Research on the Dissemination Mechanism and Effectiveness of Gender Equality Topics on Social Media

Research Article
Open access

Research on the Dissemination Mechanism and Effectiveness of Gender Equality Topics on Social Media

Xiaoran Tang 1*
  • 1 Dalian Polytechnic University    
  • *corresponding author Cranelinovo@gmail.com
LNEP Vol.109
ISSN (Print): 2753-7056
ISSN (Online): 2753-7048
ISBN (Print): 978-1-80590-281-2
ISBN (Online): 978-1-80590-282-9

Abstract

With the rapid development of digital media, live streaming sales, as an emerging consumption and communication model, not only reshape consumer behavior and business structure, but also subtly promote the redistribution of gender roles. Especially in China, the high participation of women in live streaming sales is not only reflected in their role as anchors, but also in the composition of the main consumer group. From a sociological perspective, this article focuses on the study of consumer behavior motivation and explores the gender, culture, and social significance behind it. Through the analysis of the performance of female anchors in live streaming platforms, the classification of consumer motivations, and their social interaction patterns, this article finds that media platforms not only enhance the social visibility of women but also contribute to their economic and cultural empowerment. This bottom-up social practice has gradually changed the passive role of women being "watched" in public spaces, turning them into active subjects with expression and influence. The article concludes that although live streaming sales have promoted the process of gender equality, it still requires joint efforts from platforms, policies, and society to truly achieve structural support and long-term empowerment.

Keywords:

Livestreaming, Sociology, Feminism

Tang,X. (2025). Research on the Dissemination Mechanism and Effectiveness of Gender Equality Topics on Social Media. Lecture Notes in Education Psychology and Public Media,109,49-53.
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1.  Introduction

The popularity of the Internet and the development of digital media are reshaping the logic of social interaction and economic structure. In the context of this transformation, live streaming e-commerce, as a digital communication method that integrates social networking, marketing, and entertainment, has not only become a new trend in e-commerce but also attracted more scholarly attention to its social and cultural significance [1].

In this phenomenon, the high proportion of women participating as anchors, consumers, and even platform operators poses challenges to traditional gender division of labor and social power structures. They gradually establish their own discourse power and economic foundation through self-expression, product promotion, and interactive marketing, forming a new landscape of "her power" [2]. This process is reflected in the rise of economic data, which profoundly impacts women's cognition and positioning in the public sphere.

However, as a form of "mediated labor", live streaming sales also face tension between platform rules, audience expectations, and gender norms. Therefore, studying the interaction between consumer motivation and women's status in live streaming sales not only helps to understand gender practices in the digital economy but also provides vital insights for promoting gender equality in a digital society. This paper mainly studies the impact of live streaming platforms on the status of women, and through analyzing examples, explains how digital media platforms have changed the traditional positioning of women in the public sphere [3].

2.  Theoretical basis and research framework

This article is based on Bourdieu's "Capital Theory" and Giddens' "Structural Theory" to explore how women can accumulate social capital, cultural capital, and economic capital through live streaming platforms, thereby breaking the limitations of traditional gender structures on their public participation [4]. At the same time, with the help of consumer sociology theory, consumer behavior is regarded as symbolic activities with social significance, emphasizing the social attribute of "consumption is expression". The research adopts the method of literature analysis and case observation. Through the analysis of female anchors and their audience behavior in mainstream platforms such as Tiktok, Taobao Live, Xiaohongshu, etc., it summarizes the driving force behind consumer behavior and discusses its relationship with the women's empowerment process [5].

3.  Women's performance and role transformation on live streaming platforms

3.1.  Increased visibility of women in media platforms

Many successful female anchors not only earn considerable income through platforms, but also become guides of social discourse, such as Fu Peng, the assistant behind Li Jiaqi, and hundreds of mid-rise female anchors under the "Yaowang" brand, gradually forming a culturally influential "female content ecology". Their success is no longer limited to appearance or traditional femininity, but emphasizes their profession, personality charm, and expertise in social skills [6].

3.2.  Career path and social impact of female anchors

The career journey of female anchors is essentially a microcosm of women's participation in social and economic power in the digital age. Its development is both constrained by the invisible shackles of traditional gender concepts and benefited from the historical opportunities brought by technological empowerment [7]. In future development, individuals need to go beyond the logic of "age limitation" and achieve professional resilience through the accumulation of knowledge capital. For the industry, it is necessary to break the alienation logic of "women is goods" and construct a content-based evaluation system. For society, it is necessary to face up to the identity of broadcasters as laborers and incorporate them into the mainstream narrative of professional dignity and social security. Only through the collaboration of the three can the social innovation value of this group be truly unleashed, rather than falling into the trap of "technological progress and gender regression".

4.  Analysis of consumer motivation and social significance

4.1.  Emotional connection and trust construction

Live streaming has strong interactivity; female anchors often establish trust with the audience through emotional resonance and detailed communication. Research has shown that emotional connection has become one of the important factors for consumers to repeat purchases [1]. The audience regards the anchor as a "friend" rather than a "salesperson", increasing their willingness to participate and consume [8].

4.2.  Authenticity and cultural identity

Compared to the idealized female image in traditional advertisements, women in live broadcasts have authenticity and a lively feeling. Their 'ordinary' creates a sense of psychological security and closeness for the audience. As a customer said, "She is as authentic as I am, so I am willing to listen to her recommendations [9].

4.3.  Gender identity and symbolic consumption

Many viewers, especially female consumers, are actually "identifying with a female image" when watching live broadcasts. Consumer behavior is not only a commodity transaction, but also a cultural expression. Supporting a certain anchor often means identifying with their lifestyle and gender expression [10].

5.  Media empowerment mechanism and platform structural role

5.1.  Platform policies and women's support programs

In recent years, Taobao, Tiktok, Xiaohongshu and other platforms have set up "She Chuang Plan", "Women's Celebrity Support Project", and other women's entrepreneurship support plans to provide women with content exposure, traffic distribution, and training resources. These policies not only provide resources for women but also encourage gender diversity expression at the platform level [11].

5.2.  From individual empowerment to group empowerment

The success of individual anchors has gradually driven the formation of the "she economy" ecology and promoted the collective awakening of women. Many women are beginning to realize that "expressing themselves" and "economic independence" are important ways of social participation and are trying to break through the boundaries of professional gender [12].

5.3.  The tension between women's "visibility" and "power"

Although platforms provide a platform for expression, "visibility" does not equate to "power". Many female anchors. Although they receive attention from others, they still face gender expectations, such as managing their appearance and expressing their emotions. Therefore, women's "platform empowerment" does not mean that structural cultural factors do not influence them, but rather empowered. Structural cultural factors do not influence them [13].

6.  Challenges, limitations, and reflections

6.1.  Reproduction of gender labels

Some platforms strengthen the label of "beautiful anchor" in pursuit of traffic, leading to a single and commercialized image of women, which may exacerbate gender stereotypes.

6.2.  Implicit discipline of emotional labor

Female anchors are often expected to be "emotionally stable" and "positive", requiring a lot of emotional labor to maintain audience relationships. This kind of 'emotional discipline' is often overlooked, but it is implicit gender pressure [14].

7.  Conclusion

This article analyzes the methods adopted by online live streaming platforms to improve the status of women and their positive effects to demonstrate their positive impact on the advancement of women's status. Live streaming sales is an important platform for women to enter society and realize themselves. Female anchors have accumulated economic, social, and cultural capital as anchors, transforming from being watched to having a dominant perspective. This transformation is reflected in income and professional status and fundamentally changes the public's cultural perception of women. It is not enough for the platform to give the stage. Platform systems, fair algorithms, policy guidance, social culture, and other factors can achieve women's empowerment. We can prove these points by analyzing specific examples, including some male anchors such as Li Jiaqi. It has been found that female anchors can learn some advantages from male anchors, such as rationality, strength, sharp language, etc. In the future, we should encourage the presentation of diverse female images and break gender monotony; Establish a psychological health and emotional labor support mechanism for female content creators; Establish a gender friendly platform recommendation mechanism to ensure equal opportunities for women in terms of algorithms. The true empowerment of women in the digital space may only be achieved through institutional, cultural, and structural means. Overall, there is still a long way to go to improve women and help them break free from traditional concepts through online live streaming platforms because this involves deeper issues that need to be addressed, such as societal stereotypes of women, consumer demands, and the value that female broadcasters can provide.


References

[1]. Abidin, C. (2016). Aren’t These Just Young, Rich Women Doing Vain Things Online? Influencer Selfies as Subversive Frivolity. Social Media + Society, 2(2). Available at: https: //doi.org/10.1177/2056305116641342

[2]. Chen Y. (2021). Gender, Platformization and Work in the Digital Economy. New Media & Society, 23(1): 112–128.

[3]. Zhao, E. J., & Lim, S. S. (2021). Reimagining Women’s Empowerment in the Platform Economy: A Case Study of Livestreaming in China. Feminist Media Studies, 21(6), 957–973. Available at: https: //doi.org/10.1080/14680777.2020.1812031

[4]. Bourdieu, P. (1986). The forms of capital. In J. Richardson (Ed.), Handbook of Theory and Research for the Sociology of Education. Greenwood, pp. 241-258.

[5]. Giddens, A. (1984). The Constitution of Society: Outline of the Theory of Structuration. University of California Press.

[6]. Duffy, B. E., & Hund, E. (2015). "Having it All" on Social Media: Entrepreneurial Femininity and Self-Branding among Fashion Bloggers. Social Media + Society, 1(2). Available at: https: //doi.org/10.1177/2056305115604337

[7]. Banet-Weiser, S. (2018). Empowered: Popular Feminism and Popular Misogyny. Duke University Press.

[8]. Tong Zhou (2023). Analysis of Women's Consumption Behavior under “Her” Economic Background Market Observation, (6): 42–45.

[9]. Hochschild, A. R. (1983). The Managed Heart: Commercialization of Human Feeling. University of California Press.

[10]. Goffman E. (1959) The Presentation of Self in Everyday Life. Doubleday, New York.

[11]. Li Wang. (2021).Research on the Role Transformation of Women in Live-streaming E-commerce Modern communication, 43(5): 115–121.

[12]. Taobao Content Center. (2022). Her creative plan was officially released. Available at: https: //www.taobao.com/women-plan

[13]. Khamis, S., Ang, L., & Welling, R. (2017). Self-branding, "micro-celebrity" and the rise of Social Media Influencers. Celebrity Studies, 8(2), 191–208. Available at: https: //doi.org/10.1080/19392397.2016.1218292

[14]. Jing Zhang, Chang Liu. (2020). The Impact of Live Streaming on Gender Structure. Media Forum, 14(2): 34-39.


Cite this article

Tang,X. (2025). Research on the Dissemination Mechanism and Effectiveness of Gender Equality Topics on Social Media. Lecture Notes in Education Psychology and Public Media,109,49-53.

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Volume title: Proceedings of ICEIPI 2025 Symposium: Understanding Religious Identity in Educational Contexts

ISBN:978-1-80590-281-2(Print) / 978-1-80590-282-9(Online)
Editor:Kurt Buhring
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Conference date: 20 August 2025
Series: Lecture Notes in Education Psychology and Public Media
Volume number: Vol.109
ISSN:2753-7048(Print) / 2753-7056(Online)

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References

[1]. Abidin, C. (2016). Aren’t These Just Young, Rich Women Doing Vain Things Online? Influencer Selfies as Subversive Frivolity. Social Media + Society, 2(2). Available at: https: //doi.org/10.1177/2056305116641342

[2]. Chen Y. (2021). Gender, Platformization and Work in the Digital Economy. New Media & Society, 23(1): 112–128.

[3]. Zhao, E. J., & Lim, S. S. (2021). Reimagining Women’s Empowerment in the Platform Economy: A Case Study of Livestreaming in China. Feminist Media Studies, 21(6), 957–973. Available at: https: //doi.org/10.1080/14680777.2020.1812031

[4]. Bourdieu, P. (1986). The forms of capital. In J. Richardson (Ed.), Handbook of Theory and Research for the Sociology of Education. Greenwood, pp. 241-258.

[5]. Giddens, A. (1984). The Constitution of Society: Outline of the Theory of Structuration. University of California Press.

[6]. Duffy, B. E., & Hund, E. (2015). "Having it All" on Social Media: Entrepreneurial Femininity and Self-Branding among Fashion Bloggers. Social Media + Society, 1(2). Available at: https: //doi.org/10.1177/2056305115604337

[7]. Banet-Weiser, S. (2018). Empowered: Popular Feminism and Popular Misogyny. Duke University Press.

[8]. Tong Zhou (2023). Analysis of Women's Consumption Behavior under “Her” Economic Background Market Observation, (6): 42–45.

[9]. Hochschild, A. R. (1983). The Managed Heart: Commercialization of Human Feeling. University of California Press.

[10]. Goffman E. (1959) The Presentation of Self in Everyday Life. Doubleday, New York.

[11]. Li Wang. (2021).Research on the Role Transformation of Women in Live-streaming E-commerce Modern communication, 43(5): 115–121.

[12]. Taobao Content Center. (2022). Her creative plan was officially released. Available at: https: //www.taobao.com/women-plan

[13]. Khamis, S., Ang, L., & Welling, R. (2017). Self-branding, "micro-celebrity" and the rise of Social Media Influencers. Celebrity Studies, 8(2), 191–208. Available at: https: //doi.org/10.1080/19392397.2016.1218292

[14]. Jing Zhang, Chang Liu. (2020). The Impact of Live Streaming on Gender Structure. Media Forum, 14(2): 34-39.