Although women have more opportunities to express themselves under the creation of female screenwriters and female directors, women's emotional appeals and survival difficulties are increasingly seen.

Although women have more opportunities to express themselves under the creation of female screenwriters and female directors, women's emotional appeals and survival difficulties are increasingly seen. However, the problems of gender, consumerism, etc. hidden behind have not disappeared, but are presented in a more concealed way.

1. Suppression of women by patriarchal culture

With the reform and opening up of society, Chinese women-themed TV series have made great progress and have shown strong vitality under the promotion of the wave of feminism.

Especially in recent years, female-themed TV series have shown a booming development trend, occupying most of the TV viewership market. However, even in female-themed TV series created by female screenwriters and female directors, there is still a strong masculinist idea.

Since childhood, a girl has been taught to "like a girl". Fairy tales, cartoons, and children's books all give girls the concept of obedience, quietness, and obedience. If a girl is scrupulous and bold by nature, she will be characterized as a "tornboy", and society and parents will do everything they can to pull her back into the "girl" team.

Therefore, even if female creators who grew up in this discourse environment realize the "second sex" of women and want to resist the patriarchy to highlight the female subjective consciousness, their expression and resistance are not thorough: first, it is difficult to completely break the unequal gender structure behind the "perfect women" in the play, and second, the "pseudo-reconciliation" between the two genders, and where "Nara left" will go, it is difficult to give results that satisfy the audience in the play.

With the continuous development of the feminist movement, women are constantly liberated, and the concept of gender equality is becoming more and more in-depth. These allow women to go out of their homes, enter society, and gain political, work, education and other rights. can achieve self-independence and construct self-worth.

But while women have gained some rights, traditional gender concepts and gender systems are still deeply rooted in society. The combined effect of these two and the development and reproduction in other aspects have led to the fact that today's gender distinction, exploitation and oppression often become more subtle, thus causing women to fall under the dual pressure of family and work.

We encourage women to receive education and choose the job they like, and we also require women to play the role of a good wife and mother. What is hidden behind the "perfect woman" is the unequal gender power. This "female myth" is an expectation of female altruism in male society, which limits the social role of women to male selfless dedication wives and perfect mothers. The social role of is hidden, and it often uses some ideology that people are ignorant of.

" only " Gu Jia is excellent in everything he does, has a high IQ, high education, and high appearance. Not only can he handle the education of his family and son very properly, but he can also provide advice for the development of her husband's company, and can be called the "perfect woman" in the new era.

On the one hand, it proves the possibility of women, and women can do well in all aspects; but on the other hand, it also brings double pressure to women's family and workplace. and blames individual women for not being able to achieve the perfect balance between family and career, thus ignoring the main problem of gender power structure.

Just like in real life, women in the workplace are often asked how to balance the relationship between work and family, but men don’t. In general, we all agree that men work hard in the workplace and ignore the family is understandable and acceptable.

In addition to the inequality power structure hidden behind "perfect women", "perfect marriage", and "perfect family", under the leadership of masculinist ideas, the expression of female consciousness in domestic women-themed TV series is usually expressed through direct struggle against patriarchy, but after the struggle, it often returns to reconciliation with men.

When Gu Jia and Xu Huanshan were preparing to divorce, they received news that the fireworks factory exploded, so they stopped signing the divorce agreement and helped Xu Huanshan handle the company's affairs. The final divorce decision was also proposed by Xu Huanshan.

When Wang Manni returned to Shanghai again and became a full-time debt collector and achieved the agreed results. She could clearly realize her wish as a store manager, or when she was studying and working, she chose to clear herself and leave everything behind to study overseas. In order to reduce the burden on Chen Yu , Zhong Xiaoqin used the copyright fee obtained by writing a novel to buy a house for her mother-in-law, and only bought a quilt for her parents. Many of the endings of these endings have been criticized and disapproved by the audience, and have also turned the female words in the play into a slogan-like empty shout.

Most domestic female-themed TV series have this problem. In the popular female-themed TV series " is good " in 2019, Su Mingyu ran away because she could not bear her mother's preference for boys over girls and her father's selfishness and cowardice. But due to the sudden death of her mother, this female senior executive in the workplace finally embarked on a warm return path.

This is also a problem for today's domestic women-themed TV series. It has always been hovering around the periphery of "Nara's escape", ignoring the deep reflection on the male identity during the female departure and the questioning of the self-identity of modern women. It lacks the display of the spiritual level of women and the deep reflection on the society, culture and system behind the conflict of interest. This also reflects that equality between men and women cannot be realized in the institutional structure that presupposes inequality between men and women.

Feminism entered China in the 20th century. Compared with the feminist movement and feminist ideas in the West, the implementation of feminism in China has become more radical because of the lack of a rational enlightenment process and a gradual transitional growth period. One of the specific manifestations of

is that since its birth, China's feminist movement and feminist thought have focused more on fighting with men and less on self-discovery and growth.

In real society, the expression of female consciousness is manifested through the struggle against the "father" and "husband", and constantly seeking rationality for this confrontation and its alienation. However, there is a lack of rational thinking on the deep-seated reasons such as gender inequality and patriarchal supremacy, such as social, cultural, and system behind this conflict, makes this struggle a struggle based on patriarchy.

Therefore, the expression path of domestic female-themed TV series on female consciousness is a dramatic struggle against the patriarchy. After the struggle, it reconciled with men, and could not propose fundamental solutions to women's dilemma and anxiety.

2. The erosion of consumer culture on women

The cultural code of commercialism and the cultural rules of male society provide tangible guidance and shaping of women: on the one hand, the image of modern women impacts the traditional scale with active thoughts and open words and deeds; on the other hand, They have also returned to the barriers of patriarchal power under business operations, and do not really have themselves under the appearance of showing off themselves.

Objectively speaking, these female narratives of TV series give women space to a certain extent, have some positive significance for constructing women's self, and can be regarded as the practice of female discourse.

But behind the self-extension of women, due to the intervention of consumer culture logic, in order to obtain more ratings, greed for sensory stimulation and desire catharsis, driven by this interest only ratings is the picture, after layer by layer filtering by producers, screenwriters, and directors, the female narrative and narrative logic in the TV series are filtered, and the female consciousness is quietly lost or dissolved. TV series has a confusing and vague situation in the performance of women's self.

First of all, the struggle of professional women is weakened. For example, the following two characteristics appear in the presentation of professional women:

First, the beauty of professional women is overemphasized . No matter what kind of profession is, women must be beautiful. Through the large-scale and ubiquitous manufacturing of beauty by cultural industry , beauty has become the most important weapon for women to survive, succeed and get opportunities.

Just as Baudrillard pointed out, "Beauty has become an order for women's religious rooms, and beauty has become a form of capital."

Looking at contemporary domestic women-themed TV series, professional women must be exquisite in makeup and clothing. Even if they live in poverty, their appearance is still bright and beautiful.

second is the story of a woman's professional life being narrated by legendary stories . Today's TV series always tend to narrate their lives as fairy tales and myths, without real reproduction, nor do they focus on the description of their willful qualities, enterprising spirit, and intellectual abilities.

Secondly, since women are the main force of TV series audiences, in order to obtain more target users and greater profits in the context of consumer society, investors continue to cater to the audience's preferences, shoot TV series with "female" as the theme, apply or replace "female independence" as a propaganda symbol, use dramatic conflicts to attract the audience's attention, lack serious thinking about women's self-identity and growth, downplay or ignore real social contradictions, and bring the audience a audio-visual experience that lacks authenticity and depth.

In the play, Gu Jia attaches equal importance to both IQ and EQ. After helping her husband get business on track, she became a full-time housewife, but at the same time faces problems such as children going to school, husband cheating, and company bankruptcy. roughly condenses the disasters that women may encounter in their lives in this role.

However, what really resonates with the audience is how women's labor in the family is free of charge? After becoming housewives, should they receive the compensation they deserve? How should they deal with themselves in their marriage if they have lost their economic foundation? How can housewives who want to return to the workplace rebuild their identity? However, the play has less attention to these issues.

Finally, the TV series does not care enough for disadvantaged women. The survival reality of disadvantaged women in society is generally in a state of obscurity in the writing of contemporary TV series. Even if such female image is reproduced, it is often rewritten and distorted by consumer culture, or its real feelings are replaced by the experience and imagination of creators who are identifiable, and lack a sense of reality.

Looking at today's domestic women-themed TV series, there are few discourses to women at the bottom. From the perspective of acceptance, those women living at the bottom of society are also very interested in the lives of luxurious women. 's imaginative consumption of fashionable and beautiful urban women makes them temporarily forget the suffering of reality.

The producers of commercial dramas promote postmodern cultural landscapes in the name of modernization, and the audience is also addicted to imaginative consumption. The two together contribute to a cultural utopia. Under this situation, the living conditions and interesting tastes of middle-class women are exaggerated, while the survival truth of the low-income people and "laid-off" female workers is covered up.

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