马俪文

在现实主义的电影叙事中，马俪文又坚持着自己个性化美学追求，展现其电影的美学风格。

In the realism of the film narrative , Ma insists her own personalized aesthetic pursuit .

许鞍华和马俪文分别为香港新浪潮电影导演和大陆第六代导演的代表人物。

Anhua Xu and Liwen Ma are recognized as representative figures in Hong Kong " New wave cinema " field and the sixth-generation mainland directors .

马俪文作品中的女性形象往往都是光辉耀眼、可爱可敬的形象，而男性则是以自私虚伪卑劣的形象出现。

The woman images in the works of Ma Liwen are often brilliant and dazzling , lovely and respectable while the image of men is based on the selfish hypocrisy despicable image .

正文共分四章，第一章呈现了许鞍华和马俪文电影中的弱势群体表现，并从弱势群体的存在、与弱势群体电影的关系等角度总结了两位导演热衷表现弱势群体的原因。

The main body is divided into four chapters . The first chapter discusses the vulnerable groups and vulnerable groups movies , and sorted out the performance of vulnerable groups in the movies .

第二章回归到马俪文的电影作品中来，指出无论是早期的艺术电影还是后期的商业电影，电影的叙事角度都紧紧围绕着现实主义来展开。

Chapter Two back to her movies , points out that both her art movies in the early time and commercial movies in the late time , the narrative of her moves are based on the realism .

进入新世纪，徐静蕾、李玉、马俪文的作品一方面通过对男权文化的柔性解构突出女性主体性，另一方面积极营造属于女性自我的文化空间。

In the new century , the works of Xu Jinglei , Li Yu and Ma Liwen emphasize the female subjectivity by deconstructing male culture , and on the other hand actively build a cultural space belonging to female proper .