A Study On The Image Types Of "Female Hostess" In Mainland Ancient Costume TV Series "Big Female Hostess"

Looking at the TV screens in recent years,since the 2012 "Biography of Zhen Huan" has achieved good results,a large number of "Big Woman" TV plays with women as the core leading role have been broadcast in a cluster and received extremely high attention.In this paper,the author classifies the "image of the heroine" in the popular "big heroine" TV series,and then makes an in-depth analysis from three aspects: the evolution of the image of the heroine,the aesthetic characteristics and the image shaping around different types of "heroine".First of all,in the introduction part,the author analyzes the causes and significance of the TV series "Big Woman" from the perspectives of market and culture.In the first chapter,the author analyzes the definition of the image of "female master" and the types of the image of "female master".It is clear that the "big lady" studied in this article is in a narrow sense,and the research object is limited to the mainland ancient costume "big lady" TV series.In addition,the image of "female master" is divided into three types,namely "fighting empresses" in the palace wall,"female heroes" in troubled times and "fantastic women" in the fairy world.In the second chapter,I mainly analyze the "fighting empresses" in the palace wall.In the aesthetic characteristics,it is launched from three aspects: tragedy,dependence and resistance.The image-building mainly focuses on details,character modeling and music and sound analysis.The "tragedy" of harem women is the focus of this chapter.The aim is to uncover the oppression and helplessness of women under the autocratic imperial power in feudal society through the infighting among female groups in the harem.In the third chapter,the image of "beauty hero" in troubled times is mainly analyzed.In the aesthetic characteristics,it is analyzed from two aspects: the gorgeous change of the female owner and the mind of the world.The image-building is carried out around three aspects: the situation,the dramatic conflict and the foil of others.Among them,the analysis and introduction of the evolution process of hero image is the feature of this chapter.Hero's appearance is led by absolute male to gradually female.The heroic characteristics of "female master" in TV plays are becoming more and more obvious.This is not only the change of the times,but also reflects the aesthetic expectation andimagination of the current audience.In the fourth chapter,the main analysis is the image of "fantasy woman" in Xianxia drama.In the aesthetic characteristics,it is studied from three aspects: justice,emotional entanglements and extraordinary life experiences of the "chivalrous" culture.Image-building focuses on female perspective,visual artistic conception and traditional culture.The study of "chivalry" culture is the feature of this chapter.Through the study of Chinese "chivalry culture",we can better understand the values of "chivalry" and justice permeated in Xianxia drama.In the fifth chapter,the author mainly analyzes the existing problems in shaping the image of "female master" in the current "big female master" TV series from the perspectives of reflection and conception.At the same time,I express my expectation for the current TV drama market: I hope our country's TV drama market can create more high-quality and professional "big ladies" TV dramas,and I also hope that TV dramas will be more diversified in types,themes and contents.