earticle

영어

Chinese TV dramas featuring female protagonists have rapidly emerged in the era of new media, and their unique structural patterns and communication logic have become the focus of academic attention. This type of TV drama uses pre narration techniques, especially implicit pre narration such as divination and divination pre narration, as well as explicit pre narration such as prophecy pre narration and personality pre narration, to lay an extraordinary destiny trajectory for the female protagonist. It not only enhances the legendary color and mystery of the story, but also constructs a rigorous and fascinating narrative structure. In terms of structural patterns, Chinese leading female dramas often adopt a bead like structure, showcasing the growth and transformation of the female protagonist through a series of closely connected events. This is similar to the structural patterns of Korean leading female TV dramas, both emphasizing the personal growth and emotional journey of the female protagonist. However, the trend of singularity in Chinese female lead TV dramas has also brought about problems that cannot be ignored. Excessive reliance on the main female lead mode leads to serious homogenization of the work, and the excessive amplification of the protagonist's aura weakens the presence of other characters, affecting the balance and depth of the story. At the same time, excessive focus on the delicate depiction of individual emotions neglects the in-depth exploration of macro backgrounds such as social structure and historical culture, which limits its ability to play a leading role in social and cultural development. Therefore, a single love culture mainline is difficult to support a comprehensive and diverse social and cultural narrative framework, and it is difficult to stimulate the audience's attention and thinking on broader social issues. To optimize the development of Chinese female lead TV dramas, it is necessary to draw on successful international experiences, innovate narrative techniques and structural models, pay attention to the diversity and depth of character shaping, and strengthen attention to and reflection on social reality. At the same time, we should actively explore the deep integration path between the female lead drama and social, cultural, and historical backgrounds, and construct a more comprehensive, three-dimensional, and diverse social and cultural narrative system to better meet the spiritual and cultural needs of the audience and promote the sustained and healthy development of the Chinese television industry.