MASCULINITY AND VISUAL REPRESENTATION IN CHINESE CINEMA: A CRITICAL REVIEW OF THEORIES AND CONTEXTUAL GAPS

Abstract

Contemporary Chinese cinema features contested male images, from national heroes to “feminized” idols (niang pao娘炮), sparking intense social debate. Existing analytical frameworks, whether Western or indigenous Chinese, often fail to capture the dynamic interplay of power and visual performance in these representations. This article conducts a critical review of these theories, revealing significant gaps in cultural adaptability, visual analysis, and power critique. It argues for the necessity of a new, integrated framework to better understand the cultural anxieties surrounding modern Chinese masculinity, paving the way for more nuanced future research.