| From the first great chamber teleplay Kewang, the creation of the female characters in 1990s has raised the bright point of the audience rating and the social hotspot of attracting attention and consideration. After that, female problems have become one of the focuses of the teleplay staff, and the teleplays in which females play leading roles become more and more. This thesis will use feminism to study Chinese teleplays, trying to calmly observe the female hot and to dig out the male chauvinism behind the female hot and the drawbacks which it brings to TV culture. Meanwhile, this thesis will study the complicated conspiratorial relationship between the male chauvinism and the dominant ideology and business tactics. Further more , this thesis will critically analyze the 1990s' teleplay culture based on the deep perspective.There are two parts in this thesis.The first part mainly discusses the successional variation of the female characters in the 1990s' teleplays and the narration models. Besides this , it will study the causes of the change of the female characters and its limits.The successional variation of the female narration in the 1990s' teleplays can be stated that from the traditional female enclosed in home at the beginning of the 1990s to new Nuolas who come out of home and look for their way around 1993, to the beautiful and wise female who has no the block of home and feeling but ironed by the male's request and image around 1995 /to the female initial restoration in the sight of feminism at the end of the 1990s. The course of the female character and female consciousness in the 1990s' teleplays is not in company with the change of the years. In fact, this text has been also aware of the abundance and complexity of the female character in the 1990s' teleplays. The repeat and complication of the development of the female character and female consciousness has testified the difficulty and complexity of the awareness and liberation of female consciousness.If studying on narration, the female characters in 1990s' teleplays can be divided into two narrative models, enclosure and breakthrough. There are two images in enclosure, home and feeling and three types in breakthrough, society, feeling and culture. The causes that the female characters has changed in 1990s teleplays are that, first, theintroduction of the west feminism theory, second, the new female questions in the process of the Chinese modernism, third, the emergence of the female staff on teleplay. Although the creation on female has more and more expressed the independence, letting them come out of home and feeling and look for their career and love, the breakthrough narration has somewhat ideal fiction, and it has covered the reality of the female liberation in large degree.The second part mainly discusses the tactics and anti-tactics of the female narration in 1990s' teleplays. From the tactics and anti-tactics it will analyze the lack of the female conscious and the difficulty of its growth.At present, the modern development of culture rebuilding is just on the start, and the traditional father idea is still the dominant ideology, so no matter that the make and issue tactics have inevitably influenced by the male chauvinism. There are two ways which male chauvinism exists. It conspires with the dominant and popular ideology in make and plots together the business in issue. All of that will inflect in the female character. The female will become the earth and stepladder of male or the symbol of the morals or the empty express of the non-sex character. In order to get the high audience rating in issue, the teleplay adopts a lot of business packing, and the female is the most efficient in packing. However, it is strange that the male actor will dominate the teleplay's price.In analyzing the 1990s' teleplays, we shouldn't neglect the female consciousness has gradually become aware and clear and so that the feminist has begun to fight for the speaking power and to strive for the equilibrium to the dominant narrative tact... |
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