A Study on Female Images in Contemporary Chinese Female TV

Dramas: Based on China TV Dramas from 2003 to 2021

Rui Jiang

Department of Chinese Studies, Graduate School of International Studies, Hanyang University, Seoul, Korea

Keywords: Social Gender, TV Dramas, Female Images, Data Statistical Analysis.

Abstract: With the rapid development of the times, economy and society, women's TV dramas in mainland China

have made great progress. This paper adopts the content analysis method and invokes the method of scale

instrument to study the female drama series. This paper compares more than 600 female drama series

released in mainland China between 2000 and 2021 through the statistical method of SPSS. The overall

situation of female image construction and its main influencing factors are known through data analysis.

The results show that: in contemporary China, the concept of gender has no obvious influence on the

producers of media products; TV dramas, as typical representatives of media products, are not diversified

and specific enough in presenting female images; they are not scientific and standardized enough in the way

of presentation; in addition, most TV dramas do not actively and normally present female images; women

are more often in a state of being monitored, consumed, deprived or even Women are more often monitored,

consumed, deprived and even exploited.

https://orcid.org/0000-0002-6072-2051

1 INTRODUCTION

In contemporary China, along with rapid economic

and social development, culture, social thinking, and

other factors related to ideology are also changing

rapidly. Gender equality, or equality between men

and women, was explicitly stipulated in the 1954

Constitution and was first written into the report of

the 18th National Congress of the Communist Party

of China as a basic state policy. This move not only

marks the recognition of gender equality by China's

ruling party, but also means that gender equality has

been incorporated into the national-level action

agenda. It is reasonable to expect that more "warm"

factors will emerge in China's future policy or

institutional design.

The term "female TV series" in this study refers

to TV series with women as narrative protagonists.

The public distribution licenses on the official

website of the National Film Bureau of China from

2003 to August 2021 were used as the search scope.

TV drama research sample selection: First, female

TV dramas were selected; second, data cleaning and

processing were performed; finally, 635 research

sample TV dramas were obtained.

Content analysis was used in this study, and the

method of calling scale tools was used for the study

of female dramas. The statistical method of SPSS

was used to sort out more than 600 female TV

dramas released in mainland China from 2000 to

2021. The data analysis was used to know the

general situation of female image building and the

main influencing factors.

In contemporary China, gender issues are mainly

reflected in women's issues. Television drama is a

centralized embodiment of ideology and an

important carrier. This paper presents two issues that

are conducive to responding to issues related to so-

called "gender equality".

Q1: whether contemporary Chinese female TV

dramas present female images in a scientific and

normative sense?

Q2: how many TV dramas in contemporary

China present female images positively and

normally?

Jiang, R.

A Study on Female Images in Contemporary Chinese Female TV Dramas: Based on China TV Dramas from 2003 to 2021.

DOI: 10.5220/0011914000003613

In Proceedings of the 2nd International Conference on New Media Development and Modernized Education (NMDME 2022), pages 473-480

ISBN: 978-989-758-630-9

 2023 by SCITEPRESS – Science and Technology Publications, Lda. Under CC license (CC BY-NC-ND 4.0)

473

2 LITERATURE REVIEW

2.1 The Concept of Gender

Gender is not the same as sex. Gender is a product

of cultural constructs. Gender is socially and

culturally constructed, and it is not an accidental

result of sex, nor does it have a fixed form of

expression. Gender can be considered as a cultural

meaning carried by biological functions, but it does

not need to be consistent with sex (Butler, 1999).

In 1993, at the workshop on Chinese women and

Development issue held by Tianjin Normal

University, the concept of "gender" was introduced

intensively by members of the Chinese Society for

overseas women's studies (CSWS) and became one

of the centers of discussion. Since then, "gender" has

become a concept and category of women's studies

in Chinese Mainland. After the Fourth World

Conference on Women in 1995, the spirit of the two

United Nations documents signed by the Chinese

government, the Platform for Action and the Beijing

Declaration, was disseminated in China, and "gender

mainstreaming in policy-making" became a familiar

topic for women's organizations and researchers at

all levels (Wang, 2001). This also proves that the

concept of gender does not come from the works of

one or several people, but the collective creation of

Feminism: we can understand gender as a system or

as a social relationship. The concept of gender is

meaningful only when it is used for specific analysis

under specific conditions (Wang, 1997).

Around 2000, discussions of "gender" became

more prevalent within China, but most of them still

belong to introductions and initiatives. In 2001, the

women's research center of the Party School of the

CPC Central Committee hosted a symposium on

"gender and public policy". The seminar focused on

gender and education policy, gender interests,

resource allocation and government responsibilities,

gender and family policy, gender and political

participation policy, public policy, legislation, and

gender equality mechanisms. (Li, Ying, 2001)

At the same time, there are many criticisms.

Some studies believe that gender theory reveals the

root causes of gender inequality, but feminism falls

into the dilemma of eliminating differences or

strengthening differences. These viewpoints provide

some fresh perspectives for this study. However, if

we examine the concept of "gender", we will find

that even the so-called "citizenship" is the result of

the interaction between state power, social relations,

and media discourse, and it still lives in the category

of "gender". Although it has been criticized and

questioned from the inside and outside of feminism,

it has also encountered the challenge and influence

of various new trends of thought. Some

characteristics of “gender”, including full of

differences, developability and pluralism make it

complex, “gender” is still the central concept of

Feminism (Liu, 2001).

The concept of gender was introduced into the

research field of Chinese Social Sciences, which

quickly triggered an upsurge of research in the

academic circles. The developmental, pluralistic,

and critical attributes of the concept of "gender" help

it quickly enter various research fields and produce a

lot of problem-oriented research. At present, there

are rich discussions on gender and gender equality,

public policies, legal norms, social reality, education

and so on.

2.2 Research on Gender From the

Perspective of Journalism and

Communication

The concept of gender is naturally closely related to

journalism and communication. Since it was

introduced to Chinese Mainland, this concept has

been closely combined with the study of Journalism

and communication. Scholars in this field include

Bu Wei (Chinese Academy of Social Sciences),

Jiang Hong (Anhui University), Liu Bohong

(Women's Research Institute of all China Women's

Federation), Cao Jin (Fudan University) and others.

News and communication scholars have made

fruitful discussions, which not only provides a fresh

perspective for China's news and communication

research, but also explores powerful critical tools,

which expands the vision of news and

communication, and increases research topics. To

sum up, the combination of Journalism and

communication research and gender is probably

more obvious in the following studies:

Firstly, media reproduction of female images.

Media reproduction is a frequently used and new

theoretical tool in journalism and communication,

and the correlation between gender and media

reproduction will certainly give birth to many

investigations related to media reproduction of

female images. For example, Liu Bohong, Bu Wei,

Liu Xiaohong, Jiang Hong, and others are scholars

who carried out the discussion of female image

media representation earlier.

Secondly, the concept, behavior, and policy

advocacy. Women's programs with a sense of

reflection on gender issues can reflect women, the

relationship between women and men, social,

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474

economic, and political issues from the perspective

of gender equality. Starting from the basic laws and

current situation of academic research on journalism

and communication, it can be inferred that the

research in this field will maintain a more positive

trend for a long time in the future. Communication

activism has gradually become one of the more

important research paradigms in Chinese

communication research. It encourages scholars to

participate in observation and intervene to achieve

better research results.

Thirdly, gender, media use and empowerment.

The ultimate concern of media and gender research

is to reveal the structure and process of media

hegemony, which help the audience awaken their

self-consciousness, and seek the real equality and

solution of mankind. This research field is not the

theoretical interpretation of instrumental knowledge,

but closely related to the current situation of human

social life (Cao, 2005).

In addition, the discussion of gender and TV

dramas is also rich. At present, there are many

studies related to gender and TV dramas. It shows

the following characteristics: first, there are many

discussions on specific TV dramas, such as the

<Empresses in the Palace><mother, mother><Once

Upon a Time in Shanghai>, <Boss & Me>, <May-

December Love><Let's get married!> and <Pink

Lady: Lover Run >, case studies were fruitful. These

studies mostly focus on specific TV dramas and

investigate the media representation of women's

images in TV dramas; Another kind of research

focuses on specific types of TV dramas, such as

domestic workplace dramas, imported dramas from

Japan and South Korea, family ethics dramas, anti-

Japanese War dramas and even rural theme dramas;

Additionally, there are a few studies on the benefits

of TV dramas on gender concepts.

Unlike most of the results summarized above

from high-level journals, most of these studies are

master's and doctoral dissertations, especially

master's dissertations. In general, such studies

usually have some problems and need to be

supplemented by further research. First, most of

these discussions are based on personal recognition.

Although the gender theory has been adopted, it has

a strong color of personal speculation and lacks the

guarantee of strict and standardized social science

research methods. This has been improved in the

discussion of genre plays, but there are still great

defects; Secondly, most of these studies come from

master's and doctoral dissertations. Although the

norms of master's and doctoral dissertations are

indeed more suitable for this kind of research, the

difference between the number of journal documents

and dissertations is still worth pondering; Third, the

level of journals publishing results is debatable. This

is probably one of the important reasons why this

topic needs to be carried out and carried out

urgently.

3 DATA STATISTICAL

ANALYSIS RESULTS

This study used Statistical Product and Service

Solutions (SPSS) statistical method to analyze the

635 selected sample TV series for the study. The

overall performance of the image constructs of the

female category of TV dramas was derived by

statistically analyzing the main indicators of the

selected sample dramas, such as age theme, content

theme, female age level, occupation, and

relationship presentation, to respond to the two

questions in the original point of the study.

According to the category construct, the

information in this paper was independently coded

by the authors and then tested for reliability. Three

test coders other than the authors conducted

reliability tests according to the Hasty factor without

interfering with each other. The results showed that

the overall intercoder reliability coefficient was 0.92

and the coders' coding results were highly consistent

with the study.

The statistics and analysis are as follows:

3.1 Classification of TV Drama Themes

Table 1: Classification of TV Drama Themes

freque

ncy

Percen

tage

Effective

percentage

Cumulativ

percentage

Ancien

54 8.5 8.5 8.5

Moder

times

165 26 26 34.5

Conte

mporar

416 65.5 65.5 100

total 635 100 100

As one of the important types of media products, TV

drama not only provides entertainment, but also

undertakes the important functions of conferring

social identity and monitoring the environment. It

has inherent constraints and expectations on the type

of theme. For example, the popular TV drama “In

the name of people” which was first broadcasted in

A Study on Female Images in Contemporary Chinese Female TV Dramas: Based on China TV Dramas from 2003 to 2021

475

Chinese Mainland in 2017, the "Like a Flowing

River" in 2018 and the "All is well" in 2019 all

focused on the rapidly changing Chinese society.

According to the age of the TV drama

construction story, this study roughly divides the TV

drama into three types: ancient, Modern times and

Contemporary, and the proportion of each type of

TV drama is shown in the table above. Among them,

drama themes which is contemporary exceeded

65%. Obviously, this is a positive phenomenon.

Although more than 60% of TV dramas those

themes of contemporary China, cannot directly

launch the practical care of these TV dramas, it

provides a greater possibility for them at least.

Therefore, it is worth affirming.

3.2 Classification of Modern and

Contemporary TV Dramas

Table 2: Type subdivision of modern and Contemporary

TV dramas

Frequ

ency

Percent

age

Effective

percentage

Cumulative

percentage

Daily life 219 34.5 34.5 34.5

Emotion 175 27.6 27.6 62

Criminal

investigation

2 0.3 0.3 62.4

Military

service

3 0.5 0.5 262.8

Business 2 0.3 0.3 63.1

Workplace 11 1.7 1.7 64.9

Family ethics 93 14.6 14.6 79.5

Light comedy 26 4.1 4.1 83.6

Inspirational 90 14.2 14.2 97.8

Rule of law 5 0.8 0.8 98.6

Police and

andits

6 0.9 0.9 99.5

Suspense 3 0.5 0.5 100

total 635 100 100

Table 1 shows the specific situation of TV dramas

divided in different years. This table takes

Modern

times

and contemporary TV dramas as an example

to further subdivide them. As can be seen from the

table above, more than a quarter of TV dramas focus

on the description of emotional life, followed by

family ethics drama and inspirational drama, both of

which are close to 15%. In addition, the proportion

of all other subdivided TV dramas is less than 5%. It

shows that in modern and contemporary TV dramas,

emotional drama, family ethics drama and

inspirational drama constitute the main parts of TV

dramas.

Contemporary China's market economy is

developing rapidly, and social changes are

intensifying. With the help of the concept of gender,

we can reasonably infer those women are not

"naturally" limited to emotional disputes such as

love and family, but "actively" or "forced" to

participate in social life and social labor, especially

the practice of economic life. Under this premise,

the number of social and economic related themes in

female TV dramas is too small (such as business,

workplace, etc.), which is obviously inappropriate.

3.3 Breakdown of the Place Where the

Story in the TV Play Takes Place

Table 3: Story area

freq

uenc

perce

ntage

Effective

percentage

Cumulative

percentage

Cities (larger

cities)

383 60.3 60.3 60.3

Towns

(small-scale

cities)

165 26 26 86.3

Rural areas 71 11.2 11.2 97.5

Difficult to

judge

16 2.5 2.5 100

total 635 100 100

Taking the place of the story as the statistical index,

more than 80% of the TV drama stories mainly take

place in cities (large cities and small-scale cities),

especially in larger cities, and more than 60% of the

stories take place in larger cities. In addition, about

11% of TV drama stories take place in rural areas.

This figure is obviously inconsistent with China's

urbanization rate today. For the data with great

difference, at least the following aspects need to be

explained or explained:

Firstly, compared with rural areas, cities, and

towns themselves have more developed social

economy, more diversified and rich life, and more

concentrated population. These basic characteristics

determine that TV dramas based on urban stories are

easier to obtain and simpler; Secondly, for rural

audiences (viewers of TV dramas), urban life,

including cities and towns, is strange and fresh.

From one point of view, it is easy to give birth to

each other's desire to peep. Therefore, it is also easy

to be captured and used by TV drama producers.

Thirdly, it is more likely that in the past decade, the

network communication technology has become

more and more developed, which has brought a huge

impact on the TV drama industry that "relies on"

TV. On the contrary, there are still many TV drama

viewers in the vast rural areas that are less impacted

by media technology, which reasonably explains

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476

why more than 80% of TV dramas are based on

cities and towns.

3.4 Statistics on the Birth of Heroines

in TV Dramas

Table 4: Statistics on the birth of heroines in TV dramas

frequ

ency

percent

age

Effective

percentage

Cumulative

percentage

Cities

(larger

cities)

201 29.9 29.9 29.9

Towns

(small-scale

cities)

164 24.4 24.4 54.2

Rural areas 115 17.1 17.1 71.3

Difficult to

judge

193 28.7 28.7 100

total 673 100 100

As can be seen from the above table, more than half

of the heroines in female TV dramas during this

period were born in cities and towns, about 17.1% of

the heroines were born in rural areas, and more than

1 / 4 of the heroines were difficult to judge. This

data is consistent with the logic in Table 3. It also

takes women of urban origin as the object of

viewing, peeping and discussion. Born in rural areas,

telling rural stories, or the so-called "entering the

city" rising path from rural areas to cities and towns,

did not take the initiative in the mainstream

narration of female TV dramas. This is debatable.

3.5 Statistics on the Number of Female

Protagonists

Table 5: the number of female protagonists

frequen

percent

age

Effective

percentage

Cumulative

percentage

1 349 51.9 51.9 51.9

2-3 207 30.8 30.8 82.6

Female

group

117 17.4 17.4 100

total 673 100 100

Discuss the specific number of female protagonists

in female TV dramas is very important. In more than

half of TV dramas, the number of female

protagonists is 1, which means that more than 50%

of TV dramas pay more attention to the story

construction of presenting female individuals. In

addition, about 30% of TV dramas have 2-3

heroines. Such TV dramas may pay more attention

to the construction of narration and relationship in

female narration.

In fact, based on the needs of "storytelling" and

the actual situation of women's life, it is reasonable

to determine the number of protagonists at 1-3.

However, the number of TV dramas with female

groups as protagonists is too small, which should

also be discussed. People are social animals, and so

are women. In terms of media reproduction, it

should also be encouraged to present female images

with the help of groups in a specific story.

3.6 AgeLevel of TV Drama Heroine

Table 6: Age level of TV drama heroine

freque

ncy

percent

age

Effective

percentage

Cumulative

percentage

Children (aged

18 and below)

12 1.8 1.8 2.1

Young women

(19-40 years

old)

584 87 87 89

Middle aged

women (41-55

years old)

40 6 6 95

Older women

(aged 56 and

over)

9 1.3 1.3 96.1

Cover multiple

age groups

26 3.9 3.9 100

total 671 100 100

Compared with other indicators, this indicator has

more critical value and significance. Statistics show

that in 671 TV dramas, more than 85% of the

heroines in TV dramas are young women (19-40

years old). Less than 2% of the heroines are children

and elderly women, and these groups are obviously

neglected. About 6% of the heroines in TV dramas

are middle-aged women. These data should be

explained as follows:

First, from the physiological and actual situation,

young women belong to the best stage of their life

(according to the secular concept, women in this

stage have strong fertility, energy and beauty are the

best), so they are more "important" and easier to be

viewed and deprived. This data clearly highlights the

current contradiction between men and women.

Secondly, nearly 6% of middle-aged women

protagonists also serve more grand contemporary

Chinese narratives such as age anxiety, gender

anxiety, education anxiety and wealth anxiety, rather

than showing their own situation. Thirdly, elderly

women and children belong to "special groups" that

are obviously ignored. In fact, as elderly women

who have widely participated in social and economic

life and children in the future, they should obviously

be the object of TV dramas and public attention.

A Study on Female Images in Contemporary Chinese Female TV Dramas: Based on China TV Dramas from 2003 to 2021

477

3.7 The Scene of TV Series

Table 7 The scene of the heroine in the TV series

freque

ncy

percen

tage

Effective

percentage

Cumulativ

percentage

Daily

life

275 40.9 40.9 40.9

Work 93 13.8 13.8 54.7

Emotion 261 38.8 38.8 93.5

Difficult

to judge

44 6.5 6.5 100

total 673 100 100

According to the concept of gender, gender is

shaped by the day after tomorrow, not determined by

"nature". In female TV dramas, more than 40% of

TV dramas focus on the heroine's personal life,

followed by "emotion", and less than 15% describe

the heroine's work-related. In fact, emotion is also a

part of life. According to this standard, nearly 80%

of TV dramas focus on women's life, and only a

little more than 13% of TV dramas are devoted to

describing women's working state, which is

obviously far from the actual situation and needs

criticism and reminder.

3.8 The Marital Status of the Heroine

in a TV Play

Table 8: The marital status of the heroine in a TV play

freque

ncy

percenta

Effective

percentage

Cumulative

percentage

Unmarried

without

children

289 45.5 45.5 45.5

Unmarried

with children

17 2.7 2.7 48.2

Married

without

children

123 19.4 19.4 67.6

Married with

children

160 25.2 25.2 92.8

Divorced

without

children

11 1.7 1.7 94.5

Divorced

with children

19 3 3 97.5

Widowed

and childless

4 0.6 0.6 98.1

Widowed

with children

12 1.9 1.9 100

total 635 100 100

Another important indicator is the marriage and love

status of female protagonists in female TV dramas.

Statistics show that nearly half of the heroines in TV

dramas are unmarried and childless. There are

projections in the statistics of the age level of the

heroine in the previous table, but it still needs to be

emphasized here that the state of unmarried women

without children is easier to be deprived and

contains more "possibilities" of narration and

storytelling.

3.9 Heroine's Career

Table 9: Heroine's career

freque

ncy

Percent

age

Effective

percentage

Cumulative

percentage

Students 23 3.6 3.6 3.8

Other

employees who

are

inconvenient to

be classified

97 15.3 15.3 19.1

Others 78 12.3 12.3 31.3

Housewives 88 13.9 13.9 45.2

Persons in

charge of state

organs, party

and mass

organizations,

enterprises and

institutions

73 11.5 11.5 56.7

Professional

technicians

67 10.6 10.6 67.2

Clerical and

personnel

34 5.4 5.4 72.6

Business and

service

personnel

100 15.7 15.7 88.3

Production

personnel in

agriculture,

forestry, animal

husbandry,

fishery and

water

conservancy

10 1.6 1.6 89.9

Production and

transportation

equipment

operators and

relevant

personnel

10 1.6 1.6 91.5

Military

personnel

54 8.5 8.5 100

Total

635 100 100

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478

Statistics on the occupations of female protagonists

in female TV dramas show that women involved in

all kinds of occupations are reflected and evenly

distributed. However, the three data at the head are

still worthy of vigilance. Firstly, business and

service personnel, followed by other employees and

housewives who are inconvenient to classify. In

contemporary China, business and service personnel

mean that those with low education, no core

competitiveness, vassal and passive tend to be

negative. This is consistent with the situation

reflected in the previous table.

3.10 The Main Relationship Description

of TV Series

Table 10: The main relationship description of TV series

frequ

ency

perce

ntage

Effective

percentage

Cumulative

percentage

Personal growth 85 13.4 13.4 13.4

Women and

youth campus

7 1.1 1.1 14.5

Women and

love

109 17.2 17.2 31.7

Friendship 8 1.3 1.3 32.9

Relationship

between

mother-in-law

and daughter-

in-law

18 2.8 2.8 35.7

Relationship

between

husband and

wife

59 9.3 9.3 45

Women and

careers

72 11.3 11.3 56.4

Women and

daily life

135 21.3 21.3 77.6

Women and

theme (National

Revolution)

54 8.5 8.5 86.1

Women and

children

50 7.9 7.9 94

Women and

families

30 4.7 4.7 98.7

Women and

crime

8 1.3 1.3 100

total 635 100 100

In terms of the most important relationship

description of TV series, "women and life", "women

and love" and "personal growth", those relationships

were obviously close to women's life. In the grand

narrative and social narrative such as "women and

theme", "women and career", "women and crime",

women have become the neglected objects. They are

not reflected in the process of social development

but become a part of people isolated from social

development.

3.11 Area of TV Drama Production Unit

Table 11: Area of TV drama production unit

frequency

perce

ntage

Effective

percentage

Cumulativ

percentage

Eastern

China

522 82.2 82.2 82.2

Central

China

74 11.7 11.7 93.9

Western

China

39 6.1 6.1 100

total 635 100 100

In the process of sorting out the areas of production

units of TV series with female themes, it is found

that the production units in eastern China contribute

more than 80% of female TV dramas, while the

production units in Western China contribute only

about 6%. Firstly, this is related to the imbalance of

economic, social and media development among

regions; Secondly, it is related to the media profit

model and topic sensitivity.

4 CONCLUSION AND

DISCUSSION

4.1 Conclusion

Through quantitative combing and investigation, the

conclusions of this study can be used to respond to

the questions raised at the beginning of this paper.

Firstly, as the concentrated embodiment and

important carrier of ideology, whether the TV drama

presents the image of women in the sense of science

and norms. The answer is obvious. In contemporary

China, where gender equality is closely and

intensively advocated, TV dramas, as typical

representatives of media products, and even TV

dramas with female themes, are not scientific and

standardized in presenting female images. The

concept of gender has not had a great impact on the

producers of media products.

Secondly, how many TV dramas present female

images positively and normally. The answer is

cautious negativity. Empirical research shows that

traditional Chinese concepts still dominate the

production of female TV dramas, so most TV

dramas do not present female images positively and

normally. Women are still more of a state of being

watched, consumed, deprived, or even exploited.

Although it is biased, it can still be simply

speculated that the public's gender awareness is

A Study on Female Images in Contemporary Chinese Female TV Dramas: Based on China TV Dramas from 2003 to 2021

479

weak, and even women themselves still lack

sufficient consciousness and autonomy.

Finally, the investigation of female TV dramas

shows some negative conclusions, but it also

releases some positive signals. For example, gender

awareness is gradually entering the vision of

contemporary Chinese media product producers and

the public, and some TV dramas dominated by

female narration are slowly emerging. It must be

said that this is a good signal worthy of further

observation.

4.2 Discussion

This study draws some important conclusions and

responds to the two questions raised at the beginning

of the study. However, throughout this investigation,

there are still some deficiencies. In the follow-up

research, avoiding these defects or further in-depth

investigation will surely have better results.

Firstly, there are still some improvements in the

design of input indicators of content analysis, or it is

worth looking forward to discussing and obtaining a

more suitable index system for TV drama research,

to make this kind of research more convenient.

Secondly, due to the limitations of subjective or

objective factors such as time and personal energy,

the reliability of this study needs to be further

strengthened.

Thirdly, in terms of the depth and breadth of the

discussion, this study should also be further

developed.

REFERENCES

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Subversion of Identity. New York: Routledge, 1999.

Bu Wei, Liu Xiaohong (2000). A research report on

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