女人三十的正名傳？《乘風破浪的姐姐》的女性形象建構

隨著經濟能力的提升，女性開始推遲走入婚姻。但社會仍會將「三十歲」作為一個標準，判斷女性的價值和事業上升空間。女性因被迫承襲傳統呵護的性別「本質」，難以自由實現工作理想。2020年，中國知名OTT平臺芒果TV也及時抓住了社會對職場女性關注熱潮，推出一檔名為《乘風破浪的姐姐》的「大齡」女性選秀節目。節目宣稱是在迎合對中年女性困境的強烈關注，希望借由嘉賓鼓勵當代女性，不論處在任何人生階段，都可以像「姐姐」一樣，擺脫社會的偏見，實現自身價值與夢想。本研究藉綜藝節目《乘風破浪的姐姐》關注「30+女性」人生關卡之機，探究工作、家庭、年齡與愛情議題下，女性形象/特質在當下「她題材」媒體再現裡的突破與限制。本研究使用多模態的批判論述分析方法分析13期《浪姐》裡真人秀和與舞台.具體探究以下三個問題：（1）在「工作」、「年齡」、「家庭與愛情」三個議題下，「30+姐姐」分別再現什麼樣的女性形象與特質？（2）《浪姐》節目建構的「30+姐姐」形象是否再製父權對女性規訓？節目是否以及如何呈現對父權、資本主義意識形態的抗爭？從女性主義觀點來看，這些抗爭的意涵為何？研究結果發現，女性的職業突破過去大多從事非專業領域的形象，具備管理經驗的高層管理者和資深導師等高位階的形象也出現在節目中。在追夢的路上，她們突破自己，迎難而上。這些意涵都一反舊有媒體形象中被動、順從的女性特質，打破了女性柔弱、低能的刻板形象，展現出大量剛強堅定的人物特質和自主爭取的行動策略。「30+姐姐」的情緒的支持和關照，豐富了女性親密關係的意涵。這些特質都打破了以往女性之間容易情慾嫉妒、勾心鬥角的負面印象。在性別角色差異上，女性的專業自信的形象雖因其戲份佔比得以凸顯，但男性與女性之間的角色分工並未發生實質的變化。這樣的性別分工也再製著關鍵時刻「男救女」的敘事模式，深化女性還是需要依靠男性的低能、脆弱形象。背後暗藏的是在《浪姐》的場域中，男性的權力地位仍是高於女性的父權意識形態。節目採用「黃金主體中心論」和「青春可追的行動論」兩種形象建構，以擺脫刻板印象裏，「大齡」帶來的衰老劣等和能力限制的隱喻。可受限於「女團」的選拔機制，姐姐都必須通過苦練滿足表演要求，「青春可追的行動論」成為節目敘事的重點。姐姐看似透過成團拼搏追逐榮譽，發揮主體的專業創造性，但又被背後「青春」意識型態掌控，無法跳出年輕/衰老的二分法，「相形見老」的「30+姐姐」再次被邊緣化，居於次等的社會位置。「30+姐姐」隨著專精領域從業者身分增強相對削弱的是傳統形象中其妻子、母親的角色屬性。「30+姐姐」連結家庭的角色大量減少，整體淡化其傳統「賢妻」、「主婦」的身分附庸。但未從根本撼動女性與「母職」關係及意涵。愛情論述中的「30+姐姐」在多個場景中分佈不一，其形象在真人秀淡化，卻在公演舞臺突顯。這樣此消彼長的分佈使得「女性嚮往、依賴愛情」的形象最終未有淡化，也沒有衝破原有形象。中國社會整體對「女性權益」的認知大致停留在第二波女性主義非常初階的階段。《浪姐》中的女性藝人自身具備的性別主體意識也未有彰顯。而其成長經歷也多受限與社會性別結構的制約。大多人展現的言語氣質仍趨於溫、淑；加之製作組客觀結構的條件也使得她們並未發展出更深入的女性主體觀點。這也是《乘風破浪的姐姐》展現的女性形象亦不可避免地受傳統父權限制，在部分領域落入窠臼的原因。

關鍵字

乘風破浪的姐姐；女團選秀；三十困境；女性主義；媒體再現

並列摘要

With the improvement of economic status, women began to postpone their marriage. But society still regards "A Women of Thirty" as a standard to judge their value and career advancement. Women are forced to inherit the "essence" of gender that is traditionally cared for, it is more difficult for women to realize their job ideals freely. In 2020, China's well-known OTT platform Mango TV also caught the attention of women in the workplace, and launched a midlife-female talent show called "Sisters Who Make Waves". The show encourages "30+ women" to get rid of the prejudices of society and realize their own values and dreams like "sisters". Did the show fulfill their promise? This research takes the advantage of the variety show "Sisters Who Make Waves" to focus on the "30+ women" life stages, and explores the breakthroughs and limitations of female's images in the current media reproduction of "Her Theme" under the issues of work, family, age and love. This study uses a multi-modality critical discourse analysis method to analyze the two units of reality show and stage performance in 13 issues. The study specifically explores the following three questions: (1) Under the three topics of "work", "age", and "family and love", what female images and personality traits are represented by "30+ sisters"? (2) Does the "30+ sister" images reproduce the patriarchal discipline of women? Does and how does the show present the struggle against patriarchy and capitalist ideology? From a feminist point of view, what are the implications of these struggles? The results found that Women’s career breaks through the image of mostly working in non-professional fields in the past, and high-level images such as senior managers and senior mentors also appear in the program. On the way to pursue their dreams, they break through themselves and rise to the challenge. These connotations are contrary to the passive and submissive femininity in the old media image, breaking the weak and incompetent stereotyped image of women, showing a large number of strong and determined character traits and independent action strategies. Emotional support and care have enriched the meaning of women's intimate relationships. These characteristics have broken the stereotype that women are prone to jealousy and intrigue in the past. In terms of gender role differences, although women's professional image is highlighted because of their role, the division of roles between men and women has not changed substantially. This gender division of labor also reproduces the narrative mode of "men saving women" at critical moments. To deepen the critical moments, women still need to rely on the men. What is hidden behind the scenes is that in the programme, the power status of men is still higher than that of women. When fighting the negative connotation of "older", the program adopts two image constructions of "Golden-age Subject-centered Theory" and "Catch-up Youth Theory" to get rid of the stereotypes of aging and inferiority and capacity limitations brought about by "older age" metaphor. However, due to the selection rules of the "all-girl pop group", all guests must meet the requirements through hard training. "Catch-up Youth Theory" has become the focus of the narrative. The older sister seems to be pursuing honors in a group and exerting the professional creativity of the subject, but is controlled by the "youth" ideology behind it, unable to break out of the young/aging dichotomy. The "30+ sisters" who is older in comparison once again be marginalized a second-class social position. As the status of "30+ sister" increases as a practitioner in the field of specialization, the role attributes of his wife and mother in the traditional image are relatively weakened. The role of "30+ sister" in connecting the family has been greatly reduced, and its traditional "good wife" are downplayed as a whole. But it did not fundamentally shake the relationship and meaning of women and "motherhood". The "30+ sister" in the love story is differently distributed in multiple scenes. This declining distribution makes the image of "female yearning and relying on love" ultimately not diminished, nor does it break through the original image. The overall perception of "women's rights" in Chinese society is roughly at the very early stage of the second wave of feminism. The gender subject consciousness of the female artists in programme has not been manifested. And their growth experience is also limited and restricted by the gender structure. Most of them still tend to show warm and gentle verbal temperament; coupled with the objective structure of the production team, they have not held a deeper female subject point of view. This is also the reason why the female image shown in "Sisters Who Make Waves" is also inevitably restricted by traditional patriarchy, and has reproduced the same problem in some areas.