摘要：ABSTRACT“Love” is not an unusual topic in Chinese studies, but very few scholars have addressed issues relating to how love has been represented in post-Mao cinema. While most research on Chinese cinema has concentrated mainly on male directors, such as Zhang Yimou and Chen Kaige, I focus on films by women directors, who have been largely ignored. Starting in the late 1970s, women directors represented women from a more personal point of view and handled (albeit with discretion) subjects that had been marginalized. These developments attest to the process of untying of individuals from the grand narrative of nationalism and the emerging of gendered consciousness as a byproduct of burgeoning individual consciousness. This paper takes Zhang Nuanxin’s The Drive to Win (Sha’ou, 1981) and Sacrificed Youth (Qingchun ji, 1985) as examples of how gendered personal expression converges with state ideology in post-Mao China.摘要在汉学研究领域中并不乏对“爱”的讨论，但很少有学者探索在后毛泽东时代的电影中爱是如何被表征的问题。大多数的中国电影研究主要集中在如张艺谋和陈凯歌这样的男性导演身上，而本文关注那些被忽视了的女性导演的电影。从20世纪70年代后期开始，女性导演从更个人化的角度出发来表征电影中的女性，并触及了一些比较边缘化的主题。这些变化展现了个体从民族主义的宏大叙事中解放的过程，以及作为新兴的、伴随个体意识而出现的性别意识。本文以张暖新的《沙鸥》（1981）和《青春祭》（1985）为例来阐释性别化的个体意识表达如何与国家意识形态相融合。
关键词：Women directors; love; Chinese cinema; nationalism; 女性导演; 爱; 中国电影; 民族主义
