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# # XuanDuan (bài viết của tôi chỉ as Dorothy Y … Ko directly pointed out thảm "Cinderella 's Sister: A Revisionist History of Footbinding", the tortured body that is wrapped, obscured, and harmed is an important part of the global national giant history. There is a high degree of coincidence in the Chinese discourse and the Western discourse in this regard, and both have initiated a sympathetic-angry-critical narrative for the "suffering body". Through this, China has completed the complex transformation from "anger" to "pain" to "sensation" of "self-feminization" to "de-feminization" in the simultaneous construction of the May Fourth discourse. The West also incorporates the image of China's "miserable body" into the "feminine" cognitive threshold of the entire "Third World". The cognitive model jointly shaped by the two closely links the "suffering Chinese" with the image of China as a "victim", while the subjective narrative of the "sufferer" is deeply obscured. In terms of "paradigm shift", only by maintaining a high degree of transcendent consciousness of the frameworks of nationalism, feminism, and Orientalism can the seemingly stagnant and unchanging non-historical homogeneous objects under the construction of ideology be activated, and the political-gender narrative that supports its narrative behind the hidden, suffering, and obscured body can be seen. The international dissemination of medical photo-realism is not only about the pathological manifestations under the medical gaze, but also about the construction of a comprehensive "Chinese impression" based on the "sick body image" under the tourist gaze. It is in this sense that medical photo-realism is used as a tool for ideological construction and becomes a "silent subordinate" recognized by both China and the West under the conclusion of the nation's extermination.