Construction Of Rural Female Image In Kuaishou Short Videos Under Gender Theory

Under the policy of rural revitalisation,the development of the ’three rural areas’ has received much attention,and the material and spiritual activities of rural women,who are an integral part of rural life,are worthy of study and consideration.Feminist scholars believe that the development of Internet technology is an opportunity to eliminate gender differences.The rise of short video platforms has given rural women,who were previously in a ’media disadvantaged’ position,a new discursive space to construct their own image,providing the conditions to break through the barriers of male perceptions.They use short videos to express their emotions,make friends and interact,and showcase themselves,and the short video platform has become a new space for feminist development.This thesis uses gender theory as a research perspective,and takes 300 short videos of "rural women" on the platform of Rashid as the research object.The social attribute of gender is a socio-culturally assigned gender behaviour expressed through symbolic representation,which consists of cultural elements such as language,interaction and cultural symbols.The differences between the two genders in culture are essentially two different semiotic systems.Therefore,this thesis uses semiotic analysis combined with Roland Barthes’ "myth" theory to analyse the symbolic representations of rural women’s short videos and the cultural meanings they express.Firstly,this thesis classifies the symbolic representation of the sample videos.As short videos are audio-visual art,the author divides the symbolic system of short videos into two major parts: visual and auditory symbols.On the basis of Saussure’s energetic/referential approach,a preliminary classification of the gendered "referential" meanings conveyed by audiovisual signs is made.Secondly,the meaning of the media image is interpreted in the light of Roland Barthes’ "myth" theory,and on the basis of the first level of external information of the symbols,rural women are anchored in a broad cultural context,and the connotative meaning of the media image of rural women is considered from the perspective of feminism and patriarchal society.The new media form of "short video + social",with its characteristics of "interactivity" and "economy",means that the symbolic meaning of the media image should be interpreted from a new perspective,focusing on the interactive meaning and consumption of the media image.This means that the symbolic meaning of media images should be interpreted from a new perspective,focusing on the interactive and consumer meanings of media images.Finally,the cultural motivations for the presentation of rural women’s media images are explored from the perspective of gender theory.The study found that rural women choose visual symbols such as scenes,costumes and characters to present themselves,unconsciously projecting gender concepts and aesthetic values.Specifically scene symbols reflect the gender role of the character,costume symbols enrich the gender image of the character,and character symbols reveal the gender temperament of the character.The aural symbols render the atmosphere to assist in the portrayal of the characters.From a cultural feminist perspective,the self-presentation of rural women promotes the development of a pluralistic social concept of gender,as they gain more economic opportunities through short videos and achieve economic and ideological preparation for female emancipation.From a patriarchal perspective,rural women’s self-presentation is ’watched’ and ’gazed at’,constructing their self-image in a way that appeals to patriarchal approval.The media image of rural women is formed in an open,interactive space.The "visibility" of rural space completes the identification of rural life at the national level,and when online resources are extended to the real space,the social identification of rural women is also achieved.When online resources are extended to the real space,the social identification of rural women is achieved.The study also found that although consumer culture and the platform economy are the driving force behind the construction of rural women’s subjectivity,this also allows them to alienate their self-image in pursuit of the traffic economy,making their bodies a consumable commodity.The study also found that,from a gender theory perspective,the empowerment of media technology and the commercial logic of consumer culture are the main drivers of rural women’s self-constructed media images.All in all,the ’short video + social’ media format has given rural women the right to speak freely,attempting to reshape their own identities while expanding the space for women’s discourse,and has enabled rural women to bravely enter more public spheres,promoting gender equality.However,it is worth reflecting on the fact that gaining the right to speak in cyberspace does not mean an improvement in rural women’s real-life living space,and that feminist development still has a long way to go.In response to this phenomenon,the author offers suggestions from three perspectives: platform,society and government,in the hope that all parties in society will work together to create a healthy media space and guide rural women to construct a healthy and authentic media image.