Research On Masculinity Of Chinese TV Entertainment Programs

In recent years, China’s TV entertainment programs for male image become the important content,grassroots male、loser men、metrosexual appear on the TV screen, Through to the domestic and foreign literature review, media and gender studies mostly concentrate on the reflection of the female image, combination of masculinity and television research is scattered and small. As this phenomenon, this paper combined with the Connell classification of masculinity, launches the research to show Chinese TV entertainment program masculinity.The thesis divides into four parts.The first part defines the concept of masculinity, Raewyn Connell put forward "hegemonic masculinity", it make people liberate from gender binary opposition, Gender is no longer defined by social way but as individuals, Masculinity is formation under the social practice, appeared unrelated to gender, present in the opposite of femininity, along with the change of social environment and change.Based on Connell research of masculinity and masculinity in TV programs, The hegemonic masculinity is shows male discourse right and strength, skill, the rendering of the body, The dependency masculinity can be divided into male homosexuality, cross dressers, grassroots male, loser men, transgender male, Complicity masculinity is the consumption of metrosexual.The second part is from the operating mechanism of the media inside,the cause of the masculinity presented in entertainment TV programs is contact with production field, text fields, the audience. Production field, as the media attribute of socialism, creators to reconcile the balance between market and ideology, meanwhile, the media itself is a kind of discipline, which restricts the male image presentation. Text fields, masculinity, in the form of commodity, landscape caused its symbolization, market-oriented, the audience as the goal, advertisers benefit as criterion. In the field of audience, the audience is not completely indifferent to the spread of television, on the one hand, with the need of the identity masculinity, on the other hand also in a submissive-- resistance – obedience cycle, masculinity present from the gradient model to the series.The third part is from the point of media social environment, In 1980 s and 1990 s, western culture, including postmodernism, feminism, consumerism and collision with China traditional culture, The essence of masculinity appeared is Chinese and western culture collision, a product of social culture and the commodity economy under the compromise, Postmodern masculinity presented a diversified imitation virtual image, the rise of feminism makes the hegemonic masculinity weakened, consumption culture makes the masculine aesthetic from the elite to the daily life, from perceptual aesthetic into sensory.The fourth part is objective look at Chinese TV entertainment show of masculinity, in a certain degree, to dismember the single hegemonic masculinity, issued question in traditional patriarchy, Show opens the male role to participate in, and began to return family, for the desire of the gender equality, However, TV shows on masculinity characterization is more hurt, From the point of Kant’s aesthetics, utilitarian appreciation led to alienation of masculine aesthetic; groups of pseudo personality led to the lack of masculinity autonomy; the constraints of commercial of masculinity freedom. Men are also victims under patriarchy, only aware of this, to recognize the nature of the oppressed, men and women work together, to achieve the liberation of men and women.