从1950年代至2000年，台湾的女性导演经历了从政治主导的社会中默认自己作为男性的"他者"，到开始真正反思"为什么女性是他者" 的过程，也见证了台湾社会政治经济的演进发展。在台湾女性导演们横跨近半世纪的电影作品中，她们也用独特视点的影像文本书写着她们对时代的感受。本
导 论·····························································································1
第一章 20 世纪50 年代闽南语电影时代的第一位女性导演······················12
第一节 从家庭走向社会的台湾女性 ················································14
第二节 陈文敏在筚路蓝缕的闽南语片时代 ·······································18
第三节 为女性书写悲情故事与民间传奇 ··········································38
第四节 初涉性别议题的女性书写 ··················································· 59
第二章 20 世纪60 年代至80 年代的台湾女性导演 ································· 64
第一节 主流电影中潮流中的汪滢导演 ·············································66
第二节 爱情文艺片早期的女导演崔小萍 ··········································87
第三节 琼瑶电影后期的御用导演刘立立 ·········································106
第四节 电影类型极致多元的杨家云导演 ·········································128
第五节 喜剧式的家庭伦理片导演苏月禾 ·········································147
第六节 小结：1960 至70 年代女导演的创作环境概述 ························156
第三章 20 世纪80 年代至90 年代的台湾女性导演 ································ 162
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