跳到主要內容

簡易檢索 / 詳目顯示

研究生: 王若思
Wang, Jo-Ssu
論文名稱: 性別再現與閱聽人接收分析:台灣女性觀眾看Netflix韓國競賽實境節目《海妖的呼喚:火之島生存戰》
Gender Representation and Audience Reception: Taiwanese Female Audiences’ Perspectives on Netflix’s Korean Competition Reality Show “Siren: Survive the Island”
指導教授: 卓庭伍
Cho, Ting-Wu
口試委員: 卓庭伍
Cho, Ting-Wu
蔡葵希
Cook, Christine Linda
蔡華臻
Tsai, Hwa-Jen
學位類別: 碩士
Master
系所名稱: 創新國際學院 - 全球傳播與創新科技碩士學位學程
Master’s Program in Global Communication and Innovation Technology
論文出版年: 2026
畢業學年度: 114
語文別: 英文
論文頁數: 107
中文關鍵詞: 女性能動性觀眾接收性別再現跨國媒介實境節目
外文關鍵詞: Female Agency, Audience Reception, Gender Representation, Transnational Media, Reality Television
相關次數: 點閱:206下載:3
分享至:
查詢本校圖書館目錄 查詢臺灣博碩士論文知識加值系統 勘誤回報
  • 本研究探討 Netflix 韓國生存競賽實境節目《海妖的呼喚:火之島生存戰》(Siren: Survive the Island, 2023)中女性能動性的建構,以及台灣女性觀眾對其接收與詮釋。研究採用質性研究,結合敘事分析與對二十二位台灣女性的深度訪談,考察女性力量的再現如何在跨國媒介脈絡中被生產、解讀與協商。研究發現,《海妖的呼喚》主要透過專業性、集體生存與實務能力,來建構女性能動性,而非以傳統女性氣質建構。與此同時,這種賦權仍具有條件性:無論是在節目文本中,還是在觀眾的接收過程中,女性力量都會透過合法性、自我節制與可接受行為等期待來被評價。觀眾的回應也顯示,這些再現會透過地方性的專業框架、倫理觀與日常性別期待來加以理解。總體而言,本研究主張,跨國流動中的女性賦權敘事並非單純地跨越國界傳遞,而是在地方文化框架中被主動重新詮釋、常態化,並受到限制。


    This study examines the construction of female agency in the Netflix Korean survival reality show Siren: Survive the Island (2023) and its reception among Taiwanese female audiences. Drawing on a qualitative design that combines narrative analysis with in-depth interviews with twenty-two Taiwanese women, the study investigates how representations of female strength are produced and negotiated in a transnational media context. The findings show that Siren constructs female agency through professionalism, collective survival, and functional competence rather than through conventional femininity. At the same time, this empowerment remains conditional: both the program and its audiences evaluate women’s strength through expectations of legitimacy, restraint, and acceptable conduct. Audience responses further suggest that these representations are interpreted through locally situated frameworks of professionalism, ethics, and everyday gender expectations. Overall, the study argues that transnational narratives of female empowerment are not simply transmitted across borders, but are actively reinterpreted, normalized, and constrained within local cultural frameworks.

    Abstract i
    摘要 ii
    1. Introduction 1
    2. Theoretical Background 3
    2.1. Representation and Gender Construction 3
    2.2. Feminist Media Studies and Critiques 6
    2.3. Narrative and Textual Construction in Reality TV 8
    2.4. Audience Reception and Engagement 11
    3. Methodology 14
    4. Results 19
    4.1. Narrative Analysis: The Construction of Female Agency in Siren 19
    4.1.1. Competition Structure and the Organization of Collective Survival 20
    4.1.2. Constructing Professional Identity through Prospection 24
    4.1.3. Strategic Ambivalence and the Narrative Policing of Aggression 27
    4.1.4. Reframing Vulnerability through Embedded Narratives of Pain and Defeat 36
    4.2. Audience Analysis 39
    4.2.1. Reconfiguring Gendered Interpretation through Professionalism and Moral Negotiation (Addressing RQ1a and RQ1b) 40
    4.2.2. Embodied Resonance in Transnational Media Flow (Addressing RQ2) 61
    5. Discussion 71
    5.1. Professionalism and Female Agency in Text and Audience Reception 71
    5.2. The Equality Paradox in Taiwan 75
    5.3. Conditional Empowerment and the Double Bind 77
    5.4. Netflix, Transnational Circulation, and the Global Framing of Female Strength 81
    5.5. Embodied Reception and Edutainment as Informal Gender Education 84
    5.6. Limitations and Future Research 86
    Reference 90
    List of Tables 98
    Appendix A 104

    Ang, I. (1985). Watching Dallas. Soap opera and the melodramatic imagination. Methuen.
    Bandura, A. (1977), Social Learning Theory, General Learning Press.
    Butler, J. (1988). Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory. Theatre Journal, 40(4), 519–531. https://doi.org/10.2307/3207893
    Butler, J. (1999). Gender Trouble Feminism and Subversion of Identity. New York and London: Routledge.
    Chatman, S. (1978). Story and discourse. Narrative structure in fiction and film. New York: Cornell University Press.
    Chen, C. F. (2004). Media consumption in the cross-cultural context: Transnational television fiction and Taiwanese young audience (Order No. 3132498). Available from ProQuest Dissertations & Theses A&I; ProQuest Dissertations & Theses Global. (305138119).
    https://www.proquest.com/dissertations-theses/media-consumption-cross-cultural-context/docview/305138119/se-2
    Chen, Y. J. (2023). An examination on the cultural plurality of the Netflix Asian co-productions [Master’s thesis, National Yang Ming Chiao Tung University]. National Digital Library of Theses and Dissertations in Taiwan.
    https://hdl.handle.net/11296/7dsfdd
    Choi, Y. (2019). “Are you a good female citizen?”: Media discourses on self-governing represented in popular Korean weight-loss reality TV shows. Sociological Research Online, 24(2), 154–166.
    https://doi.org/10.1177/1360780418807949
    Connell, R. W. (1987). Gender and power: Society, the person and sexual politics. Stanford University Press.
    Connell, R. (1995). Masculinities. University of California Press.
    Dahlgren, P. & Hill, A. (2020). Parameters of media engagement. Media Theory, 4 (1), 1–32. http://journalcontent.mediatheoryjournal.org/index.php/mt/article/view/107
    Dobash, R. E., Schlesinger, P., Dobash, R., & Weaver, C. K. (1998). "Crimewatch UK": Women's interpretations of televised violence. In Fishman, M. (Eds.), Entertaining crime: Television reality programs. (pp. 37-58). Routledge
    Dyer, R. (1993). The matter of whiteness: essays on representations. London: Routledge.
    Francistyová, B. (2023) Emergence of new female lead in Korean dramas. In M. Prostináková Hossová, M. Graca, & J. Radošinská (Eds.), Marketing & media identity AI – The future of today. Hypermoderná mediálna kultúra vo filme a televízii (pp. 22–31). FMK UCM
    Gender Equality Committee, Executive Yuan. (2024). 2024 Gender Gap Index (GGI) release note. Gender Equality Committee of the Executive Yuan. https://gec.ey.gov.tw/File/5108999A48C9A8A5?A=C
    Gender Equality Committee, Executive Yuan. (2025). 2025 Gender Gap Index (GGI) release note. Gender Equality Committee of the Executive Yuan. https://gec.ey.gov.tw/File/C6FE895F2276B354?A=C
    Gill, R. (2007). Gender and the media. Cambridge: Polity Press
    Goldman, A., & Waymer, D. (2015). Black women in reality television docusoaps: A new form of representation or depictions as usual? Peter Lang Publishing, Inc. https://doi.org/10.3726/978-1-4539-1568-4
    Gong, S. (2018). Cross-cultural comparison of women's representations between British and Chinese television advertisements [Doctoral Dissertation, Cardiff University].
    Hall, S. (1997). Representation: cultural representations and signifying practices. /edited by Stuart Hall. Sage Publications in association with the Open University.
    Hall, S. (1973). Encoding and decoding in the television discourse. Discussion Paper. University of Birmingham, Birmingham.
    Han, W., Lee, C. S., & Park, J. H. (2017). Gendering the authenticity of the military experience: Male audience responses to the Korean reality show Real Men. Media, Culture and Society, Special Issue: The Media and the Military, 39(1), 62–76.
    https://doi.org/10.1177/0163443716673895
    Hill, A. (2007). Restyling factual TV: Audiences and news, documentary and reality genres. Routledge. https://doi.org/10. 4324/9780203099735
    Hoskins, C., & Mirus, R. (1988). Reasons for U.S. dominance of the international trade in television programmes. Media, Culture & Society, 10(4), 499–515. https://doi.org/10.1177/016344388010004006
    Hung, H. C. (2013). Transnational media consumption and cultural negotiations: Taiwanese youth look at Japanese and South Korean television dramas [Doctoral Dissertation, University of London]. https://doi.org/10.25602/GOLD.00008853
    Jang, J. Y., Lee, S., & Lee, B. (2019). Quantification of gender representation bias in commercial films based on image analysis. Proceedings of the ACM on Human-Computer Interaction, 3(CSCW), 1–29. https://doi.org/10.1145/3359300
    Jamieson, K. H. (1995). Beyond the double bind: Women and leadership. Oxford University Press. https://doi.org/10.1093/oso/9780195089400.001.0001
    Kim, K. A., Park, J. H., Yoon, S., Wang, Y., Bae, H., Luc, K. T. (2023) “Duality of K-content in the era of Netflix: An investigation of Korean ‘Netflix Original’ characteristics.” International journal of communication,17 (2023): 7015-7039.
    Kim, S. W., & Kang, H. W. (2024). Formal Element and Dramatic Element of Game
    Shown at TV Show: Focused on Netflix Survival Program “Siren: Survive the Island”. The Journal of Culture Contents, 32, 137-164. http://doi.org/10.34227/tjocc.2024..32.137
    Kim, Y. (2024). What are Sporty Sisters talking about? A textual analysis of an all-Female athlete reality show. Social Sciences, 13(10), 543.
    https://doi.org/10.3390/socsci13100543
    Lee, D. (2022). The devil’s edit in Korean reality TV and audience and fan engagement: A case study of Street Woman Fighter (2021) [Master's thesis, Lund University]. Lund University Libraries.
    http://lup.lub.lu.se/student-papers/record/9079369
    Lee E. K., (Producer). (2023). Siren: Survive the island [TV series]. Seoul, South Korea: Siren Pictures Inc.; Netflix.
    Lee, G. l. (2023, May 11). Strong women take center stage in 'Siren: Survive the Island' series. The Korea Times. https://www.koreatimes.co.kr/entertainment/shows-dramas/20230511/strong-women-take-center-stage-in-siren-survive-the-island-series
    Lee, J., & Lee, C. S. (2017). Feeling bad can be good?: audience research on Korean reality makeover shows, Get It Beauty and The Body Show. Critical Studies in Media Communication, 34(3), 250–263. https://doi.org/10.1080/15295036.2017.1296581
    Leer, J. (2016), “What’s cooking, man? Masculinity in European cooking shows after the naked chef”, Feminist Review, Vol. 114 No. 1, 72-90.
    Livingstone, S. (1998). Relationships between media and audiences: prospects for audience reception studies. In Liebes, T. & Curran, J. (Eds.) Media, Ritual and Identity: Essays in Honor of Elihu Katz. (pp. 237-255). Oxfordshire, UK: Routledge.
    Lorber, J., & Farrell, S. A. (1991). The social construction of gender. Sage.
    McRobbie, A. (2009), The aftermath of feminism: Gender, culture and social change. Sage. London.
    Milestone, K., & Meyer, A. (2012). Gender & popular culture. Polity Press.
    Mendes, K. & Carter, C. (2008). Feminist and gender studies: A critical overview. Sociology Compass, 1(2). https://doi.org/10.1111/j.1751-9020.2008.00158.x
    Moon, Y., & Chan, K. (2002). Gender portrayal in Hong Kong and Korean children's TV commercials: A cross‐cultural comparison. Asian Journal of Communication, 12, 100 - 119.
    https://doi.org/10.1080/01292980209364825.
    Morley, D. (1992). Television, Audiences and Cultural Studies. London; New York: Routledge.
    Murray, S., & Ouellette, L. (2009). Reality TV: Remaking television culture. NYU Press
    Netflix, Inc. (n.d.). Top 10 Most Popular Shows on Netflix Right Now in South Korea. Netflix TUDUM. https://www.netflix.com/tudum/top10/south-korea/tv?week=2023-06-11
    Park, J. S. (2023, June 5). 넷플릭스 '사이렌: 불의 섬', 심상치 않은 입소문. JTBC News. https://news.jtbc.co.kr/article/NB12129335
    Pouliot, L., & Cowen, P. S. (2007). Does perceived reality really matter in media effects? Media Psychology, 9, 241-259.
    https://doi.org/10.1080/15213260701285819
    Rošker, J.S. (2021). Female Philosophers in Contemporary Taiwan and the Problem of Women in Chinese Thought. Cambridge Scholars Publishing.
    Ryan, M.-L. (1991). Possible worlds, artificial intelligence, and narrative theory. Indiana University Press.
    Smart, C. (1989). Feminism and the power of law. London: Routledge.
    Smith, S. L., Pieper, K., Wheeler, S., & Neff, K. (2023). Inclusion in Netflix Original U.S. scripted series & films. USC Annenberg Inclusion Initiative. https://assets.ctfassets.net/4cd45et68cgf/ZqADnKYzRH6qMnbcNOdQW/458a4af511bb352
    Sternberg, M. (2010). Narrativity: From objectivist to functional paradigm. Poetics Today, 31(3), 507-659.
    Strauss, A., & Corbin, J. M. (1990). Basics of qualitative research: Grounded theory procedures and techniques. Sage Publications, Inc.
    Taiwan Creative Content Agency (2024, August). 2023年臺灣文化內容消費趨勢調查報告 [2023 Taiwan cultural content consumption trends survey report]. https://research.taicca.tw/static/trend_consumer
    Tsai, C. T. (2008). The Women’s Movement and Women’s Leisure in Taiwan, World
    Leisure Journal, 50:1, 70-78 https://doi.org/10.1080/04419057.2008.9674528
    Thornham, S. (2007). Women, feminism and the media. Edinburgh: Edinburgh University Press.
    Wang, H. L. (2009). The impact of foreign programs on Taiwanese youth and the significant role of media education. Asian Culture and History, 1(2), 161-169. http://dx.doi.org/10.5539/ach.v1n2p161
    Watkins, S. C., & Emerson, R. A. (2000). Feminist media criticism and feminist media practices. The ANNALS of the American Academy of Political and Social Science, 571(1), 151-166. https://doi.org/10.1177/000271620057100111
    West, C. & Zimmerman, D. H. (1987). Doing gender. Gender & Society, 1, 125-151. https://doi.org/10.1177/0891243287001002002
    Yang, F. C. (2004). “International Women’s Magazines and the Production of Sexuality in Taiwan.” The Journal of Popular Culture. 37 (3): 505530.
    https://doi.org/10.1111/j.0022-3840.2004.00083.x
    Yoon, H. (2023, January 14). The rise of the K-drama heroine. CNN.
    https://edition.cnn.com/style/article/korean-dramas-changing-representation-women

    QR CODE
    :::