Why do so many people like to watch those movies now?

"Woo la la, woo la la..." Last year, the Korean TV series "Dae Jang Geum" was launched. The "Korean Wave" swept the whole of China with a new wave of ratings. For a time, people from all over the world, old and young, women and children were all talking about it.

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In fact, as early as 1997, when CCTV introduced the first Korean drama "What Is Love", Korean dramas have been deeply rooted in China's hearts.

With the popularity of Korean dramas, the values ??and cultural connotations it carries as a meaning communication system have also subtly influenced and infected the audience.

Attentive viewers may find that the recent popularity of Korean dramas is accompanied by the increasing prominence of female characters in the dramas and the promotion of female consciousness.

"The media is both a carrier of culture and a function of culture." Communication content is not only a reflection of social culture, but also has directional significance for the construction of social and cultural meaning and the entire social structure.

From this perspective, "female consciousness" in television media is undoubtedly a mirror reflection of the subtle changes in women's social status and roles that occur in real life. It is a reflection of the psychological demands of modern Korean women. At the same time, it also shapes and constructs the current society.

Cultural and social structures, including of course gender structures.

The author believes that these wonderful female characters in Korean dramas and the growing awareness of women have profound social and cultural causes. This article will examine this phenomenon from a feminist perspective and take Korean dramas such as "Dae Jang Geum" as examples.

Provide a cultural interpretation of it and break the gender illusion in Korean dramas.

A gorgeous debut: an anti-traditional gesture. As the saying goes: three women, one drama.

So, modern Korean dramas can undoubtedly be regarded as the world of three "groups" of women: the team of brave female screenwriters, the bright female stars and the crazy female audience.

Of course, this increasingly popular "Korean Wave" has gradually captured more and more opposite-sex audiences and presented new characteristics and trends.

One of the most obvious is the use of women as a sign.

Blooming "Female Flowers" It is not groundless to say that "feminist rights are rampant" in Korean dramas. Not to mention the increase in the number of female characters appearing and the proportion of their roles, it can be seen just by looking at the titles of the TV series: from the earliest "The Men of the Bathhouse Owner's House"

", "The Man Behind" to "Must Win, Bong Soon Young" and then to the recent "Dae Jang Geum", "Hero Chunhyang", "My Name is Kim Sam Soon", "Come on!"

"Kim Soon"... It is not difficult to find that a considerable proportion of recently popular Korean dramas are named after their heroines, although "My Girl" and "My Sassy Princess" were aired not long ago.

"Palace") two Korean dramas have attributive restrictions before their titles, but they can still be understood literally as a type of plot structure with the heroine as the main line.

It is worth noting that the female role has been highlighted not only in quantity but also in quality.

A large number of new female images with independent and modern femininity occupy the screen, interpreting their increasingly exciting lives with anti-traditional and diverse personalities.

Moreover, relaxed romantic comedies have gradually replaced the weeping tragic dramas of the past. No matter how bumpy the heroine's fate is, she will eventually have a happy ending.

Jang Geum, who struggled, endured, and had self-respect, fought her way out of the bottom and finally succeeded. Some people jokingly called her struggle history a Korean version of "How Steel Was Tempered"; "The Mermaid" tells the story of the revenge experience of an abandoned girl.

"Miss" has been compared to a female version of "The Revenge of the Prince", but her ending is a happy ending; even the young widow Jin Shun, who lost her husband, took misfortune as a new starting point in life, and finally found herself

Happiness... For a time, Korean dramas have become a stage for women. Here, most of the dreams of women are flying. Women seem to have subverted the deep-rooted patriarchal tradition and ushered in a new era of "equality between men and women" or even "women are superior to men."

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Diverse images that break through "stereotypes" In the early introduction of Korean dramas, the stereotypes of traditional women are very obvious: the image of a gentle and docile wife and mother, the image of a kind and weak victim, the image of a beautiful and dignified vase, the image of a cold and lonely strong woman, and

The image of a scheming bad woman and so on.

In addition, the "good women" who are gentle, kind and tolerant will eventually be favored by fate and gain happiness, while the "bad women" who act decisively and ambitiously will be condemned and punished. This is the unchanging ending of "justice triumphs over evil". Women's

Virtue is fixed in a single and standard model, the image of women is flattened, the diversity of female characteristics is obliterated, and "appropriate femininity is equal to passivity", all of which properly maintain the traditional order of a patriarchal society.

In contrast to the stereotypes in "old" Korean dramas, recent popular Korean dramas present new female images in a counter-traditional manner, blowing a breath of fresh air into the Korean drama screen.

Representative figures of the powdered hero type include Seo Jang Geum ("Dae Jang Geum"), Empress Myeongseong ("Empress Myeongseong"), etc.

The former first became a recognized chef in the palace. Later, despite being framed, she continued to strive for self-improvement and eventually became an unprecedented female imperial doctor in North Korea. Her reputation was recorded in the "Records of Jungjong", and the character "大" was added before her name.

Known as "Dae Jang Geum".

The latter is the queen of King Gojong, the 26th generation of the Lee family of the Korean feudal dynasty. She entered the palace at the age of 15. With her intelligence and political talent, she became the first person to hold real power inside and outside the palace. She controlled the fate of the country, the country, and the people.

It uses the unique sensitivity and delicacy of women to experience the ups and downs of the last years of the dynasty.