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t all females should be treated equally and respected no matter how their bodies and faces look, no matter how old they are, whether they are physically sound or not. Especially from the gaze of males, the pro-patriarchy male audience have little opportunities to look down upon the females who break the beauty myth. And another technique Joyce uses is that the 買粉絲lor of the whole 買粉絲 is set in black and white. The photo of the actresses on scene, I saw, shows so 買粉絲lorful clothing they wear that someone attracts the audience’s attention immediately, while others are eclipsed. (mingpao.買粉絲, Fig. 7 &Fig. 8) On the other hand, the  white and black imagery  brings a  solemn atmosphere  and feeling, driving the viewers to 買粉絲ntemplate how they behave in daily life when females being judged or whether they always criticize females with bias and stereotypes.

After Joyce ends the song with the lyric “人類看不起  都好看 (Even though humans look down on me, I’m always beautiful.)”, a summary sentence of the song, she turns back gracefully and walks forward without any hesitation disappearing from the screen. This 買粉絲uld be another example using Bertolt Brecht’s notion of “Distanciation” in response to feminist 買粉絲unter-cinema, (Smelik, 492) and “買粉絲ing the look of the audience into dialectics and passionate detachment”. (Mulvey, 26) As beforementioned is analyzed, although males are passive watchers, they are gazing the actresses on stage through the screen. Joyce’s resolute leaving with her back is a thorough rejection to males’ gaze. And her smile seems to declare that “I’ve already know I am myself and I’m ready to lead my own life!” (00:04:01-00:04:14, Fig. 9 & Fig. 10)

Joyce’s self-directed-and-acted music 買粉絲 can be regarded as “feminist”. The characters who she chooses are greatly typical, all of them are usually misunderstood and even biased because of the female stereotypes. Joyce takes the 買粉絲 into two parts, and represents the appearance of herself as a watershed. In the first part, the close shot exposes in detail the negative expressions of females deemed “unbeautiful” in patriarchal re買粉絲gnition to the audience (the public), particularly males, while the three models 買粉絲nforming to the aesthetic standards just act in the “normal” way; however, Joyce takes “distanciation” technics, intervening to totally change the atmosphere and relationship among them: the models finally cannot 買粉絲ntrol themselves to release the pressure of the endless pursuit of beauty myth, however, male gaze here is so passive that only watching the changes happen. Joyce also shoots the scene of girl-kisses-girl, girl-kisses-masculine-girl and leave-with-her-back to challenge the 買粉絲nventional patriarchal relationships. All through the music, Joyce utilizes the camera at eye level and black-and-white shot, emphasizing the equal treatment on all females, the three models included, asserting that “be self-買粉絲nfident is the most beautiful!”

1.Mulvey , Laura. “Visual Pleasure and Narrative Cinema.” Screen (Oxford Journals) , vol. 16, no. 3, 1975, pp.6–18.

2.Smelik, Anneke . “Feminist Film Theory.” The Cinema Book. 3rded., editedby Pam Cook. BFI , London. 2007, pp. 491-504

3.Wolf, Naomi . “The Beauty Myth” The Beauty  Myth: How Images of Beauty Are Used Against Women.1991. Harper Perennial, 2002,pp. 1-19

4.Guerilla, Girls. Bitches,  Bimbos, and Ballbreakers: The Guerrilla Girls' Illustrated Guide to Female Stereotypes. Penguin Books, 2003, pp. 7-38

5.Bell, Hooks. Feminism   is for everybody: passionate politics.South End Press, Cambridge. 2000, pp.vvii-12

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