Chinese Female Portraiture In National Narrative

Nowadays in China, "She" time has embarked upon a political venture, and the blossom of media has brought new subjects to feminine issue. Female images that are shaped and presented by media have flooded into us. As a kind of female spiritual culture product, feminine magazines play a more and more important role in the structure and diffusion of female images and values.From the point of view of the special history condition and developing course of Chinese female, the writer has chosen the magazine Women of China (Chinese version) as the object of this study. Focusing on the covers for their visibility and employing the social gender theory, this article scans Chinese female images and status sense structured by Women of China since the Reform and Opening till now (1978-2005). The writer tries to observe the cover females from new visual and critical power, from visual subtlety, such as accoutrements, decorations, images and roles, to dig out the macro-tides of social movements and micro-changes of values behind, and to reveal how magazines and social machines have structured and shaped females.According to the considerable social and media reforms during this historic period, these magazines from 1978 to 2005 are divided into threephases--1978-1983, 1984-1985, and 1986-2005. The writer carries quantitativeanalysis out and digs out the significance of the female images on the effective covers in every phase according to analysis elements. Through the analysis, this article outlines the national narrative background of Women of China and its self-requirement of marketization. In the article, three types of Chinese female portraiture are shaped, from "women pace-setter", "pretty female portray", to "time influence". It reveals that, bearing the identity connoting the national prolocutor, this magazine has finished the image expression of ideology. At last, an in-depth discussion is unfolded, that in the plural context and social machine the female images are structured by exterior factors, such as politics, economics, and readers, and the writer also indicates that some fringe female societies and the subjective sense are structurally absent in the structure and shaping of cover females.