Communications in Humanities Research ISSN: 2753-7072
Home> Volumes> Volume CHR Vol.21> Article
Research Article

From Production to Viewing: The Presentation of Female Subjectivity in “Siren: Survive the Island”

Yucen LiuQingdao Film Academy Siyu ZhangBeijing Film Academy*

* Corresponding author: [email protected]

Abstract

As cultural products, female variety shows have the potential to challenge gender norms and promote gender equality. This study adopts feminist theory, social gender theory, especially the relevant content of postmodern feminist theory and audience usage and satisfaction theories. It closely reads the text of the Korean variety show “Siren: Survive the Island”. Considering the rise of streaming media and the promotion effect of the feminist movement on the production of such programs, this study focuses on the two levels of program creation and audience reception. It discusses how programs give women the right to speak in creation and how to break away from the male-centered discourse system. In the description of the identity of the contestants, the program selects powerful women who are difficult to become absolute protagonists in the past as narrative subjects so that women can jump out of the traditional society’s expectations of their identity. On the body’s performance, the show presents the contestants’ body from an equal and objective perspective, conveying a positive body concept. At the same time, the show largely meets the needs of modern audiences and inspires audiences’ consensus on female subjectivity and gender equality. This study aims to combine theory and practice, provide strategies for subsequent works, promote producers’ and audiences’ cognition of female subjectivity, call for a more open and inclusive environment, and promote further thinking and development on gender issues in the real society.

Keywords: female subjectivity; female variety show; streaming media; Siren: Survive the Island
Published: December 7, 2023
DOI: 10.54254/2753-7064/21/20231393
Volume: CHR Vol.21
pp. 14-20
Download PDF

References

  1. Ma YanJiao. (2011). The Silenced Women: Exploring the Future of Feminism Through the Gain and Loss of Female Discourse in Film and Television. Young Writters, 01, 52-53+79.
  2. Luo Hui. (2012). Construction of Women’s Image in the Mass Media and Its Impacts on Women’s Survival and Development. Journal of Shandong Women’s University, 01, 57-60.
  3. An XiaoYan. (2020). Creative Forms, Discourse Delivery, and Dominant Power: A Brief Discussion on the Production of Domestic “Female-Oriented Variety Shows” Shows. China Television, 02, 74-78.
  4. Zeng MoJia, Hu QianQian. (2021). Multidimensional Deconstruction and Construction of Female Media Images: Reflections on the Popularity of “Female-Oriented Variety Shows”. Modern Audio-Video Arts, 04, 37-42.
  5. Yinle, Shenzhe.. (2022). “The Women Being Seen”: An Exploration of Female Narratives in “Female-Oriented Variety Shows”. China Television, 03, 100-106.
  6. Wangyun, Xin XiaoYing. (2020). Construction and Deconstruction: An Interpretation of “Sisters Who Make Waves” from a Bodily Perspective. Contemporary TV, 09, 15-20.
  7. Hu XinYan, He LingLan. (2021). Interpreting the Multiple Gazes in “Sisters Who Make Waves”. Journal of News Research, 23, 176-178.
  8. Lv Ting. (2021). Discipline and Breakout: An Analysis of the Construction of Female Images in “Female-Oriented Variety Shows” – Using Recent Marriage and Love Reality Shows as Examples. Modern Audio-Video Arts, 12, 30-34.
  9. Beauvoir, S.D. (1989). The Second Sex, trans. H.M. Parshley. New York: Vintage.
  10. Butler, J. (1999). Gender Trouble: Tenth Anniversary Edition (2nd ed.). Routledge.
  11. Van Zoonen, L. (1994). Feminist Media Studies (Vol. 9). Sage.