本文首先根據大陸學者自1986年起對中國女性導演的劃分和研究，重點闡釋一些至今被忽視的問題，重申歷史性在討論女性電影時的重要性。第二部分論述新時女性自傳女學在建立性別主體同時對主流文化的質疑；這種文學實踐對同時期的女性電影有深刻影響，推動了幾部自傳性模式的女性電影的產生。最後一部分討論市場經濟時代馬曉潁張潔自傳改編的電影《世界上最我的那個人去》，逸一步闡發女性電影的歷史性，母女情愛，及自傳電影模式所創立的新的女性鏡界。

The study is divided into three parts. The first part offers a brief introduction to several generations of mainland female directors and stresses at the same time the importance of historical specificity in studying “women’s cinema” in Chinese film studies. The second part examines the relationship between women’s autobiographical writing and women directors’ autobiographical mode of cinematic representation in contemporary mainland China, illustrating the contribution of the former to the rise of the latter. The last part focuses on Ma xiaoying’s Gone Is the One Who Held Me Dearest in the World, a film made in the market era and adapted from the same-titled autobiographical writing by Zhang Jie. In addition to discussing the pronounced unconventional mother-daughter relationship represented in both the writing and the film, this part emphasizes and explores the role of female gaze in constituting a new female subjectivity and imaginary in the field of vision.