Stereotyped Representation: A Study On The Evolution Of The Image Of Mothers In Domestic Animations Since The Reform And Opening U

There are popular narratives and imaginations about motherhood in different eras,which not only form the basis of our understanding of ourselves and the world,but also permeate with the air of power.Since the reform and opening up,the deep-rooted patriarchal culture has dominated the representation system of domestic animation for nearly half a century,so that the image of mother has never been free from the shackles of "essentialism".In the new century,the image of mothers gradually reflects the characteristics of "mother tiger",from one end of the stereotype(virtuous wife and mother,gentle and submissive)but falls into the"other pole" of the stereotype(strong and irritable mother,angry,full of charm,high family status).This paper will use Stuart Hall’s theory of stereotypical representation to select the mother images in domestic animation since the reform and opening up as the object of study,combine the political,economic and cultural background of China and the cultural phenomena in animation,outline the transmutation of mother images in domestic animation,focus on the ideology of motherhood,the power of media discourse and the derivation of social gender concepts behind them,and establish a genealogy of mother images in domestic animation and animation.It also critically examines and considers the mother image constructed by the representation system of domestic animation,so as to take care of the mother group in reality and in the text.The main content of each chapter of this paper is organized as follows:the introductory section clarifies the research value of this paper,composes and summarizes the previous work and the current status of research,defines the research text of this paper through the definition of concepts related to domestic animation,and analyzes the feasibility of combining theory and text.The first chapter of the main text uses the "essentialization" strategy in stereotypical representation to analyze the representation of the virtuous wife and mother in domestic animation since the reform and opening up,and uses the "splitting" strategy to further analyze how the mother image is stereotypically represented as "The second chapter stands in the era of the new century.In the second chapter,we consider the ideology of motherhood behind the images of "tiger mother","hot mother" and "single mother" in the context of the new century.Chapter 3 presents the power of gender relations in the media discourse within the representation system from "language" to "discourse" to "rights",and analyzes the inversion of stereotypes and the use of "positive" and "negative" strategies in Chinese animation.By analyzing the reversal of stereotypes in domestic animation,we try to fight for the representation system that has been "othered" by using the reverse strategy of positive overcoming negative.The fourth chapter reflects on the image construction of domestic animation mothers and looks forward to it.The final point is that in order to change the stereotyped representation of mother image in domestic animation,in addition to the need for animation practitioners to break away from the path of dependence on foreign image shaping,break the preference for classic texts and shape a new mother image in line with the times,it also depends on the determination of female self-awareness and the liberation of male gender concepts.Only when both sexes are liberated,the realization of gender equality can become possible.