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±¾ÎÄÊ×ÏÈÀåÇåÖйúÅ®ÐÔÖ÷ÒåÓ°ÊÓÎÄ»¯µÄÂöÂ磬Ȼºó¾ßÌå·ÖÎö½â¶ÁÀîÉÙºìµçÊÓ×÷Æ·£¬Ì½ÌÖÆä¾ßÓÐÅ®ÐÔÖ÷Òå·ç¸ñµÄ×÷Æ·¸øµçÊÓÅúÆÀ´øÀ´µÄÒâÒ壬Á¦ÇóÅ®ÐÔÖ÷ÒåµçÊÓÅúÆÀµÄÀíÂÛÑо¿±¾ÍÁ»¯¡£ Feminism has experienced three stages since it was introduced into China in the early 1980s.  Since 1995 many colleges and universities have set up research institutes for women issue studies, thus, ¡°feminism¡± has become a hot topic in Chinese academic circle. 
Feminist criticism mode is indispensable to television criticism, which is a nascent media culture.  Meanwhile many video workers explored active in their video works for the feminism perspective, and they achieved fruitful results on the feminism in the field of video media and brought impact to the male consciousness occupied the field of culture for a long time.  It provided a fertile ground for the growth of China feminism television criticism. 
After analyzing and studying the visual references, cultural criticism, the author interpreted feminist idea through a feminist television made by Li Shaogong and thought that Li Shaohong¡¯s female perspective narrative model has affected and permeated through the contemporary female video creations; Chinese feminism television criticism still stays in the initial stage and has a sluggish step. 
This article first orders the lines of Chinese feminism film culture, and then analyzes Li Shaohong television works specifically to explore the significance that her feminism works brought to television criticism and to localized the theoretical research of feminism television criticism.

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