个体化进程中的女性主体能动性研究 — 基于《我的姐姐》的叙事与视听分析
Female Agency in the Process of Individualization: A Narrative and Audiovisual Analysis of My Sister
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Taking the film My Sister (2021) as a case, this study investigates how female agency is produced amid China’s ongoing social transformation. Anchored in Ulrich Beck and Beck-Gernsheim’s theory of individualization and new familism, and informed by Simone de Beauvoir’s dictum that “one is not born but rather becomes a woman,” the analysis integrates narrative studies and film aesthetics. Findings show a three-stage trajectory—embedding, awakening, and re-embedding—through which the protagonist Anran moves from assigned duty to self-determined choice. Non-linear plotting, subjective point-of-view, and rhythmic modulation connect traumatic memory to present decisions; the interplay between close-ups and long takes, the shift from enclosed to open compositions, and calibrated cold–warm palettes and sound–image relations visualize the struggle between social disciplining and self-assertion. By rejecting kinship absolutism (“the elder sister as mother”) and the ethics of female sacrifice, Anran adopts a functional family logic privileging caregiving capacity, while reclaiming her career and life plan. The study argues that education and labor-market opportunities, social support, and gradual attitudinal change facilitate women’s individualization, yet moralizing discourses and institutional constraints remain structural obstacles. The contribution lies in demonstrating the explanatory power of individualization theory in the Chinese context, proposing the notion of “overt narrative compromise versus covert triumph of agency,” and offering actionable evidence for gender policy and cultural practice through narrative and audiovisual analysis.
Abstract
Taking the film My Sister (2021) as a case, this study investigates how female agency is produced amid China’s ongoing social transformation. Anchored in Ulrich Beck and Beck-Gernsheim’s theory of individualization and new familism, and informed by Simone de Beauvoir’s dictum that “one is not born but rather becomes a woman,” the analysis integrates narrative studies and film aesthetics. Findings show a three-stage trajectory—embedding, awakening, and re-embedding—through which the protagonist Anran moves from assigned duty to self-determined choice. Non-linear plotting, subjective point-of-view, and rhythmic modulation connect traumatic memory to present decisions; the interplay between close-ups and long takes, the shift from enclosed to open compositions, and calibrated cold–warm palettes and sound–image relations visualize the struggle between social disciplining and self-assertion. By rejecting kinship absolutism (“the elder sister as mother”) and the ethics of female sacrifice, Anran adopts a functional family logic privileging caregiving capacity, while reclaiming her career and life plan. The study argues that education and labor-market opportunities, social support, and gradual attitudinal change facilitate women’s individualization, yet moralizing discourses and institutional constraints remain structural obstacles. The contribution lies in demonstrating the explanatory power of individualization theory in the Chinese context, proposing the notion of “overt narrative compromise versus covert triumph of agency,” and offering actionable evidence for gender policy and cultural practice through narrative and audiovisual analysis.