| This paper applies the method by combining the case study, text analysis with comparative study to sort out and compare the image variation of female roles of the same type in the TV series with reality theme in mainland of China within20years, analyzing the sexual discourse behind the current female roles; so as to cultivate the gender temperament of the audiences, construct the realization technology of gender concept and explore the mode of spreading effect after those roles are broadcasted by public media.TV media has developed rapidly since1980s. With the rise of public culture(?) TV series featuring with the combination of voice and image and leisure recreation has become one of the most influential forms for spreading in our nation. No matter the economic effects or broadcasting time, TV series account for a major percentage the satellite TV. The TV series with reality theme have been the most dynamic power in the TV series market in the recent20years. There’s a guarantee on the quantity but also one or two albums becomes the focus of the public opinion. After getting rid of the controls of political and elite discourses, the TV series with reality theme is the most original return of the reality, which is characterized with reality, realism, classic and mainstream. Thus, there’s no doubt that it becomes a mirror to reflect the real society, which has the function of reflecting the reality, constructing the cultural concept and leading the social thoughts. TV with reality theme also becomes a perfect window to observe females. Firstly, it can observe if there’s change for the stereotypical impression of the female roles to the public media; secondly, it can see the mainstream of the gender concept in the real society by analyzing the female roles in the TV series.In recent years, a group of new and modern female images with independent feature and own dreams appear in the screen. One of the prominent phenomenons is, the new female role is more colorful and vivid with an increase on the discourse space comparing to the same type of roles before. Does this mean there’s a variation of passive female role? Starting from the discussion on8representative TV series, the Chapters from Two to Four apply the text analysis method to divide the female roles into three types such as family role, vocational role and the third party by combining the different political, economical and cultural backgrounds generated in the TV series to analyze and compare the female roles, which position and compare the gender concepts contained by female image in the current TV series.Although the family role of females has transformed from Moral Goddess who obsessed all of traditional family morals but no initiatives at all in the discourse of mainstream ideology in the beginning of1990s to the image of breaking through the image of family space, improving the discourse space and dominating independent economy in the public vision, the essential of the role hasn’t gotten rid of the rely on the male spirit; the appreciation on obedient and family-oriented wives but the critical attitude towards the female in pursuit of independence and career maintain the male-oriented family concepts of wife’s obedience to husband, men’s work centers around outside, women’s work centers around the home.There’s been few vocational TV series focusing on describing the female in recent20years; besides, among them most are the mainstream works funded by state-owned units and armies with features of short scenes, no popularization on the vocational types, weak social feedback and few classic roles. In comparison, there have been many vocational TV series reflecting the male. This absence explains the ignorance and negative of public media on the positive contributions of female in the social development. Under the background of encouraging people to transform opinions and studying new skills in1990s, the mainstream ideology created a group of modern vocational females with good skills and new ideas. However, those females lost their gender identities while gaining the vocational identities; their gender discourse became an invisible writing in the massive mainstream discourse and unisex. There was only one classical career female named Changxia Ren around2000. Due to her special condition, she couldn’t represent the vocational status of the most female. Moreover, the spreading effect also mainly focused on the discourse field of mainstream politic. The current vocational female image presents a stereotypical gender and desalting impression. There’s still prejudice on the independent, skillful and self-value pursuing image of vocational female originated from males’central discourse consequently. The TV series about vocational women are only the stunts of the current commercial TV to catch eyes, because it’s impossible to shape the vocational image of new female in the gender awareness.The third party image is a new female role appearing in the screen in the middle and post time of1990s. In terms of appearance, TV series always compare the young and beautiful third party with wife without concerning appearance, which constantly copies females’position of being seen. In addition, the transformation of the roles in this type who violated the moral disciplines with strong mainstream ideology to the image of the mainstream ideology collapse and lost virtual in the end of1990s. The regress of this feminism is a kind of consumption and advantage-taking of the female by the commercial TV driven by the interests.Thus, looking at the TV series with reality theme in the recent20years, the female role has varied from the gender disappearance to gender regain, role type richen, living space and discourse right risen in the competition of many powers such as political power, paternity culture, feminism, public culture and commercial capital. However, the variables are impossible to cover the role essential of passive body being viewed, and female is still in the vortex of the central discourse of the male. Besides, the means of paternity standardization is more hidden; it influences people’s gender ideology subtly by public media and solidify the male utmost thought by beautifying or demonizing the images of female roles, which generates the body and virtue coinciding with the paternity culture. In terms of this meaning, the current paternity culture about female degrading and control experience has transformed from body to soul and from visible to invisible.How dose the female role realize the physical and mental gender transformation of the audience subtly by the public media? In the first sector of the fifth chapter, this paper regards the mirroring theory of Lakang as scalpel knife to analyze the technical possibility of female role’s discipline implementation on the audience’s opinion and body. It borrows Fuke’s discipline theory on this basis to focus on describe how the female role is considered as a kind of knowledge to build up the audience, make people disciplined and internalize as a part regarding themselves as a main body, changing from passive body to active body in the constant fusion of political, cultural and capital forces within20years in this frame. It also outlines the profile of the discipline sport mode of the gender culture in the spreading of TV series with reality theme on this basis. |
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