
indecency, and crime. This change reflects society’s different views on sexual behavior and the
evolution of moral concepts. I think the evolution of the character “奸” in Chinese characters
carries actual malice, a malice that persists in today's society. As Zhao Aiwu mentioned in his
article24, “If characters like ‘妓’ (prostitute), ‘娼’ (prostitute), ‘婊’ (whore), ‘姘’ (adulteress), all
containing the ‘女’ radical, may be associated with improper female behavior, then characters
like ‘嫖’ (patronize a prostitute), ‘嫉’ (jealousy), ‘奸’ (evil), ‘妒’ (jealousy), ‘婪’ (avarice),
‘妄’(delusion), also using the ‘女’ radical, are evidently baseless.”
These words have evolved to have a negative connotation with women, without
justification. At the same time, the emergence and meanings behind the word “奸 evil” and
related words are persecution and malice towards women. For instance, terms like “强奸”
(rape), “奸杀” (sexual murder), “通奸” (adultery), all carrying negative connotations, are
constructed with this character. The evolution and emergence of these terms symbolize the
contemporary status of women in society and the actual malice society holds towards women.
24 Aiwu Zhao, 从《说文解字》女部字看女性社会地位的变化, February 28, 2005, https://doi.org/1003-
0964(2005)02-0091-04.

20
On the one hand, today’s society and media advocate for women’s freedom of dress, but when a
rape case occurs in a dark alley late at night, public opinion, the media, and even other women
themselves are often first to question whether the victim’s attire or the time of night contributed
to the assault. Therefore, this word has an underlying subtext and connotation of the prejudice
and malice experienced by countless women in today’s society, as well as the fear of being under
the male gaze.
In conclusion, the exploration of implicit gender stereotypes in Chinese characters,
particularly those with the “女 women” radical, reveals deep-seated assumptions ingrained in
language structures that unconsciously reinforce societal gender norms. The characters
examined, such as “奴” (slave), “姻” (marriage), and “奸” (evil), each carry historical and
cultural baggage that perpetuates gender biases. In addition, the impact of language as visual
symbols is particularly pronounced in China, where the characters are not just carriers of
meaning but also visual representations. The visual nature of Chinese characters makes the
influence of implicit gender stereotypes even more insidious.

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Chapter 4: Challenges in The Lives of Contemporary
Chinese Women
A historical perspective on gender stereotypes examines how societal views of these
stereotypes have evolved over time. In the past, gender stereotypes were often deeply ingrained
in various cultures and societies. These stereotypes typically adhered to rigid gender roles, with
men expected to fulfill roles related to strength, leadership, and providing for the family.
Women, on the other hand, were often confined to roles centered around homemaking, childcare,
and nurturing. Throughout history, these stereotypes played a significant role in shaping societal
expectations and norms. The stereotype influenced everything from education and employment
opportunities to social interactions and family dynamics.
Nowadays, the gender stereotypes that continue from ancient times still play a role and
run through the different growth stages of each woman, but the difference is that women begin to
learn to seek “counterattack” in such an environment, to find self-identity and fight for their
rights, and to resist injustice.
4.1 The Social Status of Contemporary Chinese Women
In contemporary society, gender stereotypes manifest themselves through various
channels, including social media, traditional media, and popular culture. Social media platforms
are influential in shaping and propagating these stereotypes, often subjecting individuals to
judgments related to aesthetics, body shape, and appearance. For instance, on platforms like
Instagram, posts emphasizing the idealized beauty and physique standards, intensify women’s
appearance anxieties and further reinforce expectations regarding men’s muscularity. Moreover,
traditional media, including television, movies, and advertising, continue to perpetuate gender
stereotypes. Women are often portrayed as dependent on men, prioritizing their appearance, and

22
being emotional, while men are depicted as strong, independent, and rational. These portrayals
not only influence people’s perceptions of gender roles but also constrain individual selfexpression. Additionally, popular culture and the entertainment industry play a pivotal role in
shaping these stereotypes. Certain TV shows, music videos, and cultural works may emphasize
and restrict gender roles within conventional frameworks, affecting the younger generation's
perceptions of gender. In the workplace, gender stereotypes lead to discrimination, particularly in
industries where women are perceived as less suitable for leadership positions. These stereotypes
can contribute to gender inequality and disparities in the workplace. Furthermore, they are
perpetuated in education and within families, affecting children and teenagers’ understanding of
gender roles and attitudes. Overall, gender stereotypes in contemporary society continue to be
multifaceted and exert profound influence on individuals and society at large.
However, as societies progressed and underwent significant social and cultural changes,
gender stereotypes began to shift. The feminist movement of the 20th century25, for instance,
challenged traditional gender roles and advocated for gender equality. Over time, these efforts
led to important changes in societal perceptions of gender. Today, while remnants of historical
gender stereotypes may still persist in some areas, the need to challenge and redefine these
stereotypes is broadly recognized. Modern societies are more diverse, tolerant, and inclusive,
with greater acceptance of varying gender identities and expressions. This evolution
demonstrates the ongoing process of reevaluating and reforming traditional gender stereotypes to
create a more equitable and open-minded world.
25 Elinor Burkett, “Women’s Rights Movement,” Encyclopædia Britannica, January 24, 2024,
https://www.britannica.com/event/womensmovement#:~:text=While%20the%20first%2Dwave%20feminism,%2C%20the%20family%2C%20and%20sexualit
y.

23
4.2 Family Relations and Women’s Social Status
Contemporary Chinese women face multiple levels of challenges in family relations,
among which gender stereotypes play a key role in shaping expectations of family roles.
Traditionally, women are expected to shoulder heavy domestic responsibilities and children's
education, while men are given the responsibility of leading the family and supporting the
economy. This traditional division of labor still exists in contemporary society, although with the
progress of society, some families began to pursue a more equal division of family roles.
However, gender stereotypes still affect family dynamics in a subtle way. For example, women
in marriage are often torn between career and family, while expectations for them intersect with
society and relatives. Women will face society and family elders to urge marriage. Around the
age of twenty-five, the elders usually talk about the topic: when to get married? When are you
having the baby? After marriage, women are expected to devote more time to the family and
taking care of their husbands and parents-in-law becomes a responsibility that women must
shoulder by themselves. Secondly, after marriage, childbearing will be the priority, women are
required to suspend their career to go home and have children, and they have to bear most of the
parenting responsibility. Because the husband's role in the marriage is still to put his career first
and make money for the family. As a result, women lose most of their life choices when they
enter marriage. They do not have the right to choose to go back to work after having children.
Women are still stereotyped as vulnerable groups in society, and their career development is
always behind that of men. At the same time, women can only choose to digest alone and suffer
in silence, because everyone around them will guide them and tell them that women should be
like this, this is the responsibility of being a woman. An in-depth study of gender role
expectations in family relationships helps us to reveal how it can be a difficult challenge for

24
contemporary Chinese women to find their place in this delicate balance, and how this family
dynamic and social perception of gender can affect their overall position in society.
It is worth mentioning that in recent years, more and more young people’s views on
marriage have changed in Chinese society. An article in China’s Lianhe Zaobao mentioned26:
“With social changes, China’s modern views on marriage have changed significantly, more and
more young Chinese people are not willing to get married, and they are postponing or even
giving up on marriage. Marriage is no longer a necessary event in life.” With the progress of
society, Chinese women are also fighting for more and more choices in their marriage and life.
4.3 Workplace Challenges and Gender Discrimination
In the workplace, contemporary Chinese women face a unique and complex set of
challenges, of which gender discrimination is a prominent issue. Gender stereotypes play a key
role in shaping expectations in the work environment and perceptions of women’s professional
roles. In some industries, such as technology, finance, and construction, women are considered
unfit for leadership positions, while in others they may face limited opportunities for career
advancement. According to a 2023 article by a reporter Li Zhao from China's Xinhua network27:
In fact, the phenomenon of women experiencing gender discrimination in the workplace
has existed for a long time. According to the 2022 Survey Report on the status of Chinese
Women in the Workplace released by Zhaopin.com, 61.2 percent of women were asked
about their marriage and childbearing status during job hunting, up from 55.8 percent last
year; 38.3% of women said marriage and childbearing affect career prospects; 11.9
percent of women were not promoted or given a raise because of their gender.
26 Shi Zeng, “中国特稿：中国式催婚失效大龄青年不将就结婚意愿降,” 联合早报 LianHeZaoBao,
December 31, 2023, https://www.zaobao.com.sg/news/china/story20231231-1458782.
27 Li Zhao, “女性求职被问是否愿意 3 年不生娃记者调查职场女性遭遇隐性歧视问题,” 新华网,
February 14, 2023, http://www.news.cn/legal/2023-02/14/c_1129362483.htm.

25
Women often reduce the wages and benefits of female employees because of marriage,
pregnancy, maternity leave, and breastfeeding, and ask women about their marriage and birth
plans in the interview to judge whether they are hired. Today, although the state and government
have introduced relevant policies and solutions to this phenomenon, the gender stereotypes that
exist in Chinese culture make this policy difficult to implement effectively. The article also
mentioned: “However, in reality, proving that discrimination in the workplace is related to
gender is still a pain point and difficulty in the protection of female workers’ rights and interests.
Both job seekers and HR expressed concerns to this reporter that companies may use other
seemingly legitimate reasons to reject female applicants, fire women, or reduce the benefits that
women are entitled to.” We can be seen that even after strict interrogation and screening,
Chinese women still need to worry about whether they will be fired for unfounded reasons at any
time after entering the workplace.
At the same time, many companies have also issued many recruitment slogans that are
clearly sexist when women to apply for jobs. These companies with sexist recruitment
information include several leading companies in China - Baidu, Tencent, Alibaba, etc.

26
Figure 4.AFP News, China's 'men only' job culture slammed in new report, 23 April 2018,
https://sg.news.yahoo.com/chinas-men-only-job-culture-slammed-report-053905884--finance.html.
In AFP News’s news report exploring gender discrimination in Chinese companies, the
reporter powerfully described and criticized this criminal behavior28:
The report by campaign group Human Rights Watch, entitled “Only Men Need Apply:
Gender Discrimination in Job Advertisements in China”, details a host of offenses by
private companies and public bodies, from issuing “men only” job ads to requests for
women applicants to be “trim” and “aesthetically pleasing”. The adverts reflect
traditional and deeply discriminatory views' that women are less capable than men and
that they will not be committed to their jobs because of their role as family caregivers, it
said.
These words and the behavior of well-known companies favoring male job applicants
directly express and reflect gender discrimination as a “Traditional Chinese culture” is a
28 AFP News, “China’s ‘men Only’ Job Culture Slammed in New Report,” Yahoo! News, April 23, 2018,
https://sg.news.yahoo.com/chinas-men-only-job-culture-slammed-report-053905884--finance.html.

27
phenomenon that is deeply rooted in the hearts of every Chinese person. Therefore, continuing to
explore the root causes of sexism in the workplace and discussing possible solutions to create a
more just and inclusive professional environment remains a goal that we need to work towards.

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Chapter 5: Self-Identity and Gender Equality
Influenced by Chinese history and culture, an in-depth exploration of self-identity has
profound importance in shaping the experiences and perceptions of contemporary Chinese
women. Self-identity is a cornerstone of personal development and influences how women view
themselves amid the intricacies of social expectations and gender norms. Chinese women have
long faced widespread and profound gender discrimination. In such an environment, it has
become particularly important to talk about female self-identity and seek gender equality.
5.1 The Significance of Self-Identity
What is self-identity? Self-identity is a person’s understanding of themselves,
encompassing their values, beliefs, and personal story. For contemporary Chinese women, the
importance of self-identity goes beyond personal introspection; it becomes a powerful tool for
how to view oneself amid the intricacies of social expectations.
Why is female self-identity so important in contemporary Chinese society? First, in terms
of individual cognition and acceptance, women understand their role in society through the
construction of self-identity, including cognition and criticism of traditional gender roles.
Secondly, in terms of emotional health and self-esteem, women build a strong psychological
foundation through positive self-identity, which helps them cope with all aspects of life more
confidently. Self-identity is critical to challenging gender stereotypes in the workplace and
pursuing your career goals. Most importantly, women’s achievement of self-identity will have
implications for social roles and gender equality issues. By embracing a positive self-identity,
women can not only advance themselves in the workplace and society, but also make a positive
contribution to the achievement of gender equality. This is critical to challenging society’s
traditional expectations of women and advancing the gender equality agenda.

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5.2 Self-Identity for Contemporary Chinese Women
In contemporary China's culture of gender stereotypes, the emergence of the “独生女
only daughter” is a huge challenge and change to the concept of inequality between men and
women. As a generation of women who grew up under the new Chinese style of parenting, only
children have used their new self-awareness and self-growth abilities to construct expectations of
self-worth, new gender relations and a solid social support network that transcend traditional,
gender relations and gender self-identity. The emergence of the “独生女” has far-reaching
significance for the reconstruction of Chinese social gender concepts, gender relations and
gender self-identity.
Since September 1982, family planning29 has become a basic national policy in China,
that is, planned family planning in accordance with the population policy. The main content and
purpose are to promote late marriage, late childbearing, fewer children, and eugenics, so as to
control the population in a planned way. It was not until August 2021 that the Chinese
government updated this policy to encourage age-appropriate marriage and childbirth. A couple
can have three children. The family planning policy to control population growth has changed
the gender concepts and gender role expectations in Chinese society. Because a family can only
have one child, the term “独生女 only daughter/child” was born. In a report on the People’s
Tribune website30, it was written: “In traditional societies where patrilineal kinship relations are
the mainstay, parents lack the motivation to invest in girls’ growth; but modern only children are
different in that they do not have brothers and sisters “competing” for their parents' love and
affection. Resources have received a high degree of care, expectation and support.” The
29 “计划生育,” 百度百科, accessed January 28, 2024, https://baike.baidu.com/item/计划生育/608369.
30 Xin Tong, “中国新女性的自我成长,” 人民论坛网, April 15, 2021,
http://www.rmlt.com.cn/2021/0415/611872.shtml.

30
traditional preference for boys over girls in ancient China was quietly broken during this period.
At the same time, the generation of only children has also proved to society that daughters can
support their parents, and the environment in which they grew up with exclusive resources has
allowed them to develop self-confidence and gain the right to resist unfair gender discrimination.
In the process of growing up an “独生女 only daughter/child”, parents’ expectations for
the only child also break away from traditional gender stereotypes. The parents hopes that their
daughters can overcome their own weaknesses and be as strong as boys, etc. These are an
innovation and transformation of traditional cultural consciousness. challenge. As an “独生女
only daughter/child” born during that period, I am a very intuitive example. As an “独生女”, I
have a deep sense of autonomy and firmly believe that I have the ability to change the status quo
and give my parents a better life. This strong self-confidence stems entirely from the unique love
and support my parents had for me when I was growing up.
In addition, in love and marriage, for girls in traditional families that favor boys over
girls, the traditional gender socialization process makes them accept the belief that they “need to
be saved” and they need to realize their self-worth in love. But only children are different, they
have a strong sense of self-worth. In short, the growth environment of “独生女” determines
their non-traditional characteristics in terms of value expectations and self-identity. They have
both male and female qualities, such as warmth, independence, self-esteem, and responsibility.
Women are no longer dependent on life, but providers and supporters of life.
5.3 Empowering Women: Embracing Unique Identities and Values
The significance of female empowerment is not only free them from constraints, but also
to stimulate their ability to discover their own unique value. All women should challenge the
rigid traditional family concepts and break the shackles of the titles of “mother, wife, daughter

31
and daughter-in-law”. Women can be any role and have the ability to be any role. Modern
women should dialectically think about traditional gender relationship norms in gender relations.
They no longer just obey or follow the expectations of their parents, lovers, and husbands, but
follow their feelings. Faced with the relationship between family and work, new Chinese women
should continue to explore a more balanced state. At the same time, women can give birth to life.
Children and families should be the glory of women, they should not be discriminated against
and suppressed by others using their glory at workplace. Empowering women also means that
women should get rid of traditional stereotypes about their behavior, responsibilities, abilities,
character, appearance and even body shape. In general, women should gain spiritual freedom by
embracing their unique identities and values, which will also set a new paradigm for the entire
society. This paradigm emphasizes equality, inclusion and respect for diversity, creating a more
fulfilling and dynamic social environment for the future.

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Chapter 6: Project Presentation and Visual Expression
The research on traditional Chinese gender stereotypes and Chinese characters has led me
to work in the form of experimental films and creative photography. My work combines the
Chinese characters radical of “女 (women)” to interpret the stories of the Chinese characters “奴
slave”, “奸 rape” and “姻 marriage” respectively, with female visual images as the main part and
metaphorical objects as the supplement. At the same time, my experimental films emphasize and
focus on the application of color in an abstract form of expression and show color as a tool to
express strong emotions. Color is important in visual arts and design, with the ability to convey
emotion and information. In the field of color aesthetics, color can also be used to connect the
intricate human emotions together.
6.1 Unveiling the Visual Narrative
My design work is mainly presented in the form of experimental films. First of all,
experimental film, as a non-traditional and innovative art form, it can break through the
limitations of traditional film and explore new forms of expression and narrative structures. From
the point of view of artistic expression, this also highlights the central idea of my thesis to break
traditional Chinese gender stereotypes. Secondly, experimental films usually focus on the
expression of emotions, images and audience emotions, rather than the linear structure of
traditional narratives. This helps me to express more freely the emotions that I want to highlight
and the common emotions that the visual senses bring to the audience. Finally, experimental film
can better bring the audience into my personal style and unique perspective. Through sound and
strong visual art, the visual experience in an innovative form can further arouse the audience’s
thinking and cognition about the sufferings of Chinese women and the development, limitations
and progress of Chinese society under the stereotype.

33
The construction of the film focuses on looking at the whole Chinese society from the
perspective of women. The film begins with an image of a kneeling woman, which is a
pictograph of the Chinese character for “女 female.” (Figure 5)
Figure 5. The shooting of the “女 female” Chinese character pictograph.
This part appears at the beginning, introducing and covering up the unfair treatment and
discrimination that Chinese women have suffered since ancient times. The emergence of gender
discrimination in China begins with the early development of Chinese characters, because the
emergence of Chinese characters is closely related to social status and social phenomena. This is
followed by a shot into memory from a female perspective, and the entire video is like a
woman’s dream.
The first scene describes the word “姻 marriage”, red and blue as contrasting colors,
representing the collision of women's hearts in marriage life.

34
Figure 6. Screenshot from the film “女 women”-a woman’s hands are bound by a man.
Red represents repression and challenge, symbolizing emotional conflict. In Chinese society,
women’s status in the family is very unequal compared with men. Therefore, red here represents
women’s protest and resistance against injustice. Blue represents indifference and authority and
represents the restriction and oppression of women's rights by the social system. The visual
narrative here is that a pair of large male hands are binding the hands of a woman (Figure 6).
Throughout the frame, the collision of red and blue creates a strong visual contrast that highlights
the complex emotional and social pressures women face in marriage and family. This contrast
not only enhances the drama and emotional tension of the scene, but also profoundly reflects the
reality of Chinese women in contemporary society.

35
Figure 7. Screenshot from the film “女 women”-a woman cover her eyes.
Then the camera shot quickly move to a woman covering her eyes (Figure 7), mouth and ears
with her hands one by one, here is a visual expression of the ironic meaning. This part reflects
the word “奴 slave”. In my opinion, under the current social system, women are willing to be
enslaved by such gender inequality. Some women pretend not to see or ignore the harm they
have suffered, and they are more suitable for silently bearing the harm than resisting. It also
stems from the education received from childhood and the social and family life influenced by it.
Then the picture of the camera, more like a memory, in the depths of the memory of the
woman's mind, is the bound body, and want to struggle desperately hands. These images are
more like the calm show on the female face, but behind it is the woman’s own struggling with
heart. Generations of Chinese women have wanted to escape but have not been able to do so,
because family education can also have an impact on the way women behave. Under traditional
Chinese family education, women may be indoctrinated with traditional ideas that teach them to

36
be submissive, docile, and not complain. This kind of education may lead women to be more
inclined to tolerate rather than resist.
In the third scene, I chose to use the bright and smooth colored pepper as a metaphor to
show the relevance of the Chinese character “奸 rape” to women in contemporary Chinese
society. At the same time, through the metaphorical shooting technique, it implies the dilemma
of “male gaze”, “sexual gaze” and gender injustice faced by women in society. Through the
macro lens, I focus on the details of the surface of the color pepper, highlighting its smooth, soft,
bright colors and attractive appearance, so as to suggest the female body and face. I shoot from
different angles and perspectives to show the depth and texture of the color pepper, while
suggesting the softness and curves of the female body.
Figure 8. Screenshot from the film “女 women”-“male gaze”.
This change of perspective guides the audience to think deeply about the hidden meaning
behind the work and arouse the attention and reflection on the “male gaze”. The bright colors of

37
chili peppers will also further highlight the metaphor of “attractive and seduce”. I use strong
color contrast and light and shadow effect to create tension and visual impact, bring strong visual
feelings to the audience, and attract the audience’s attention. In addition, I also used different
male eyes superimposed on the screen of the video, aiming to intuitively show the harm and fear
caused by the “male gaze” on women (Figure 8). This technique of picture superposition brings
the audience into the perspective of women, so that they can personally feel the pressure and
discomfort of being stared at, so as to more deeply understand the impact and harm caused by
male gaze on women is multifaceted, involving personal dignity, mental health, social
participation and safety.
At the same time, women are regarded as a vulnerable group in society, and it is difficult
to achieve real liberation. People talk about their appearance, their body, their conversation, and
so on. Sometimes, behind a rape and murder, there are countless social prejudices against
women. The raped girls were accused of being scantily dressed; People blame the girls for
coming home late at night; People will blame their parents for not educating them, that going to
dangerous places will lead to being a target for bad people, and so on. These phenomena make
the bad guys more aggressive. There are many people and organizations advocating gender
equality, and people are fighting for feminism every day, but this society often fails to achieve
true fairness.
6.2 Behind the Lens: Personal Experiences and Observations
My film is inspired by the female relatives and friends around me, as well as many social
events that I pay attention to. The subject I chose to photograph is my best friend and the best
representative of a new generation of women – “独生女 only daughter”, who is also a feminist.
At the same time, she has very similar growth experience and feelings with me. Besides the best

38
candidate for my project research, she is the subject who can best represent me. My feminist
consciousness was inspired when I was in high school, I accidentally saw some news about a
woman who accidentally killed her attacker because she was defending herself when she was
hurt. The court eventually decided that the woman was jailed for the crime of excessive selfdefense and intentional injury. The comments below the news are not, as I expected, critical of
the unfair handling of the case, the woman is the victim of the whole incident. On the contrary,
some public opinion questioned why the girl was walking outside in shorts at night. This was the
first time I felt the greatest malice and injustice of this society towards women. What women
wear, what roles they play, what they say and do are restricted by men and even by women
themselves.
I often feel that as a woman, not knowing how to live is correct. It is right that we should
get married and have children at the right age. We gave birth to a girl, and the elders or family
wanted to give birth to a boy, so that the boy can carry on the family inheritance. We had a boy,
and the elders wanted a daughter, and it was right to have both. We dress fashionably, and some
people will say, “Fancy, deserve to be targeted by the bad guys.” We dress conservatively, and
people say, “This girl can’t dress herself at all, who would like her? She’s ugly and fat.” It’s not
just men who discriminate against women, even women themselves can have actual ill intentions
towards other women. I don't want to list all the real discrimination and harm that Chinese
women have suffered in the process of growing up, but these examples are real events that
existed around me when I was growing up.
Therefore, another challenge for my film is that I want to show the audience the deep
suppressed and suffocated emotions of Chinese women through experimental films. These
sentiments are not limited to personal experiences, but echo gender inequality and discrimination

39
across society. When it is difficult for the audience to truly feel the repressed and suffocated
emotions of Chinese women, the visual and sound pressure of experimental films will be the
only way. I hope that through my films, audiences will gain a deeper understanding of the pain
and limitations of gender inequality. This kind of empathy and recognition can stimulate the
audience’s thinking, triggering real concern and thinking about gender equality and social
justice. Although we have seen some progress and changes, with the progress of society and the
efforts and struggles of women for their rights, there is still a long way to go for gender equality
in the true sense. If Chinese society does not fundamentally change its educational, cultural and
ideological views on gender equality, this sexism may be covered up, but it will never go away.
6.3 Artistic Integration of Audio Track and Vision
Color is not only a visual element, but also an expression of emotion, becoming a
powerful tool to arouse the audience’s sense of resonance. My projects focus on the visual
sensation of color and try to convey the strong emotions behind the work through a strong color
palette and composition. In the editing process of the film, I used a lot of bright and strong
contrast colors to stimulate the senses (Figure 9).

40
Figure 9. Screenshot from the film “女 women”.
At the same time, I aim to challenge traditional color schemes, using conventional objects
combined with abstract and vibrant colors, to explore the emotional depth and complexity
conveyed through vibrant hues. For example, in my design posters, I made a point of using red as
the primary color (Figure 10). My aim is to create visual impact and appeal that prompts the
viewer to engage with the artwork on a personal level and interpret its meaning based on their
own perception and experience. By employing bold colors, I try to evoke a range of emotions
and provoke reflection on the underlying themes and narratives depicted in the artwork.

41
Figure 10. The poster of the film “女 Women”.
In addition to visual expression, background music and voice over are also an integral
part of my project. I chose to interviewed real people and recorded voices, capture their true and

42
profound answers through questions to the new generation of young people, and make these
voices into background music. The addition of a male voice will help me broaden the scope of
the narrative, aiming to give the audience a fuller understanding of the subject. By interweaving
visual elements with interviews from a male perspective to enrich the depth and complexity of
the work, the aim is to provide a nuanced portrayal that encourages deeper engagement and
reflection from the audience. Through my films, I hope to expose and challenge the prejudices
and stereotypes caused by language and shed light on the social impact of these stereotypes on
women’s self-perception, body image and social roles. At the same time, I hope to through selfidentity and self-acceptance as a way to achieve gender equality.

43
Conclusion
In an in-depth examination of gender stereotypes in Chinese society, the paper examines
the historical roots of these stereotypes, linguistic nuances, and the challenges faced by
contemporary Chinese women. Through the research, I deeply realized that the gender
stereotypes of Chinese women from ancient times to today have a deep cultural history support
and were not formed in a period. The gender stereotypes behind Chinese culture have been
highly regarded by societies and dynasties in one period after another. As a result, women began
to be “enslaved” by themselves, men, and even the whole society. This “enslavement” was
compulsive, and accompanied with the development of Chinese characters, it was reflected in the
family, marriage, workplace, and even growing up experience. At the same time, language is
often overlooked as the biggest catalyst of gender stereotypes in China. In the process of learning
Chinese characters when we grow up, we habitually ignore the origin and development of
Chinese characters, or the mechanized reading and reciting under traditional Chinese education
makes us abandon the meaning and story behind Chinese characters as the primary task and
purpose of learning. In my opinion, this is also an area that we need to be remedied and
improved in Chinese education and Chinese cultural inheritance.
My design works are visual representations of my in-depth research findings, that guide
the audience to think about gender stereotypes in China. On the one hand, the film shows the
constitutive meaning of Chinese characters. At the same time, it challenges and satirizes
traditional and stereotyped Chinese gender stereotypes through modern and experimental film
techniques. The shooting of the film to its final visual presentation stimulated my introspection
and critical thinking, placing myself in situations that challenged personal and social prejudices.
Therefore, my film is not only a presentation of my personal experience, but also represents the

44
plight of Chinese women at the same time and their feelings of powerlessness and grief in the
face of reality. In addition, my film stimulates the audience's senses with strong visual effects, so
that the resonance and connection between the audience and the events will enable the audience
to have a deeper understanding of the challenges and dilemmas faced by women in society. The
integration of experimental film's abstract expression with rigorous academic intellectual
research highlights the critical role of creativity in social change, stimulating attention to gender
equality and driving society towards more inclusive and equitable development.

45
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Abstract (if available)

Abstract In contemporary society, women continue to struggle with entrenched gender stereotypes and social cultures that affect their self-perception, body image and social roles. This study - explores the gender social problems and prejudices caused by “language” as a cultural product of society, which are habitually ignored. Moreover, these biases and preconceptions towards women in language and words are continually reinforced through everyday communication.

The thesis explores gender stereotypes particularly focusing on the historical context of Chinese women in society from ancient times to the present, negative gender stereotypes associated with female roles in the Chinese language, and the subtle connections and relationships between the historical evolution and meanings of the Chinese character radical of “女(women)” and the social status of women. This research reveals the long-term existence of gender biases in Chinese society, and additionally, these issues demonstrate the real-life experiences of Chinese women that currently prevail. Contemporary Chinese women face challenges in their lives, careers, and the impact of factors include the male gaze and attitude on their well-being, mindset, and social standing. The challenge lies in researching Chinese traditional culture and examining how society has shaped and perpetuated gender stereotypes, particularly those related to women’s roles and status. Additionally, my thesis investigates how the Chinese language reinforces negative stereotypes associated with female roles through its characters and phrases, and the impact of this on societal perceptions.

My design projects explore self-identity and self-acceptance in the pursuit of gender equality. The portrayal and experiences of Chinese women throughout history have hindered their ability to express their thoughts and emotions openly and boldly. Deconstructing these stereotypes is not only a necessary step towards achieving gender equality but also a way to empower women to embrace their unique identities and values.

Explorations of this topic are manifested in photography and film, where the visual impact of color has a psychological influence on the viewer. My personal experiences as a Chinese woman serve as the impetus for the photographic projects, drawing from observations of societal events, and phenomena observed within family settings. By merging Chinese characters with the female form, the work aims to evoke a strong visual impact and narrative, around damaging gender stereotypes in current society. By intertwining Chinese character culture and history, the content focuses on the injustices and biases that Chinese women have faced and still face today.

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Asset Metadata

Creator Yang, Yuqi (author)

Core Title Silenced no more: examining gender stereotypes in Chinese language and culture

School Roski School of Art and Design

Degree Master of Fine Arts

Degree Program Design

Degree Conferral Date 2024-05

Publication Date 04/03/2024

Defense Date 04/02/2024

Publisher Los Angeles, California (original), University of Southern California (original), University of Southern California. Libraries (digital)

Tag “女(women)” radical,Chinese language and culture,gender stereotypes,language biases,OAI-PMH Harvest,Self-perception,women’s experiences

Format theses (aat)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Wojciak, Ewa (committee chair), Robbins, Peter (committee member), Zoto, Alexis (committee member)

Creator Email claireyuki1212@gmail.com,yuqiy@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC113867470

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