Mao Jian on Qin Yi: a collective name for Chinese women on screen
After Qin Yi’s death, Mao Jian remembers an actress whose roles became a shared language of womanhood.
By Souquee Editorial··1 min read·2,172 views
At 4:8 a.m. On May 9, 2022, "People's Artist" and "The Most Beautiful Struggler" Qin Yi passed away at Shanghai East China Hospital at the age of 100. 
"All the forms of film have happened in China, and Qin Yi is the physical form of Chinese film." On May 9, Mao Jian, a professor at East China Normal University, said that Qin Yi's life is closely related to Chinese film. " This is not only a tribute to her 100-year career in film history, but also because she has participated in almost every process of Chinese film since the 1930s."
In Mao Jian's view, Qin Yi's film beliefs are very simple, that is, to act and act all the time, devoting the best of herself to the audience regardless of fame and fortune. "In revolutionary images, she is the most beautiful incarnation of new China. In home movies, she is an intoxicating and admirable Chinese wife. Her rough life contains the pain of "Women's Basketball No. 5", "Distant" The struggle of "Love", the despair of "Thunderstorm", but she never used images to avenge herself, she laughed in "Farmhouse", her laughter ended the absurdity of old China, she cried in "Overseas Babies", her Crying heals the wounds of the new world. She is the most painful and brightest soul that China has gifted to the world's film history, and she is a collective term for Chinese women."
On June 14, 2008, in Shanghai, Qin Yi greeted the audience at the opening ceremony of the Shanghai International Film Festival. Visual China Data Map
"All the forms of film have happened in China, and Qin Yi is the physical form of Chinese film." On May 9, Mao Jian, a professor at East China Normal University, said that Qin Yi's life is closely related to Chinese film. " This is not only a tribute to her 100-year career in film history, but also because she has participated in almost every process of Chinese film since the 1930s."
In Mao Jian's view, Qin Yi's film beliefs are very simple, that is, to act and act all the time, devoting the best of herself to the audience regardless of fame and fortune. "In revolutionary images, she is the most beautiful incarnation of new China. In home movies, she is an intoxicating and admirable Chinese wife. Her rough life contains the pain of "Women's Basketball No. 5", "Distant" The struggle of "Love", the despair of "Thunderstorm", but she never used images to avenge herself, she laughed in "Farmhouse", her laughter ended the absurdity of old China, she cried in "Overseas Babies", her Crying heals the wounds of the new world. She is the most painful and brightest soul that China has gifted to the world's film history, and she is a collective term for Chinese women."
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