Big heroine dramas in contemporary China: Costume, authenticity and an alternative history of women of power

References

1. Agnew, Veness,, Lamb, Jonathan, and Tomann, Juliane. ( 2019), The Routledge Handbook of Reenactment Studies: Key Terms in the Field, Abingdon:: Taylor & Francis;.
   [Google Scholar]
2. Agnew, Venessa, and Tomann, Juliane. ( 2019;), ‘ Authenticity. ’, in V. Agnew,, J. Lamb, and J. Tomann. (eds), The Routledge Handbook of Reenactment Studies, Abingdon:: Taylor & Francis, n.pag;.
   [Google Scholar]
3. Allen, Kim. ( 2014;), ‘ “Blair’s children”: Young women as “aspirational subjects” in the psychic landscape of class. ’, The Sociological Review, 62:4, pp. 760–79.
   [Google Scholar]
4. Barlow, Tani. ( 2004), The Question of Women in Chinese Feminism, Durham:: Duke University Press;.
   [Google Scholar]
5. Bi, Lei. ( 2017;), ‘ Rebo nűxing xushi dianshiju chuanbo dongyin ji tedian. ’, (‘The motivation and features of popular women-narrative television dramas’) Modern Communication (Journal of Communication University of China), 37:7, pp. 164–65.
   [Google Scholar]
6. Bleeker, Maaike. ( 2017;), ‘ (Re)enacting thinking in movement. ’, in M. Frank. (ed.), The Oxford Handbook of Dance and Reenactment, Oxford:: Oxford University Press, n.pag;.
   [Google Scholar]
7. Braidotti, Rosi. ( 2019), Posthuman Knowledge, Hoboken:: Wiley;.
   [Google Scholar]
8. Brauer, Juliane, and Lücke, Martin. ( 2020;), ‘ Emotion. ’, in V. Agnew,, J. Lamb, and J. Tomann. (eds), The Routledge Handbook of Reenactment Studies Readers: Key Terms in the Field, Abingdon:: Routledge;, pp. 53–56.
   [Google Scholar]
9. Bruner, Edward M.. ( 1994;), ‘ Abraham Lincoln as authentic reproduction: A critique of postmodernism. ’, American Anthropologist, 96:2, pp. 397–15.
   [Google Scholar]
10. Bulag, Uradyn Erden. ( 2002), The Mongols at China’s Edge: History and the Politics of National Unity, Lanham:: Rowman & Littlefield Publishers;.
    [Google Scholar]
11. Butler, Judith. ( [1990] 2011), Gender Trouble: Feminism and the Subversion of Identity, London:: Taylor & Francis;.
    [Google Scholar]
12. Butler, Judith. ( [1993] 2011), Bodies that Matter: On the Discursive Limits of ‘Sex’, Abingdon:: Routledge;.
    [Google Scholar]
13. Cai, Shen shen. ( 2016), Television Drama in Contemporary China: Political, Social and Cultural Phenomena, London:: Taylor & Francis;.
    [Google Scholar]
14. Campany, Robert Ford. ( 2009), Making Transcendents: Ascetics and Social Memory in Early Medieval China, Honolulu:: University of Hawai’i Press;.
    [Google Scholar]
15. Chang, Jiang, and Tian, Hao. ( 2020;), ‘ Girl power in boy love: Yaoi, online female counterculture, and digital feminism in China. ’, Feminist Media Studies, August, pp. 1–17.
    [Google Scholar]
16. Chen, Feng. ( 2009), Huashuo Shaanxi: Xieyang Xia De Yuezhang, Xi’an:: Xibei daxue chubanshe;.
    [Google Scholar]
17. Ching, Siu-tung. ( 1992), Xiao Ao Jianghu zhi Dongfang Bubai (Swordsman II), Hong Kong:: Film Workshop Co., Long Shong Pictures and Golden Princess Film Production;.
    [Google Scholar]
18. Crane, Diana. ( 2000), Fashion and Its Social Agenda: Class, Gender, and Identity in Clothing, Chicago:: University of Chicago Press;.
    [Google Scholar]
19. Dai, Jinhua. ( 1994;), ‘ Bu kejian de nűxing: Dangdai zhongguo dianying zhong de nűxing yu nűxing de dianying. ’, (‘Invisible women: Women in the contemporary Chinese films and the films of women’) , Contemporary Cinema, 6, pp. 37–45.
    [Google Scholar]
20. Dickinson, Gary, and Wrigglesworth, Linda. ( 2000), Imperial Wardrobe, Berkeley, CA:: Ten Speed Press;.
    [Google Scholar]
21. Doran, Robert. ( 2012;), ‘ The work of Hayden White I: Mimesis, figuration, and the writing of history. ’, in N. Partner, and S. Foot. (eds), The SAGE Handbook of Historical Theory, Newbury Park, CA:: Sage;, p. 106.
    [Google Scholar]
22. Duara, Prasenjit. ( 1996), Rescuing History from the Nation: Questioning Narratives of Modern China, Chicago, IL:: University of Chicago Press;.
    [Google Scholar]
23. Entwistle, Joanne. ( 2000;), ‘ Fashion and the fleshy body: Dress as embodied practice. ’, Fashion Theory: The Journal of Dress, Body, and Culture, 4:3, pp. 323–47.
    [Google Scholar]
24. Fincher, Leta Hong. ( 2016), Leftover Women: The Resurgence of Gender Inequality in China, London:: Zed Books;.
    [Google Scholar]
25. Fincher, Leta Hong. ( 2018), Betraying Big Brother: The Feminist Awakening in China, New York:: Verso Books;.
    [Google Scholar]
26. Freeman, Elizabeth. ( 2010;), ‘ Packing history, count (er) ing generations. ’, in Further Adventures of the Dialectic of Sex, New York:: Palgrave Macmillan;, pp. 255–75.
    [Google Scholar]
27. Gerodetti, Natalia, and McNaught-Davis, Martha. ( 2017;), ‘ Feminisation of success or successful femininities? Disentangling “new femininities” under neoliberal conditions. ’, European Journal of Women’s Studies, 24:4, pp. 351–65.
    [Google Scholar]
28. Hong Lou Meng ( 1984, Beijing:: China Central Television);.
    [Google Scholar]
29. Hua Qian Gu ( 2015, China:: Ciwen Film Co);.
    [Google Scholar]
30. Huanzhu Gege ( 1998, China:: Hunan Economic Television);.
    [Google Scholar]
31. Irigaray, Luce. ( 2013), Je, tu, nous: Toward a Culture of Difference, Abingdon:: Routledge;.
    [Google Scholar]
32. Irigaray, Luce, and Gill, Gillian C.. ( 1993), An Ethics of Sexual Difference, New York:: Cornell University Press;.
    [Google Scholar]
33. Jin, Yihong,, Manning, Kimberley Ens, and Chu, Lianyun. ( 2006;), ‘ Rethinking the “iron girls”: Gender and labour during the Chinese cultural revolution. ’, Gender & History, 18:3, pp. 613–34.
    [Google Scholar]
34. Kurosawa, Akira. ( 1985), Ran, Tokyo:: Herald Ace and Nippon Herald Films;.
    [Google Scholar]
35. Lavin, Maud,, Yang, Ling, and Zhao, Jamie. ( 2017), Boys’ Love, Cosplay, and Androgynous Idols: Queer Fan Cultures in Mainland China, Hong Kong, and Taiwan, Hong Kong:: Hong Kong University Press;.
    [Google Scholar]
36. Lei, Wen. ( 2017;), ‘ Da nűzhu jű: sh nűxing de “shengshi” haishi “huanjue”? (“Big heroine dramas: a good era or a fantasy?”). ’, Arts Criticism, 13:12, pp. 77–85.
    [Google Scholar]
37. Li, Zhi, and Li, Pinting. ( 2018;), ‘ Xingbie yanjiu shiye xia de da nvzhu dianshiju xianxiang pingxi. ’ (‘An analysis on big heroine dramas in a view of gender studies’) , China Radio & TV Academic Journal, 4, pp. 104–07.
    [Google Scholar]
38. Liu, Zhiji. ( n.d.;), ‘ Shi Tong. ’, in Q. Pu., Shi Tong Tong Shi, Shanghai:: Shanghai Guji Chubanshe, n.pag;.
    [Google Scholar]
39. Lu, Hsiao-peng. ( 2012), Cong Shishixing Dao Xugouxing: Zhongguo Xushi Shixue, (From Historicity to Fictionality: The Chinese Poetics of Narrative) , Beijing:: Beijing University Press;.
    [Google Scholar]
40. Mann, Susan. ( 1997), Precious Records: Women in China’s Long Eighteenth Century, Polo Alto:: Stanford University Press;.
    [Google Scholar]
41. McRobbie, Angela. ( 2008;), ‘ Young women and consumer culture: An intervention. ’, Cultural Studies, 22:5, pp. 531–50.
    [Google Scholar]
42. McRobbie, Angela. ( 2015;), ‘ Notes on the perfect: Competitive femininity in neoliberal times. ’, Australian Feminist Studies, 30:83, pp. 3–20.
    [Google Scholar]
43. Negra, Diane, and Tasker, Yvonne. ( 2014), Gendering the Recession: Media and Culture in an Age of Austerity, Durham:: Duke University Press;.
    [Google Scholar]
44. Ng, On Cho, and Wang, Q. Edward. ( 2005), Mirroring the Past: The Writing and Use of History in Imperial China, Honolulu:: University of Hawai’i Press;.
    [Google Scholar]
45. Ren, Jie. ( 2017;), ‘ Dianshiju nűxing xingxiang bianqian jiexi: Cong qiongyao yanqingju dao gongdouju miyuezhuan. ’ (‘The changing image of women in television dramas: From the romantic soap operas of Qiongyao to the palace drama, the Legend of Miyue’) , Journal of Chongqing Jiaotong University (Social Sciences Edition), 17:5, pp. 98–103.
    [Google Scholar]
46. Ricoeur, Paul. ( 1990), Time and Narrative Volume 3 (trans. K. Blamey, and D. Pellauer.), Chicago:: University of Chicago Press;.
    [Google Scholar]
47. Ricoeur, Paul, and Valdés, Mario. ( 1991), A Ricoeur Reader: Reflection and Imagination, Toronto:: University of Toronto Press;.
    [Google Scholar]
48. Rosenlee, Li-Hsiang Lisa. ( 2012), Confucianism and Women: A Philosophical Interpretation, New York:: SUNY Press;.
    [Google Scholar]
49. Rottenberg, Catherine. ( 2018), The Rise of Neoliberal Feminism, Oxford:: Oxford University Press;.
    [Google Scholar]
50. Sanguo Yanyi ( 1994, Beijing:: China Central Television);.
    [Google Scholar]
51. Schneider, Florian. ( 2012), Visual Political Communication in Popular Chinese Television Series, Leiden:: Brill;.
    [Google Scholar]
52. Schneider, Rebecca. ( 2011), Performing Remains: Art and War in Times of Theatrical Reenactment, London:: Taylor & Francis;.
    [Google Scholar]
53. Shendiao Xialű ( 1995, Hong Kong:: Television Broadcast Limited);.
    [Google Scholar]
54. Taylor, Richard S., and Johnson, Mark L.. ( 1993;), ‘ Inventing Lincoln’s New Salem: The reconstruction of a pioneer village. ’, unpublished manuscript .
55. Thornham, Sue, and Feng, Pengpeng. ( 2010;), ‘ “Just a slogan” individualism, post-feminism, and female subjectivity in consumerist China. ’, Feminist Media Studies, 10:2, pp. 195–11.
    [Google Scholar]
56. Tian Sheng Chang Ge ( 2018, China:: Croton Media);.
    [Google Scholar]
57. Tilley, Christopher. ( 1999), Metaphor and Material Culture, Hoboken:: Blackwell Publishing;.
    [Google Scholar]
58. Tilley, Christopher. ( 2006;), ‘ Objectification. ’, in W. Keane,, S. Küchler,, M. Rowlands, and P. Spyer. (eds), Handbook of Material Culture, Newbury Park, CA:: Sage;, pp. 60–73.
    [Google Scholar]
59. Vollmer, J.. ( 2002), Ruling from the Dragon Throne: Costume of the Qing Dynasty (1644–1911), Berkeley:: Ten Speed Press;.
    [Google Scholar]
60. Xi You Ji ( 1986, Beijing:: China Central Television);.
    [Google Scholar]
61. Wang, Qinxiang. ( 1988;), ‘ “Shufei” Wenxiu. ’, Zi Jin Cheng, 5, p. 15.
    [Google Scholar]
62. Wen, Huike. ( 2020), Romance in Post-Socialist Chinese Television, Basel:: Springer International Publishing;.
    [Google Scholar]
63. White, Hayden. ( 2000), Figural Realism: Studies in the Mimesis Effect, Baltimore, MD:: Johns Hopkins University Press;.
    [Google Scholar]
64. Wu, Hung. ( 2018), Zhongguo Huihua Zhong De Nuxing Kongjian (Feminine Space in Chinese Paintings), Beijing:: Shenghuo dushu xinzhi sanlian shudian;.
    [Google Scholar]
65. Yan Xi Gong Lűe ( 2018, China:: Huanyu Film Co);.
    [Google Scholar]
66. Yunhe, Shujű. ( 2018;), ‘ Lianxuju bapingbang. ’, https://www.enlightent.com/analytics/top/rank_tv. Accessed 1 August 2018.
67. Zhang, Chunyu. ( 2016;), ‘ Loving boys twice as much: Chinese women’s paradoxical fandom of “boys’ love” fiction. ’, Women’s Studies in Communication, 39:3, pp. 249–67.
    [Google Scholar]
68. Zhang, Xinjie. ( 2017;), ‘ Zouchu xiangyata jinjin shi kaishi – xingbie piping shijiao xia de da nvzhu ju nűxing xushi. ’, (‘It is just a start from the ivory tower – women narrative of big heroine dramas in a view of gender critique’) , Arts Criticism, 14:12, pp. 86–93.
    [Google Scholar]
69. Zhu, Ying. ( 2008;), ‘ Yongzheng dynasty and totalitarian nostalgia. ’, in TV Drama in China, Hong Kong:: Hong Kong University Press;, pp. 3–17.
    [Google Scholar]
70. Zhu, Ying,, Keane, Michael, and Bai, Ruoyun. ( 2008), TV Drama in China, Hong Kong:: University Press;.
    [Google Scholar]
71. Ying, Zheng. ( 2020;), ‘ Big heroine dramas in contemporary China: Costume, authenticity and an alternative history of women of power. ’, Studies in Costume & Performance, 5:2, pp. 211–238, doi: https://doi.org/10.1386/scp_00026_1
    [Google Scholar]