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논문 기본 정보

자료유형
학술저널
저자정보
Zhouming Xue (동서대학교) 최원호 (동서대학교)
저널정보
아태인문사회융합기술교류학회 아시아태평양융합연구교류논문지 아시아태평양융합연구교류논문지 제9권 제4호
발행연도
2023.4
수록면
373 - 383 (11page)
DOI
http://dx.doi.org/10.47116/apjcri.2023.04.30

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The researcher observes a trend in China where Danmei content and Female-oriented TV series are gaining popularity. The former has been restricted by policy and its popularity has come to an abrupt end, but the Female-oriented TV Series is continuing to grow in popularity. Both types of film and television content can be categorised as female-oriented content. The concept of the "female gaze", which serves the visual desires of women and enables them to achieve visual satisfaction, has emerged. This study was conducted to analyse the influence of the “female gaze” in visual female-oriented film and television content on the development of feminism. The research methodology of this article combines three methods: documentary analysis, textual analysis, and comparative study approach to analyse the characteristics of female-oriented content, and the representation of the male gaze. The purpose is to demonstrate that female-oriented content, while purportedly catering to a female audience, is actually a retrograde form of feminism. Firstly, the development and characteristics of the two types of female-oriented content selected for this article are sorted out. It shows that the representation of female-oriented content still reflects the relationship between one strong and one weak, and the implicit adherence to patriarchy, the cult of the powerful. Then, by sorting through the three developments of the feminist movement, it is concluded that the purpose of the feminist movement was to eliminate gender inequality and essentially to pursue equal rights. Next, the male gaze is therefore expressed as a separate section since it serves as a symbol of feminist theory in the sphere of film and television. Essentially, it is an illustration of gender inequality, expressing the subjectivity of the male and the subordination of the female. Finally, the characteristics of female-oriented film and television content are compared with those of feminism and male gaze. Results of the study showed that the textual characteristics of female-oriented content are different from the core claims of feminism and, therefore, are not a progression of feminism. Besides, the feminine gaze embodied in feminist content is essentially a repetition and reinforcement of the male gaze. This proves that the female-oriented content is not only not a progression of feminism, but rather a regression. Based on the findings of the study, it was proposed that if feminism is to truly develop and progress, the spirit of the feminist quest for equality and independence should be exhibited in the visualised texts. The particularity and importance of this article is that it is one of the lesser ones to argue that female-oriented content has a negative effect on the development of feminism. The popularity of female-oriented content in film and television has not lasted long in China, and the number of articles analysing this content is limited. It is hoped that the ideas in this article will provide some insight for subsequent researchers.
#Danmei #Feminism #Female-oriented Contents #Female Gaze #Male Gaze

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