The movie, Raise The Red Lantern, was directed by Chang Yi-Mo; its script was adapted from Su Tong's novel, Groups of the Wives, which describes the overt and covert struggles among the four wives in Chen family. Based on the novel, the movie specially emphasized space. The director chose to shoot this film in the Courtyard of Family Qiao, using this closed structure group to form a sense of oppression, which represents the helplessness and sadness of women under the polygamy system. This thesis discusses the patriarchal domination in Raise The Red Lantern from the aspect of space; there are five parts as follows: Part one, the space change from the novel to the movie. Compared to the novel, the movie was able to present a more three-dimensional space due to the difference of the medium. Part two, the house with a courtyard of Chen Family under patriarchal domination. In this part, the spatial structure presented in the movie will be discussed first, then the male hegemony will be analyzed. Part three, the location where the struggles happened among the wives of Chen family: yards, dining rooms, and bedrooms. The wives, who could only attach themselves in the patriarchal space, fought severely for a very limited power in their own small yards, dining rooms and bedrooms. Thus, through distributing and balancing the powers among these women, Master Chen was able to further strengthen his patriarchal power. Part four, Songlian's challenge toward the patriarchal space. The purpose of struggling among the wives was to strive for favor, but that was not what Songlian, the fourth wife, wanted. She wanted to hold spatial autonomy on her own, therefore she bravely challenged the patriarchal power. Sadly she failed and went mad in the end. Part five, discussing the sense of oppression through camera movements: the smothering patriarchal space in Chen family is analyzed through cinematography such as scenery shot, long shot, framing and so on.