消费文化的强势渗透与女性意识的无力呈现——“大女主剧”所折射的中国女性主义困境  

Strong Penetration of Consumer Culture and the Weak Presentation of Female Consciousness——The Dilemma of Chinese Feminism Reflected in the "Big Heroine Plays"

作　　者：张婷 闫月英 ZHANG Ting;YAN Yue-ying(Drama,Film and TV School,Communication University of China,Beijing 100024,China;School of Humanities,Xi'an Aeronautical University,Xi'an 710077,China)

机构地区：[1]中国传媒大学戏剧影视学院,北京100024 [2]西安航空学院人文学院,西安710077

出　　处：《西安航空学院学报》2020年第6期67-71,共5页Journal of Xi’an Aeronautical Institute

基　　金：陕西省教育厅社科基金项目(18JK1059);西安航空学院人文社科基金项目(2019KY2231)。

摘　　要：互联网赋权和女性文化消费力促进了电视荧屏上"大女主剧"的崛起。作为一种典型的"女性向"文化消费产品,"大女主剧"呈现出的既强调独立又依靠男性的悖论,折射了当下中国女性的生存和精神现状。而造成这一悖论的根本原因在于女性主义启蒙的缺失。这样的"大女主剧"对女性主体意识的建构并无帮助,不但无法引导女性从残留的男权意识形态中脱身,反而成为某种具有自恋意味的致幻剂,必然会陷入同质化和泡沫化的困境。只有直面女性的生存现实和精神痛点,对性别平等和人格独立进行深入的思考,才能树立独立的女性价值观,实现女性真正的强大与独立。Internet empowerment and women’s cultural consumption power have contributed to the rise of "big heroine plays" on TV. As a typical "female-oriented" cultural consumption product, "big heroine plays" present the paradox of emphasizing women’s independence and also their reliance on men, and reflect the current living and spiritual status of Chinese women. The fundamental reason for this paradox lies in the lack of feminist enlightenment. Such "big heroine plays" are not helpful to the construction of female subject consciousness. They can not only lead women away from the residual male ideology, but also make them a narcissism with narcissism. Only when we face the reality of women’s existence and spiritual pain, and think deeply about gender equality and personality independence, can we establish independent female values and realize women’s real strength and independence.

关 键 词：大女主剧 女性向 女性主义 

分 类 号：J905[艺术—电影电视艺术]