A Study Of The Housewares In The Perspective Of Feminism

Harem drama is one of those joking TV operas about history, the fight between harem concubines as the main subject, focuses on the harem concubines and surrounding the relationship between the multiple roles, and thus can be called "Gong Dou" drama. It is different from the serious historical drama, and more emphasis on expressing concubines and relations between concubines, instead of emperors. So, harem drama mostly makes interpretation of the history of contemporary society with a harem of a historical framework in a joking attitude. With this interpretation, harem drama makes a large number of productions, slowly forming a pattern of expression, and affects women unknowingly for their understanding.Contemporary aesthetic culture in consumer society’s interest in women is consistent with focus on the relationship between women. However, as a major popular cultural phenomenon, the current research about it is rare. The analysis has been done mostly from a moral point of view, this is likely to cause the danger of "moral kidnapping", with a certain lack of scientific.From the feminist perspective, this article used the method to be defined under the harem drama study and fixed on top of the harem drama, through the rise of feminism in its context, the impact of gender aspects and manifestations of gender to examine patriarchal ideology and the ideology of consumerism behind the phenomenon of popular culture, and how these ideologies in a most natural way to present and influence the audience.The first chapter points out the context of the rise of the harem drama. Harem drama is a joking drama about history, which is inseparable from the rise of consumerism context. Patriarchal ideology effectively utilize these features and form a more confusing post-feminism. Post-feminism is not a real Feminism, but rather a lifestyle to meet the personal desires in the era of consumerism. With the influence of post-feminism, harem drama has some features,like individualism, secularism and so on.The second chapter analyzes the harem drama starting some specific manifestations from a gender perspective:as the construction of "harem" and as the harem women. The space in harem drama is not a simple architectural space, power and ideology of patriarchy always represented its intention to participate in building it. We also should pay attention on the patriarchy in the women’s stereotypes. Such stereotypes reflects the new femininity, but is still show an attitude of opposition to desire and aging about women.During chapter three, from the gender perspective, we will explore the narrative pattern of "conflicts in harem". Harem dramas can bring viewers pleasure and excitement. For those female viewers, it’s a pattern of narration that continuously meets their prospection and contains a kind of women’s pleasure resulting from occupying authority through identification. It also highlights suspense plot to attract women’s attention, because they get the pleasure during conjecture. Biological father plots and revenge mode, which have become accustomed to female viewers who have great passions for harem drama, achieve the goal appropriately. But this does deserve high alarm--patriarchal ideology has played truth unconsciously or even in viewers’pleasure.Chapter four:In the gender space, Hou gong, the gathering harem dramas depicted a group of stereotyped female images, creating a new but still prejudicial female temperament, as well as rigid imaginations and narrations. Harem dramas have impressed viewers as monotonous and trapped themselves into dilemma. The result is, before becoming more mature and moving further in the imperfectly competitive market, they have lost their market in advance. However, having experienced tides of following and gathering, harem drama is now seeking self-development. Writers’sexual composition is changing, which affects harem dramas in form of distinctions and make the inner tension of the scripts an unneglected part.