Introduction
Toward social-cultural and historical readings: "Chinese cinematic martial arts feminism" and its limitation in the narrative of martial arts films
Narrative analyses of women and gender concerns in every film. The fox, dragon, and lotus in Crouching tiger, hidden dragon
To (en)gender the gendered history in hero
There is a beauty in the door(way) of flying daggers
Women who do not practice martial arts in Seven swords
Cinderella, Snow White, and Sleeping beauty in The promise
The Chinese Hamlet's two women and Shakespeare's Chinese sisters: Qing Nü and Waner in The banque
Traffic of madwomen in the Chinese royal attic: gender concerns in Curse of the golden flower
Integrated analyses about the limitation of feminist emancipation in groups of films. Let's make a wish: martial arts ladies' wishes under the cinematic pen(is) from A touch of zen to Crouching tiger hidden dragon, Hero, House of flying daggers, and The promise
Phallocentric teacher-student comoplex: from Legend of the mountain, Crouching tiger hidden dragon, and Hero to Seven swords
A Chinese cinematic martial arts room of Pygmalion's own
Interviews. Interview with Chung Ling, King Hu's spouse and screenwriter
Interview with Pan Hua, a female classmate and peer-director of Zhang Yimou, Chen Kaige, Tian Zhuangzhuang, Wu Ziniu, Li Shaohong, Hu Mei, and Peng Xiaolian
Interview with Tsai Kuo-Jung, a coplanner and screenwriter of Ang Lee's Crouching tiger hidden dragon
Interview with Wang Wei, a judge in the Golden Horse Film Festival.