“她经济”语境下女性题材剧的角色塑造——以《三十而已》为例  

The Shaping and Expression of Female Characters in"She Economy"Film and Television——A Case Study of Only Thirty

作　　者：谷雨 曾冲冲 GU Yu;ZENG Chong-chong

机构地区：[1]江西服装学院时尚传媒学院,江西南昌330000 [2]江西科技学院文化与传媒学院,江西南昌330000

出　　处：《民族艺林》2022年第4期86-92,共7页Journal of Ethnic Art

摘　　要：近年来,我国电视剧创作开始出现以大女主为主要角色塑造的故事叙事模式,制作方窥到“她经济”语境背后的广大女性观众的影响力,随之出现一批以女性为主要角色,重在表现女性人物历经磨砺最终收获成长的电视剧。《三十而已》作为2020年火爆的女性题材剧受到热议,体现出“她经济”影响下电视剧市场的内容制作偏向,其中对女性角色的范式塑造,引发诸如迎合女性主义、彰显所谓女性意识以及传统男权与现代女性思潮碰撞等一系列问题的探讨,由此可以窥探出当下女性题材剧对于女性角色塑造的特点和倾向。In recent years,China's TV drama creation began to take the heroine as the main role of the narrative mode,producers have a sense of the influence of the vast female audience behind the context of"she economy",followed by the emergence of a number of female as the main role,focusing on the performance of female characters through trials and finally harvest growth.Only Thirty just as a popular female drama in 2020 is hotly debated,embodies"she economy"under the influence of TV content production bias of the market,including paradigm shaping women's roles,causes catering to feminism and discussions of the so-called feminine consciousness and traditional patriarchal collisions with modern women trend,by which the characteristics and tendencies of female characters in current female dramas can be found out.

关 键 词：女性题材剧 女性主义 “她经济” 

分 类 号：J905[艺术—电影电视艺术]