Gorgeous debut: anti-traditional posture
As the saying goes: three women's lives. Then, modern Korean dramas can undoubtedly be regarded as a world of three "groups" of women: brave female screenwriters, bright female stars and crazy female audiences. Of course, this increasingly boiling "Korean Wave" has gradually captured more and more opposite-sex audiences and presented new characteristics and trends. One of the most prominent signs is the sign of hitting a woman.
Blooming "women's flowers"
The statement that "women's rights are rampant" in Korean dramas is not groundless, not to mention the increase in the number of female roles and the proportion of plays. It can be seen from the names of TV dramas: from the earliest "The man in the bathhouse owner's house and the man behind them" to "Win" and "Obey Britain", and then to the recent "Dae Jang Geum", "Chun Xiang" and "My name is Three Jin Shun" and so on, Jin Shun is not difficult. Two Korean dramas, My Girl and My Savage Princess, which were broadcast not long ago, can be literally understood as the plot type with the heroine as the main line, although there are attributive restrictions before their names.
It is worth noting that the role of women is not only in quantity, but also in quality. A large number of new female images with independent modern femininity occupy the screen, and their more and more wonderful lives are interpreted by anti-traditional multiple personalities. Moreover, relaxed romantic comedies have gradually replaced the sad dramas that used to cry. No matter how bumpy the heroine's fate is, she finally has a happy family. Struggle, forbearance, self-esteem, came from the bottom and finally succeeded. Some people dubbed her history of struggle as the Korean version of How Steel was Tempered. Miss Mermaid, which tells the story of the revenge of an abandoned girl, is compared to the female version of Revenge of the Prince, but her ending is happy. Even Jin Shun, a young widow who lost her husband, took misfortune as a new starting point in her life and finally found her own happiness ... For a time, Korean dramas became a stage for women, where most women's dreams were flying, and women seemed to subvert the deep-rooted patriarchal tradition and ushered in a new world of "equality between men and women" and even "women are superior to men".
Break through the multiple images of "stereotype"
In the early imported Korean dramas, the stereotype of traditional women is very obvious: gentle and tame wife and mother, kind and weak victim, beautiful and dignified vase, cold and lonely strong woman, scheming bad woman. In addition, the gentle, kind and tolerant "good woman" finally gets pity from fate and happiness, while the decisive and ambitious "bad woman" is condemned and punished, which is the unchangeable outcome of "justice conquers evil". The virtue of women is fixed in a single and standard mode, the image of women is flattened, the diversity of women's characteristics is obliterated, and "appropriate women's characteristics are equal to passivity", which just properly maintains the patriarchal center. Contrary to the stereotype in the "old" Korean dramas, the recently popular Korean dramas present brand-new female images in a way contrary to the tradition, which brings a fresh wind to the screen of Korean dramas.
Pink hero type
Representative figures, Xu Changjin ("Da Changjin"), Empress Mingcheng ("Empress Mingcheng") and so on. 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 doctor in North Korea. Her reputation is recorded in the Record of Zhongzong, and the word "Da" is added before her name, which is called "Dae Jang Geum". The latter was the 26th queen of the Korean feudal dynasty, who entered the palace at the age of 15. By virtue of her intelligence and political ability, she became the first person to hold real power inside and outside the palace, holding the destiny of the country and the people, and experienced ups and downs in the last years of the dynasty with the unique sensitivity and delicacy of women. As real figures in Korean history, Jiangjin and Empress Mingcheng can be regarded as "strong women" in name, but different from the traditional stereotype of "strong women", they are no longer distant legends, indifferent and aloof, but have ordinary joys and sorrows and bumpy life experiences. Jiangjin also has her own tortuous love and profound friendship, and her kindness once ignited the flame of revenge. Empress Ming Cheng's character has also gone through a long period of tempering in the palace, and there have been traces of various personality factors fighting on her. The more rounded images of the two characters in art have made a new civilian interpretation of the monotonous female characteristics in the past, and captured a period of history and life experience more delicately through a unique female perspective. It is worth mentioning that the courage to master their own destiny and challenge tradition is precious to both of them. Just as Jang Jin said in "moving a knife" to save a pregnant woman in dystocia: "You said no, you all said no, but I did it."
Self-improvement type
Representative, Jin Shun ("Come on! Jin Shun), Cheng Chunxiang (Spring Hero), etc. Such women often play the role of poor victims in traditional film and television dramas. Jin Shun, an ordinary woman involved in her husband's family, raised her husband's posthumous child alone and challenged her hard life after her young husband was misdiagnosed and died by a doctor. Chunxiang is the heroine adapted from the famous Korean folk story Chunxiang Biography. She comes from a single-parent family, her mother is a dancer, and her life is difficult, but she is independent, determined, brave and decisive. In order to defend her pure love with Li Menglong, she went through hardships and finally got her own career and happiness. Different from those sad female images who look sad every day, Jin Shun and Chunxiang face each day optimistically and face the challenges of life with a smile. It is their positive, tenacious and brave spirit in the face of setbacks and sufferings that finally makes them happy. There are many conflicts between modern consciousness and traditional values, such as Jin Shun's remarriage with her children, all of which ended with women sticking to their own principles and winning the traditional challenge. These inspirational stories of ordinary women tell us that modern women are still kind and tolerant, but they are no longer the weak who rely on men to protect their survival. Women who strive for self-improvement can completely control their own destiny and strive for their own happiness.
"No" female type
Representative figures, Saint Jin Shun ("My name is Saint Jin Shun"), Yang Songer ("Red Bean Girl's Love") and so on. Sanshun is a 30-year-old unmarried, plain-looking Korean woman with a round face and a bloated figure. Although he is a pastry chef, he graduated from an unknown chef school and is often unemployed. Although she loved her boyfriend very hard, she was abandoned after falling in love with her boyfriend for three years. Because the deposit is basically paid to the matchmaking agency, there is no money. But this "nothing" woman has also gained her own happiness, making the audience love beautiful women; "Red Bean Girl" Songer is an ordinary girl who works in a children's playground. She is plain, bad-tempered, straightforward and impulsive, so she often offends people around her and is extremely unpopular. She is recognized as an "evil girl", but she is actually a kind-hearted girl, but she is not good at expressing herself. The play reversed the beautiful and kind "potato girl" and the ugly and cruel "red bean girl" in Korean fairy tales by metaphor, broke the traditional story allusions and people's stereotype of "judging people by their appearances", and described Cinderella's true love story in the new era with a new interpretation. The popularity of "no" women, on the one hand, truly reflects the living conditions of many Korean women at present, on the other hand, it also represents a female force that subverts tradition. They proved that it doesn't matter if it is ordinary or even ugly, and it doesn't matter if it is not a traditional good woman. Every woman has the right to pursue her own happiness.
Nemesis type
Representative figures, Aliying (miss mermaid), Zheng Lanzhen (Women in the World), etc. Aliying takes revenge on her father who abandoned herself and her mother as her life goal. After she became a famous radio writer, she deliberately approached her fiance Li, who seduced her half-sister Yin Ruiying and succeeded, but was finally redeemed by love and family warmth. Zheng Lanzhen, who was born in the royal family, was mistakenly adopted by the concubine of a senior official in Beijing and suffered from discrimination and ridicule. In order to change her humble position, all those who discriminated against her were trampled underfoot. She became the concubine of Yin, the younger brother of the Queen, and poisoned his official wife. Since then, he has been involved in the power struggle of court women's intrigue, helping Queen Wending to master the state power. Revenge women are reminiscent of the unpleasant evaluation of "the most poisonous woman's heart" and are ruthless "bad women" Even their revenge can only be a tragic way at the expense of their own color and happiness. However, the appearance of such roles allows the dissatisfaction hidden in women's hearts to be vented. Even though they are as good as ever, they once had a desire for revenge, and revenge itself represents a force against tradition and disturbing order.
Grinch (savage girlfriend) type
Representative figures, Han Zhien (full of romance), Zhu Yuling (little girl), Shen Caijing (maid-in-waiting), etc. There are many such types in Korean dramas, and they can also be seen everywhere in the series of TV series Barbarians. Most of the roles played by Anglenala belong to this type. Han Zhien is a meaningless online writer, Zhu Yuling is a lovely little liar, and Cui Jing is a secular and open savage princess of the fictional constitutional monarchy in modern North Korea. They are savage and frank, lively and kind, brave and decisive, provocative and overbearing, and have distinct personalities. Han Zhien will argue with his sweetheart until he is red in the face, while Zhu Yuling is familiar with deceptive tricks and good at jokes and practical jokes. They are restless rule-breakers, eager for freedom and transcendence, and are the flags of modern times pointing to tradition. We can't find the shadow of a traditional wife and mother in them, but they exude modern flavor and the truest and purest frankness. True purity is a gap that distinguishes them from traditional bad women, and barbarism is their rebellious psychology.
Nice female number two
Representative figures, Jin Xizhen (my name is Saint Jin Shun) and Min Xiaolin (Palace). They stand in the original "negative role" position, but they are equally beautiful and self-respecting. As the heroine's rival in love, Xizhen has a beautiful appearance and touching courage and strength. She suffers from illness alone, suffers from the misunderstanding of her boyfriend JH, insists on her love and lives bravely and optimistically. Hyolyn rejected the proposal of Crown Prince Li Xin and missed her love. However, because of her poor family, she has been obsessed with her ballet dream. Without love, she can still have a wonderful life. The appearance of this female role undoubtedly gives a new definition and interpretation to the monotonous aesthetic and value judgment standard of "either good or bad" in the traditional female stereotype, and gives a more comprehensive and diversified display of women's personality and characteristics.
Midnight bell: fairy tales are just fairy tales.
Korean dramas seem to have created a myth, bearing the dreams of modern women. However, is the seemingly noisy female gender consciousness and self-consciousness infiltrated into the traditional patriarchal discourse system as a new symbol, or just as a gorgeous coat to continue the traditional gender order? Let's re-examine these "new" images.
Traditional order: a woman's mirror
Looking at all the heroines, we can find that almost every woman has a traditional heart of truth, goodness and beauty, and it is this virtue that makes them finally happy and becomes the killer weapon to impress the hero and the audience. The traditional virtues of kindness, beauty, tolerance and perseverance make her exude charming feminine brilliance today; Chunxiang's loyalty and selfless defense of love is also an ideal female virtue in men's hearts; Jin Shun's forbearance, gentleness, kindness and filial piety won her the acceptance of her elders and another true love; The unruly character of the savage girlfriend also hides the essence of kindness and purity, and finally captures the heart of the hero; Even though it is as ordinary as St. Jin Shun, it is not beautiful, but for the protagonist, it has a mother-like sense of security. Even her bulging round belly was regarded as a comfortable pillow by the hero. Inspired by family and love, the vengeance, Aliying, finally pulled out her thorn and returned to the tradition.
The new theme of sublimation here is: the new elements are only the embellishment of the old tradition, and the survival and development of modern women who have been initially liberated have both anti-tradition and recognition of traditional culture. Perhaps truth, goodness and beauty are eternal female virtues, regardless of age, but the key question is, who is watching? Show it to who? Basically, the happy ending of every heroine can't be separated from the number of ways of marriage with Prince Charming, the hero. Virtue is a bargaining chip for men's love, and men's views are order and standards. Without male affirmation, it is meaningless. Even if new anti-traditional factors appear in female images, they often just coincide with men's new aesthetic standards. In today's Korean society, which respects traditional culture, it still maintains the expectation of women's perfect personality. "No girl" St. Jin Shun fell in love with the hero JH like Prince Charming, but it doesn't mean that she will have such preferential treatment in real life. In fact, this is just a fairy tale of women's wishful thinking, just like the fantasy that Ss often has. Ss represents many ordinary women in real life. According to the survey, 73% of Korean women consider themselves obese, which means that 7 out of every 10 Korean women consider themselves obese. -It's not hard to understand why ss is popular with female audiences. If there is anything worthy of the hero's love, it is also her traditional virtue: making cakes and cooking porridge with love, being considerate and safe like a mother, being sincere and optimistic ..... not her ordinary appearance and fat figure. Anti-tradition is only women's imagination, and returning to tradition is the real conversion.
"The competition mode selected by the market-oriented mechanism calls on women to be aggressive, independent and tenacious. At the same time, the global context of men still concentrates on and holds the fate of women in the world of seeking and relying on love. While some cutting-edge women are busy with the repositioning and new definition of women, the female code under the patriarchal discourse has been unprecedentedly publicized and strengthened under the reinterpretation of bizarre media packaging. " Although there are many "not bad" or even excellent female No.2 in the popular Korean dramas recently, they are still in a thankless position in the eyes of the audience. The only reason is that they didn't get the love of the hero. In order to become the winners of love, they almost lost themselves, and sometimes even became the victims of the protagonist's empathy. The former is like Jiang Huiyuan in Feng Yue Zhai and Jin in My Girl, while the latter is like Jin Xizhen in My Name is Saint and Min Hyo-rin in Palace. Balzac believes that "the best life is a man's birthright and a woman's love. Only when a woman turns her life into endless dedication, just as a man's life is a constant action, can she and a man achieve equality. " In traditional terms, most women will fall into such a love trap. Although a large part of modern Korean dramas are "women make-up and women watch", women's personality has been highlighted to a considerable extent, "but women's subjectivity as the main body of speech, experience and thinking is still deprived of the magnificent sense of' equality between men and women'." "When Li Mei, the pioneer of pop music, twisted her waist and sang' Mirror Mirror, tell me what a man really wants', we finally understood that the mirror is not just used as a prop by Snow White. In the post-modern society, when a man gives a mirror to a woman, he already knows that he is a mirror. When a woman thinks she is in charge of everything, the mirror has been in charge of this woman for a long time. This is the role relationship between mirrors and women and men for thousands of years. Men learn mirrors and women learn mirrors. "
"Although modern Cinderella imitated the independent, self-reliant and rebellious female image created by the feminist movement, it did not break through but returned to the ending of the traditional Cinderella story, thus reaffirming the irresistible traditional values such as family, love, marriage and warmth."
Mother and daughter: the role orientation of women
It seems that every Korean drama is more popular with male artists than female artists at the same level, and it is often the ideal hero image created by women themselves that is warmly sought after by female audiences. This has to be attributed to the female community formed by the cultural mechanism. In contrast, the hero in Korean dramas is almost perfect. Handsome, rich, kind, gentle, infatuated and successful ... basically satisfy all the fantasies of women about the ideal "Prince Charming". They may have some minor faults, such as overbearing, childish, stubborn, aloof and so on, but they can arouse the motherhood of the heroine and the female audience, and shelter and pamper them like children, such as Yingjae Lee in Romantic Room, Li Menglong in Hero in Spring Fragrance, and Xuan Zhenxian in My Name is Saint Jin Shun and so on. Even the unloved male number two is almost perfect and infatuated with the heroine. He is the refuge of the heroine when she is wronged and meets difficulties, and plays the role of a father and a brother, "paying attention to her happiness and fulfilling her happiness". Such as Prince Li Lu in Palace, Liu Min He in Romantic Room, and so on. As mentioned earlier, a large part of modern Korean dramas are "women in makeup and women in movies". These good men are undoubtedly women's good wishes, but at the same time, we can see that women consciously or unconsciously define their roles: mother and daughter.
From the perspective of psychoanalysis, the expectation of a daughter's identity can be understood as derived from the Oedipus complex (female Oedipus complex), namely the Oedipus complex. Women often want to be sheltered by their fathers or brothers, be saved when they encounter danger or humiliation, and long for a sense of security and belonging. The gentleness, thoughtfulness and understanding of the hero in the play are undoubtedly the projection objects of women's longing for fatherly love for heterosexuality. To some extent, the status of daughters can be regarded as the social mechanism that patriarchy defines and controls women, because it consolidates the stereotype that men are strong and women are weak, and reaffirms the status that women are protected and subordinate to men.
Being a mother is more complicated. Based on Freud's psychoanalytic theory about the relationship between mother and son in Oedipus complex, "Mother is the object of father and son's desire. Father and son compete on mother's body. At the same time, the healthy growth of a man's character mainly depends on his mother's actions. Therefore, the definition of "mother" contains a paradox: mother is not only a passive object for men to compete for, but also a subject with important responsibilities. "In Korean dramas, we can see the maternal brilliance of young women when they treat their lovers everywhere, which can be regarded as the expectation of motherhood in women's subconscious. Among them, the heroine who is affirmed actually plays the role of a woman who has achieved and changed the hero. Li Menglong in "A Hero in Spring" has made great contributions from being a problem student to being admitted to a prestigious school and then becoming a prosecutor. Without her help, this change is unimaginable. If Xuan JH in My Name is Saint Jin Shun is not infected by Ss, he is still the "ice prince" who closes his heart and is arrogant. The appearance of Caijing made the lonely life of Prince Li Xin in the palace have a brand-new trajectory ... Interestingly, the heroine's life often became the beginning of a nightmare because of the intervention of the hero, such as Chunxiang's dropping out of school and fleeing, and losing her freedom in Caijing. In a word, these women's maternal characteristics have made men's healthy and positive personality and life, and they are the main bodies shouldering heavy responsibilities. However, for women, "playing the role of mother is terrible", because only when she appears as a servant can she be praised, "I am a servant of God". "For the first time in human history, she crawled at her son's feet, obediently accepted the inferior position of distribution and paid no attention to it, so the man won the most important victory. Later, the worship of the Virgin Mary was used to decide the victory-since a woman finally failed, her reputation should be restored. Therefore, the dominant position of women as mothers is the result of obedience and compromise under the patriarchal discourse, which makes women believe that their femininity makes her naturally suitable to shoulder the responsibility of mothers, makes women indulge in the subjective fantasy of motherhood and willingly helps men consolidate the established order.
From the above analysis, it can be seen that despite the aggressive "female soldier" screenwriter team, through the almost perfect review of the male lead, women in Korean dramas play similar identity roles without exception. No matter how unconventional they appear, they can't escape the thinking and identity inertia under the patriarchal discourse coding system and consciously stand in the position arranged by men. "As a feminist scholar put it, the relationship between women as viewers and observed at the same time not only determines most relationships between men and women, but also determines the relationship between women themselves. Women not only become the image they watch, but also transform themselves into an object, an image object and a landscape. Such a male perspective inherent in women's self-observation has established a self-examination mechanism in her mind. Whether men are present or not, such a mechanism ensures that women are always in the position of being watched. "
The old meaning of the new ceremony
Korean dramas, which have been popular for a period of time, all have fixed patterns, similar plots, similar structural methods and similar character relationships. Only changed the actor's face and story background. The highly stylized mode endows Korean dramas with certain "ritual" significance. Ceremony is an anthropological concept, that is, "a symbolic activity dominated by rules, which makes participants pay attention to the objects of thoughts and emotions that they think have special significance." As a media meaning communication system, when the ceremony appears in Korean dramas, it simply outputs specific content through the same mode, so that its participants, that is, the audience, can enjoy its meaning. "The difference is that this ceremony has produced unprecedented influence with the help of mass media such as television." The new trend of narrative mechanism and emotional mode of Korean dramas also means the new significance of ritual content.
In order to make the love in the play more attractive, using what the author calls "contract marriage and love" to structure the story has become the new favorite of screenwriters. This new narrative mode also has a more popular name: marriage (contract) before love. It is very popular in recent Korean dramas, especially youth idol dramas, and appears frequently. For example, Wonderful Life, Romantic Room, My Name is Saint Jin Shun, Hero in Spring, My Girl (Pretending to be Cousin), Palace and so on. There are various reasons why the hero and heroine have to get married (or enter into a contract): in Wonderful Life, it is because one-night stands have children and are under pressure from the man's parents; In A Room Full of Romance, it is because the hero wants to protect his secret love and the heroine wants to get her house back. In My Name is Saint Jin Shun, the hero wants to avoid the endless blind date arrangement of his mother, and the heroine wants to keep the property left by his father. In "There is a hero in spring fragrance", marriage is to protect reputation and avoid the danger of dropping out of school; Palace is to realize the agreement of ancestors ... this way of pretending to get married or fall in love conditionally in order to achieve a certain goal is "popular" in South Korea (TV series) with more than 2,000 years of Confucian tradition, emphasizing honesty and strong family values, which undoubtedly means subverting tradition and disintegrating sacredness. Although there are many names for concluding a contract, there are also similarities: the man is often frustrated because of his previous relationship and his family is well-off. Contracting or getting married is not because of material necessity, but more for emotional reasons; The woman, on the other hand, is mostly in financial difficulties and has to "sell" herself (in many cases, she can get a certain material return). Therefore, in the conclusion of a contract without the intervention of elders, the man is often in a relatively active state. They are usually the first party to ask for a contract, and the woman often hesitates about the "road to redemption" paved by the man and finally agrees to accept it under the pressure of the situation. In the conclusion of a contract (marriage) in which the elders are involved, the orders of the elders are a knife hanging over the heads of the younger generation and cannot be disobeyed. Of course, the man's parents are the leaders, and the woman's parents (widows in many cases) are in a weak or passive position or readily accept them because of economic or other problems. Under this seemingly equal and voluntary principle, we can still clearly see the manipulation and dominant position of male-dominated discourse, and women are still in a passive role. Despite twists and turns, almost all the stories have a happy ending of "the prince and princess live happily ever after", but this is just a seemingly contradictory model of "saving the country by curve" and returning to tradition, and there is nothing else except showing off the victory of male chauvinism. New ceremony, old tradition, change the soup without changing the medicine.
When we tear off the gorgeous coat wrapped on the surface of the old order discourse, when we wake up from the wonderful fantasy in the TV series, life is still the original life. Just like Cinderella, who was intoxicated in the gorgeous ball, she had to return to the realistic position when she heard the midnight bell-fairy tales were just fairy tales after all.
Dae Jang Geum: Women's Carnival and Reconstruction of Imagination
The experience and experience of women in Korean dramas seems to be a tragic display of modern women's gender consciousness and self-consciousness under the traditional order. Nevertheless, it reflects the realistic predicament of modern women, and what is more commendable is women's positive rebellious consciousness and their attempt to rewrite their gender identity. The content of communication is a reflection of social culture. Last year, Da Jang Geum, which was broadcasted by Hunan Satellite TV, undoubtedly condensed all the imaginations of modern women and shaped the grand female group image like A Dream of Red Mansions. It not only constructs a dream of Eden for women, but also shows the realistic predicament of women and the rugged road to realize their dreams.
Youth Inspirational Legend: Realistic Dilemma
"In her life, she suffered numerous PK…… events ..." Hunan Satellite TV interpreted Dae Jang Geum as an out-and-out "super girl in ancient costume": civilians, youth, dream-chasing, brutal competition ... these modern elements are skillfully reproduced through a legendary history. "Changjin's dream is to be the highest palace master in the chef, and later hope to be a superb healer who can save the people. But on the way to her dream, she encountered countless cruel PK. After another royal catering competition, her opponent may be expelled from the court if he has experience or talent in cooking. Repeated medical experiments show that her patient is a royal aristocrat and her opponent is an old and clever physician. Life is in danger at every turn. " It is worth noting here that in the life full of fierce competition, the struggle of love has retreated behind the scenes, and the challenge of "workplace" has leapt onto the stage, with the struggle between women as the core. No wonder many people realized the realistic situation of modern professional women from Dae Jang Geum. In the chef, Jang Jin met her opponent Cui Shanggong and Cui, who was born in the royal family. In the inner court, her opponent not only had an excellent female medical expert, but also many of her "bosses"-experienced physicians. Chang Jin's bumpy experience reflects the bitter plight of women in the workplace.
Although on the surface, the main body of the struggle is women and women, and the contradiction is an "internal contradiction" unrelated to men, there is a subtext behind this vigorous intrigue: this is essentially a contest between modern women's consciousness and traditional order. Behind every opponent of Changjin, there is a stubborn traditional power camp. What she wants to fight is the whole patriarchal society. Cui Shanggong's ruthlessness cannot but be attributed to the distortion of normal human nature caused by her heavy family political mission. This distortion has been passed down from generation to generation, continuing and consolidating the traditional patriarchal family order. Women are regarded as pathetic chess pieces and become victims of political struggles. Her vicious and treacherous image also coincides with the stereotype of a bad woman in a man's heart. "Women, like all the oppressed, deliberately hide their objective truth. Slaves, servants and the poor, those who look into their master's eyes, all know how to deal with their master with a constant smile or unfathomable indifference. Their true feelings and behaviors are carefully hidden. Similarly, women have learned to deceive men, play tricks, and play tricks since childhood ... She is too cautious, too hypocritical, and always acting. " From Cui, the successor of the new generation, we can see more clearly the pain of a conscious woman struggling under the weight of the traditional family order. Because of her self-awareness, she finally failed to become a qualified Cui family.
If the kitchen can be regarded as a "professional" place for women under the background of "a gentleman cooks from afar", it is undoubtedly a "rice bowl" for men to stand out from the medical women in the inner court and become a doctor who can treat China sects. And her restless thoughts often challenge authority and shock the world: I actually want to move a knife on the dragon! This is also doomed to be extremely difficult and bumpy on the road to becoming a female doctor. Today, seeking women's independence and self-improvement under the patriarchal order means that she must declare war on tradition and authority, which includes female opponents imprisoned by tradition as tools to defend patriarchal discourse, male obstacles as authorities, elders and teachers, and internal constraints such as secular concepts, traditional morality and stereotypes. This is a metaphor for the realistic dilemma faced by contemporary women with strong self-awareness and gender awareness when looking for a new social orientation. The difference is that even if they have the dream of eternal life and have learned her spirit of perseverance, self-esteem and never giving up, they may not have the dazzling achievements and happy ending like eternal life. After all, eternal life is wise, and there are "guardian angels", Zhong Zong and Min. Drama is like life, and life is not like drama.