In recent years, there has been a growing body of research and works focusing on Chinese family films. These works cover multiple domains and dimensions, including patriarchal culture, female perspectives, and emotional expression. However, due to subjective and objective factors, traditional patriarchal culture persists in Chinese family films. The media's portrayal of family members tends to be stereotypical, one-sided, and influenced by the male gaze. I believes that this phenomenon needs to be addressed.

The shot is a crucial carrier of visual information and serves as the fundamental unit in the composition of a film. Montage, on the other hand, constitutes an essential element in cinematic narration and expression. The analysis of film
language allows audiences to better understand the thoughts and emotions expressed in a film, as well as the creator's style and structure. This provides an excellent means for audiences to comprehend the cultural context, background and themes. Therefore, this study aims to conduct a comprehensive analysis of Chinese family films and film
characters through the film language, focusing on both shots and montage. The goal is to explore how Chinese family films represent patriarchy.

Through this research, I hope to provide insights for future Chinese family film, to break the limitations of Chinese family films and to raise societal awareness of issues related to patriarchal family rights and women's rights.