Feminist film theory: an important aspect of feminism or (feminist) thought in the field of film theory and criticism. Feminism. Mainly refers to the new feminism that rose in Europe and America in the late 1960s. Broadly speaking, feminism is a worldwide ideological movement, and its early struggles were mainly limited to the demands of political, economic and professional equality. 1968 After the French storm in May, the fourth requirement, namely the requirement of gender equality, became the main requirement. Therefore, it divides European and American literary criticism into two stages, namely, female aesthetic stage and gender aesthetic stage. The former takes a "androgynous aesthetics" to female works, which is actually a single/male aesthetic view, denying the creative consciousness and originality of female literature. The latter developed from the analysis of female images in this paper to the analysis of gender expression in this paper, thus entering the post-structural analysis of questioning the subject of language and the essence of expression. By the end of 1980s, it mainly focused on the comparative study of gender differences. 1973, American scholar Laura? The paper "Visual Pleasure and Narrative Film" submitted by Marvi to the Law Department of the University of Wisconsin is regarded as an important document of feminist film theory. Andrew, an American scholar, praised the article for "clearly and powerfully linking psychoanalysis with film stylistics", in which she mercilessly revealed the essence of male aesthetics in Hollywood movies. 198 1 year, when she attended a seminar on film and psychoanalysis in new york, USA, she submitted a paper entitled "Visual Pleasure and Reflection on Narrative Films". The starting point of this paper is generally in line with the development stage of narrative film criticism: paying attention to gender differences. In this paper, she not only continues to adhere to the original point of view, but also puts forward two other thinking routes: the essence of female audience's pleasure and the influence of female roles in narrative center on identity.