摘要
文章通过对2005年和2020年两档代表性选秀节目中的中性化女性冠军李宇春和刘雨昕的形象对比,剖析偶像形象变化与社会、媒体、粉丝的关系。李宇春作为第一个选秀高峰时期的女性中性偶像代表,强调对女性身体和性别刻板印象的打破;刘雨昕则展示出第二个选秀高峰时期审美的多样性和性别的灵活性。偶像形象作为一种文本,是中国社会从改革开放到经济高速发展两个不同社会阶段的产物,从单一的反抗到多元审美的重塑,折射出社会审美需求的变化;媒体深谙这种变化,将偶像形象作为一种“生产性文本”进行构建,以获取最大范围的粉丝和流量;不同粉丝群体对其进行不同的意义解读并促进意义的传播。从“阳刚之气”到“雌雄莫辨”,女性中性偶像形象的变迁植根于社会变迁的土壤中,并由媒体和粉丝共同书写。
Through the comparative analysis of the images of Li Yuchun and Liu Yuxin,the two female masculinity champions in the two popular talent shows in 2005 and 2020,this paper analyzes the relationship between the change of idol image and society,media and fans.Li Yuchun,the representative of female masculinity idols in the first talent show peak,emphasized the deconstruction of the body and the breaking of gender stereotypes;while Liu Yuxin demonstrated the aesthetic diversity and gender flexibility during the second talent show peak.As a cultural text,the female masculinity idol,which is the product of two different historical periods,from reform and opening to rapid economic development,reflects the change of social needs from single resistance to multiple aesthetic reconstruction;the media is aware of this change and constructs the idol image as a“productive text”to obtain the largest range of fans and traffic;different fan groups interpret the ambiguous female masculinity idols differently and promote its communications.From masculinity to androgyny,the change in the image of female masculinity idols was rooted in the soil of social change and was co-written by fans and the media.
出处
《当代青年研究》
CSSCI
2023年第2期51-61,共11页
Contemporary Youth Research
基金
北京大学网络文化与影视文化发展项目(8430501169)。
关键词
中性偶像
女性形象
性别文化
生产性文本
社会变迁
Female Masculinity Idol
Female Image
Gender Culture
Productive text
Social Change
