Divergent staging of East Asian patriarchy within the Confucian order in Taiwan’s transnational television drama co-productions
Bibliographic Data
| ID | 12343232 |
|---|---|
| Authors | Jocelyn Yi-Hsuan Lai (0000-0001-8537-7875, Fu Jen Catholic University, corresponding author) |
| Year | 2020 |
| Volume | 34 |
| Issue | 5 |
| Pages | 651-664 |
| Publication date | 2020-09-02 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Continuum (JOURNAL) |
| Journal identifiers | ISSN: 1030-4312 • E-ISSN: 1469-3666 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/10304312.2020.1812215 |
| OpenAlex | W3084104329 |
| Language | EN |
| Citations received | 4 |
| References cited | 19 |
Using Letter 1949 (2009, hereafter Letter) and Fathers Don’t Like Each Other (2011, hereafter Fathers) as case studies, this article explores the contrasting presentations of capitalist patriarchy in the otherwise young-women oriented Taiwanese television dramas that collaborated with China. Their narratives bear marks of the larger Cross-Straits contestations. China’s dominant narrative of capitalist patriarchy traditionalized as Confucian paternalism, shared by Taiwan’s Chinese Nationalist Party (KMT), is seen in Fathers; and the post-authoritarian, democratic, non-official narrative in Letter. The exemplary person (junzi) is illusive in Letter, yet ideally illustrated in Fathers aligning with state ideologies of China and the KMT
Art · Asian values · Authoritarianism · China · Democracy · Drama · Human rights · Ideology · Literature · Narrative · Nationalism · Paternalism · Patriarchy · Political science · Sociology · Asian Culture and Media Studies · Gender Studies · Hong Kong and Taiwan Politics · Japanese History and Culture · Law
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| Unique citing works | 4 |
|---|---|
| Citations per year | 1,33 |
| Citation span | 2023 - 2026 (4) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 4 |