Chinese Online Audience’s Aesthetics Change on Female Characters in Media Products from 2018 to 2023

Research Article
Open access

Chinese Online Audience’s Aesthetics Change on Female Characters in Media Products from 2018 to 2023

Xinyang Xiong 1*
  • 1 The University of Liverpool    
  • *corresponding author Xinyang.Xiong21@student.xjtlu.edu.cn
Published on 26 October 2023 | https://doi.org/10.54254/2753-7048/13/20230861
LNEP Vol.13
ISSN (Print): 2753-7056
ISSN (Online): 2753-7048
ISBN (Print): 978-1-83558-051-6
ISBN (Online): 978-1-83558-052-3

Abstract

As time developed, online media also developed rapidly. Nowadays, online media had become the majority of media for the audience. As the outbreak in 2019, the closure policy was released. The closure policy severely restricted people’s access to public areas, including a large number of cinemas and offline multimedia venues. As a result, people had to increase their online media use to fill the gap in offline media entertainment, which gave online media a huge boost. The article shows the research on how Chinese online audience aesthetics on female characters in media products changed from 2018 to 2023, adopting participant observation methods for observation samples and content analysis methods for discussing observation results. The observation reflects that independent and powerful female images are more required by the audiences and more attention by the producers. In addition, this kind of change exist limitations. According to the analysis, the progress in women’s social position, the outbreak, the closure policy, and the progress in thought and the historical legacy make up the macro factor of the change. In addition, online feminist activity, the audience’s internal influence and the commercial effects also be related that have an impact on the change.

Keywords:

media representation, female images, online media, audience, audience culture

Xiong,X. (2023). Chinese Online Audience’s Aesthetics Change on Female Characters in Media Products from 2018 to 2023. Lecture Notes in Education Psychology and Public Media,13,91-98.
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References

[1]. Sullivan, J. (2013). Uses and Gratifications. In Media Audiences: Effects, Users, Institutions and Power (pp. 107-132). Thousand Oaks, California: Sage.

[2]. Yilmaz, M., Yilmaz, U., & Demir-Yilmaz, E. N. (2019). The Relation between Social Learning and Visual Culture. International Electronic Journal of Elementary Education, 11(4), 421–427.

[3]. Shen, J. (2022). A Study of Visual Culture in New Age Film and TV Works from Women’s Perspective. Movie Literature, (2), 92-95.

[4]. Feng, L. (2020). Huace Film and Television: New Opportunities for Film and Television in the Era of Digital Economy. Zheshang Magazine, (19), 52-53.

[5]. Appel, M., & Gnambs, T. (2022). Women in fiction: Bechdel-Wallace Test results for the highest-grossing movies of the last four decades. Psychology of Popular Media.

[6]. Megan, S. (2023). “Make your feed work for you”: Tactics of feminist affective resistance on social media. Computers and Composition, 67(13), 1-16. Retrieved from Business Source Complete, ScienceDirect. Retrieved from www.sciencedirect.com

[7]. Kelly, D. M., Pomerantz, S., & Currie, D. H. (2006). ‘No Boundaries’? Girls’ Interactive, Online Learning About Femininities. Youth & Society, 38(1), 3–28.

[8]. Meißner, N. (2015). Opinion leaders as intermediaries in audience building for independent films in the Internet age. Convergence: The Journal of Research into New Media Technologies, 21(4), 450–473.

[9]. Chen, Y. (2022). Domestic female films: the right to “return” and “leave”. Movie Literature, (21), 58-61.

[10]. Li Li, Yea-Wen Chen, & Nakazawa, M. (2013). Voices of Chinese Web-TV Audiences: A Case of Applying Uses and Gratifications Theory to Examine Popularity of Prison Break in China. China Media Research, 9(1), 63–74.

[11]. Lin, J. (2019). The New Female Gaze in Domestic IP Films from a Post-Emotional Perspective. Movie Literature, (11), 65-68.

Cite this article

Xiong,X. (2023). Chinese Online Audience’s Aesthetics Change on Female Characters in Media Products from 2018 to 2023. Lecture Notes in Education Psychology and Public Media,13,91-98.

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The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.

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About volume

Volume title: Proceedings of the 4th International Conference on Educational Innovation and Philosophical Inquiries

ISBN：978-1-83558-051-6(Print) / 978-1-83558-052-3(Online)
Editor：Javier Cifuentes-Faura, Enrique Mallen
Conference website: https://www.iceipi.org/
Conference date: 7 August 2023
Series: Lecture Notes in Education Psychology and Public Media
Volume number: Vol.13
ISSN：2753-7048(Print) / 2753-7056(Online)

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References

[1]. Sullivan, J. (2013). Uses and Gratifications. In Media Audiences: Effects, Users, Institutions and Power (pp. 107-132). Thousand Oaks, California: Sage.

[2]. Yilmaz, M., Yilmaz, U., & Demir-Yilmaz, E. N. (2019). The Relation between Social Learning and Visual Culture. International Electronic Journal of Elementary Education, 11(4), 421–427.

[3]. Shen, J. (2022). A Study of Visual Culture in New Age Film and TV Works from Women’s Perspective. Movie Literature, (2), 92-95.

[4]. Feng, L. (2020). Huace Film and Television: New Opportunities for Film and Television in the Era of Digital Economy. Zheshang Magazine, (19), 52-53.

[5]. Appel, M., & Gnambs, T. (2022). Women in fiction: Bechdel-Wallace Test results for the highest-grossing movies of the last four decades. Psychology of Popular Media.

[6]. Megan, S. (2023). “Make your feed work for you”: Tactics of feminist affective resistance on social media. Computers and Composition, 67(13), 1-16. Retrieved from Business Source Complete, ScienceDirect. Retrieved from www.sciencedirect.com

[7]. Kelly, D. M., Pomerantz, S., & Currie, D. H. (2006). ‘No Boundaries’? Girls’ Interactive, Online Learning About Femininities. Youth & Society, 38(1), 3–28.

[8]. Meißner, N. (2015). Opinion leaders as intermediaries in audience building for independent films in the Internet age. Convergence: The Journal of Research into New Media Technologies, 21(4), 450–473.

[9]. Chen, Y. (2022). Domestic female films: the right to “return” and “leave”. Movie Literature, (21), 58-61.

[10]. Li Li, Yea-Wen Chen, & Nakazawa, M. (2013). Voices of Chinese Web-TV Audiences: A Case of Applying Uses and Gratifications Theory to Examine Popularity of Prison Break in China. China Media Research, 9(1), 63–74.

[11]. Lin, J. (2019). The New Female Gaze in Domestic IP Films from a Post-Emotional Perspective. Movie Literature, (11), 65-68.

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