Abstract

In this study, four types of masculinity classified by Connell are used as research framework to analyze the male and female roles in eight Chinese martial arts films which were directed from 1966 to 2011 by famous directors like King Hu. It is found,in the texts created under the gaze of male directors, the leading male knight/swordsman role has a trend towards complicit masculinity. This trend points to a patriarchal system which actually not only oppresses female but also male. Female roles are often presented as objects being enlighten or sacrificed in the exchange for bodily autonomy, to assume a more negative role image and often directly show uneasiness on marriage and love emotion. Compared to male knight/swordsman roles, female roles are more motivated to discuss emotional issues and deal with growth setbacks. The eunuch roles are even more positive to resolve castration anxiety/penis envy. Under the mask of hegemonic masculinity, male roles are able to conceal these growing frustration and anxiety. The matters masculine male roles can not do (exchange male body in sexuality for authority and advantage), and can not say (anxiety of love, marriage and sex) are rendered by female / eunuch roles. On the other hand, it is found a phenomenon of loose in masculine image of the male knight/swordsman roles in modern martial arts films.