Can Pop Culture Really Bring About Social Gender Change in Chinese Society
DOI:
https://doi.org/10.54097/ijeh.v6i1.3055Keywords:
Social gender fluidity, Pop culture, Gender stereotypes, Masculinity, Genders temperament.Abstract
With the popularity of the idol talent show in Chinese market, the size of the fan base has escalated and this has contributed to an awakening of the audience's aesthetic awareness. In order to study whether popular culture can be used as a positive social change tool to change audience' attitudes towards gender, and ultimately to an effect positive changes in gender culture in Chinese society. This article uses the methodology of digital ethnography to analyse the contestants with “gender temperament” in reality TV shows.It is positive to note that the gender diversity presented in the pop culture shows that gender culture for Chinese society is undergoing a positive change. However, many viewers are continuing to make discriminatory comments about the contestants with the “gender temperament”, which indicate that gender stereotype is still exist.
Downloads
References
Anderson, J. S., & Ferris, S. P. (2016). Gender Stereotyping and the Jersey Shore: A Content Analysis. KOME, 4(1), 1-19. doi: 10.17646/kome.2016.11
Anderson, E. (2012). Inclusive Masculinity: The Changing Nature of Masculinities. London: Routledge
Banet-Weiser, S. (2018). Postfeminism and Popular Feminism. Feminist Media Histories, 4(2), 152-156. doi: 10.1525/fmh.2018.4.2.152
Banet-Weiser, S., Gill, R., & Rottenberg, C. (2019). Postfeminism, popular feminism and neoliberal feminism? Sarah Banet-Weiser, Rosalind Gill and Catherine Rottenberg in conversation. Feminist Theory, 21(1), 3-24. doi:10.1177/1464700119842555
Connell, R. W. (2005). Masculinities (2nd ed.). Cambridge: Polity Press.
Enyew, B. E., & Mihrete, A. G. (2018). Liberal feminism: Assessing its compatibility and applicability in Ethiopia context. International Journal of Sociology and Anthropology, 10(6), 59-64. doi: 10.5897/ijsa2018.0769
Ganetz, H. (2011). Fame Factory: Performing Gender and Sexuality in Talent Reality Television. Culture Unbound, 3(3), 401-417.doi:10.3384/cu.2000.1525.113401
[7] Harrison, C. (2008). Real men do wear mascara: advertising discourse and masculine identity. Critical Discourse Studies 5 (1), 55-74. doi:10.1080/17405900701768638
Hentschel, T., Heilman, M. E., & Peus, C. V. (2019). The Multiple Dimensions of Gender Stereotypes: A Current Look at Men’s and Women’s Characterizations of Others and Themselves. Frontiers in Psychology, 10, 1-19. doi: 10.3389/fpsyg.2019.00011
Louie, K. (2016). Changing Chinese masculinities. Hong Kong: Hong Kong University Press.
Patterson, M., & Elliott, R. (2002). Negotiating Masculinities: Advertising and the Inversion of the Male Gaze. Consumption Markets & Culture, 5(3), 231-249. doi: 10.1080/10253860290031631
Rebecca, F. (2009). Spray more, get more: masculinity, television advertising and the Lynx effect. Journal of Gender Studies, 18(4), 357-368. doi: 10.1080/09589230903260027
Song, G., & Hird, D. (2014). Masculinities on Television. In Men and Masculinities in Contemporary China, 6, 29–54. Doi: 10.1163/9789004264915_003
Wallis, C., & Shen, Y. R. (2018). The SK-II #changedestiny campaign and the limits of commodity activism for women’s equality in neo/non-liberal China. Critical Studies in Media Communication, 35(4), 376-389.doi:10.1080/15295036.2018.1475745