The Film and Television Production of "Feminist Fallacy": The Singularity of Feminist Narratives

Abstract

In an environment where feminist ideas are gaining ground, the emergence of "Feminist fallacy" in the film and television industry has raised people concerns. The research paper select Hua Mulan, Wonder Woman 1984 and Black Widow as explication cases, and applies textual analysis and case study methods to study the performance characteristics of the narrative single-mindedness in these three films. The results of the research illustrate that this type of audio-visual work often limits the definition of feminism to empty slogans, simplifies the development of female sexuality, avoids the reality of tackling structural oppression of gender, and compresses the success of women into the restricted categories of personal heroism, family or family reconciliation. Namely, these kinds of works still advance under the patriarchal logic and commercial logic of the first birth. In the research conclusions on this question, the "Feminist fallacy" eastcribed here is practically a question of tactics and the commercial exploitation of feminism by capital. In the context of problems raised here, the creators of film and television works should fully consider various aspects of female perception, criticize the problems of women in society, and establish narratives in which genuinely critical social transformation takes place. The present study gives not only to spectators the means to discover the true nature of "Feminist fallacy" in audio-visual works, but also a theoretical basis for the building up of genuinely feminist narratives in the sphere of media production.