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Abstract
Feng Xiaogang, one of the most successful commercial directors in China, has made many highly stylized and widely appreciated films. However, although Feng aims to illustrate the changes in modern China through his works, he does not get rid of traditional Chinese male supremacy in his treatment of female characters. Laura Mulveys male gaze theory proves useful in examining Fengs attitude towards women. Mulveys notion of visual pleasure provides an enriching conceptual framework for analyzing Fengs particular portrayal of women. Feng plays a double role between being a supportive voice for women and a defender of patriarchal codes. A textual analysis of four selected films will be used to discern Fengs subtle yet recurring narrative pattern: Given the rising global conscience of womens rights, the female characters in Fengs films have to face the ultimate loss of their battle with a Chinese society dominated by man.