文化霸权视阈下女性形象的媒介建构——以20世纪90年代以来内地热播女性本土剧为例  

Medium Construct of Female Image from the Perspective of Cultural Hegemonism——Exemplification with the Hit Local Female TV Dramas since the 1990's

作　　者：许加彪[1] 韩青[1] 

机构地区：[1]陕西师范大学新闻与传播学院,陕西西安710062

出　　处：《陕西师范大学学报（哲学社会科学版）》2012年第6期21-29,共9页Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition)

基　　金：教育部人文社会科学青年基金项目(07JC86005);陕西师范大学中央高校基本科研业务费专项资金项目(115ZYB30)

摘　　要：20世纪90年代以来,内地热播女性本土剧虽改写了女性在电视媒介建构现实中"符号灭绝"的地位,但女性在电视媒介上的"出场"机制仍是一种被选择的建构,女性形象被不断类型化与脸谱化,依然遵循着男权文化主导的加工再现与叙事逻辑。在这种男权主导的符号框架下,随着女性自我意识的觉醒,社会表达机制进行策略创新,为女性留下了一些必要的空间和舞台,成为妥协的场域。在面对文本的开放与多元中,女性在解读女性本土剧中可能获得了"麻醉性"的自我需求满足,而放弃了社会改良的要求。因此,面对内地热播女性本土剧这个具有典型意义的样本,必须理性辩证地看待,以期在女性自我救赎与社会共同进步中取得男女的和谐与平等。Since the 1990＇s those hit local female dramas have rewritten the ＂symbol-extincting＂ status of women in the reconstructed reality in TV medium,but the mechanism of female ＂appearance on the scene＂ remains to be an optional construction.The image of women is continuously categorized and stereotyped by following the patriarchy-dominated processive reproduction and narrative logic.Under the patriarchy-dominated symbolic framework,with the awakening of female self-consciousness,the social mechanism of expression is strategically improving,leaving some necessary room and stage for women as the realm of compromise.In face of an open and multielement text,women obtain a ＂narcotic＂ satisfaction of self demand,but give up the demand for social reformation.Therefore,those hit local female dramas as typical samples must be rationally and dialectically treated so that women will obtain gender harmony and equality in self-salvation and social progression.

关 键 词：女性媒介形象 本土剧 文化霸权 媒介建构 

分 类 号：G206.2[文化科学—传播学] C913.68[经济管理]