Research On The Female Images In Historical Dramas During The Comprehensive Anti Japanese War

The construction of women’s images in war dramas is not only influenced by the real environment of the women’s movement and national mobilization during the war period but also has an important connection with cultural ideas such as "good wife and mother" and "equality between men and women".With this background,the war dramas construct a group of women who are not inferior to men’s wartime images in the form of "borrowing from the past and referring to the present".Women in wartime historical dramas can be broadly divided into three categories:first,traditional women of "loyalty,filial piety and righteousness",second,"heroines" with contemporary characteristics,and third,contradictory individuals who wander between tradition and modernity.The "loyal,filial,and moral" category of women mainly presents two qualities: "virtuous wife and mother" and "loyal to national justice".These women still bear the traditional responsibilities of running the household,raising children,and unconditionally supporting their husbands and children to go to the front line to fight the enemy,and are the "virtuous helpers" in the wartime environment.The "heroine" image is based on the "loyalty,filial piety,and righteousness" category of women,and moves from the "family" to the "battlefield".The "heroine" image is based on the "loyalty,filial piety,and righteousness" category of women,and moves from the "family" to the "battlefield" with a more daring mental outlook,which is very different from the traditional female image and has more distinctive and prominent character features.The intermediate women,who move between tradition and modernity,showing the survival dilemma and spiritual anxiety of women under the change of the times.However,although the three types of women have different character traits and survival conditions,they all contain strong feelings of family and country,and in some of the plays,women even show more boldness than men.It is a common behavior for women to give up their emotions for the righteousness of the family and the country in historical anti-war dramas.The image of women in historical anti-war dramas gradually shifts from subordination to men to subordination to the self and assistance to men to independence.However,a deeper look into the texts reveals that women’s emotions are repressed and have nowhere to rest in the tense political environment.Women are still not free from the shackles of male power,and some of them even need to blur their gender and pretend to be male to move around in society.While women are moving towards themselves,they also face the social discrimination of not being treated equally,and they are still in a vulnerable position in the relationship between men and women.Although they struggle against external power,they pay a great price,even at the expense of their own lives.To a certain extent,the images of women presented in the historical dramas of the resistance war embody the playwright’s expectations and imagination of realistic female behavior.The intellectuals’ "adaptation" and "fictionalization" of historical stories not only meet the audience’s expectations,but also show the intellectuals’ ideal pursuit.It is not difficult to find that most of the writers of historical dramas are left-wing writers.For left-wing writers,instead of writing directly about the anti-Japanese war,which is subject to strict publication control,it is better to write in a more subtle way to convey political emotions and mobilize the masses against the war.Compared to the plays that directly represent the war,the historical dramas convey the writers’ ideological and political tendencies in the form of "using the past as a metaphor for the present".The traditional women presented in this way of reconstructing history are the writers’ expectations for the behavior of women in the war,and they also have an important role in guiding women in society to "go out of the family and into society".