The Tripartite Collusion: A CDA of the Commodification of Feminism in Weibo’s SFL Discourse
Research Article
Open Access
CC BY

The Tripartite Collusion: A CDA of the Commodification of Feminism in Weibo’s SFL Discourse

Yujie Yan 1*
1 The University of Nottingham Ningbo China
*Corresponding author: yujiecookie125@163.com
Published on 14 October 2025
Journal Cover
LNEP Vol.126
ISSN (Print): 2753-7056
ISSN (Online): 2753-7048
ISBN (Print): 978-1-80590-327-7
ISBN (Online): 978-1-80590-328-4
Download Cover

Abstract

As 'Strong Female Lead’ (SFL) narratives gain mainstream popularity, related discussions have become a significant arena for gender studies. However, the underlying power dynamics shaping these conversations remain underexplored. Employing Critical Discourse Analysis (CDA), this study investigates the nature of the discourse surrounding SFL dramas on the Chinese social media platform Weibo, and systematically analyzes 100 popular posts related to 'SFL dramas’ on it. The findings reveal that this discursive field is not a bottom-up, grassroots feminist practice but is predominantly led by commercialized key opinion leaders. A tripartite collusion of algorithms, capital, and fan culture politics profoundly shapes the construction of this discourse. The ultimate effect of this collusion is the 're-disciplining’ and commodification of the potentially subversive issue of women’s empowerment into a controllable and marketable product. This study highlights the critical role of platform technology in shaping contemporary gender discourse and offers a critical reflection on the commodification of feminist narratives in the social media era.

Keywords:

SFL Dramas, Weibo, CDA, Fandom Industry, Gendered Consumerism

View PDF
Yan,Y. (2025). The Tripartite Collusion: A CDA of the Commodification of Feminism in Weibo’s SFL Discourse. Lecture Notes in Education Psychology and Public Media,126,24-32.

References

[1]. Özkan, D., & Hardt, D. (2020). The strong female lead: Postfeminist representation of women and femininity in netflix shows. Female Agencies and Subjectivities in Film and Television, 165–187. https: //doi.org/10.1007/978-3-030-56100-0_10

[2]. Jiang, R. (2022). A study on female images in contemporary Chinese female TV dramas: Based on China TV dramas from 2003 to 2021. Proceedings of the 2nd International Conference on New Media Development and Modernized Education, 473–480. https: //doi.org/10.5220/0011914000003613

[3]. Shi, M., Deenerwan, M., & Raja Hadayadanin, R. F. (2025). Female images in Chinese films: Passivity, seduction, and resistance through the male gaze. Cogent Arts & Humanities, 12(1). https: //doi.org/10.1080/23311983.2025.2472535

[4]. Zhang, X., & Su, C. (2021). Transnational Media Consumption Dissonance and ambivalent sexism: How American and Korean television drama consumption shapes Chinese audiences’ gender-role values. International Communication Gazette, 83(5), 428–450. https: //doi.org/10.1177/17480485211029020

[5]. Hu, Y., & Gu, Y. (2023). Television, women, and self-objectification: Examining the relationship between the consumption of female TV dramas and sexism, the internalization of beauty ideals, and body surveillance in China. Global Media and China, 8(2), 174–189. https: //doi.org/10.1177/20594364231180327

[6]. Zheng, S., & Xu, M. (2022). From leftover women to cuihun – audience reception of TV representation on marriageable single women in China. Feminist Media Studies, 22(5), 1282–1286. https: //doi.org/10.1080/14680777.2022.2077796

[7]. Chen, Y. (2008). From ideal women to women’s ideal: Evolution of the female image in Chinese feature films, 1949–2000. Asian Journal of Women’s Studies, 14(3), 97–129. https: //doi.org/10.1080/12259276.2008.11666052

[8]. Guocong, L. (2014). Female Identity Crisis under the Perspective of Consumerism: Examples of “Female Spies” in Spy War Series. Cross-Cultural Communication, 10(4), 172.

[9]. Liao, S., & Ling, Q. (2024). Streaming feminism: Women-centered net dramas, global television culture, and feminist textual possibilities. Television & New Media, 26(3), 318–335. https: //doi.org/10.1177/15274764241271112

[10]. Hu, T., & Cai, J. (2024). Powerful or powerless? women’s power levels in contemporary Chinese films. Sage Open, 14(2). https: //doi.org/10.1177/21582440241253641

[11]. Peng, A. (2019). Neoliberal feminism, gender relations, and a feminized male ideal in China: A critical discourse analysis of mimeng’s WeChat posts. Feminist Media Studies, 21(1), 115–131. https: //doi.org/10.1080/14680777.2019.1653350

[12]. Foucault, M. (1990). The history of sexuality. (Vol. 1). Vintage.

[13]. Abu-Lughod, L. (1990). The romance of resistance: Tracing transformations of power through Bedouin women. American Ethnologist, 17(1), 41–55. https: //doi.org/10.1525/ae.1990.17.1.02a00030.

Cite this article

Yan,Y. (2025). The Tripartite Collusion: A CDA of the Commodification of Feminism in Weibo’s SFL Discourse. Lecture Notes in Education Psychology and Public Media,126,24-32.

Data availability

The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.

About volume

Volume title: Proceeding of ICIHCS 2025 Symposium: Integration & Boundaries: Humanities/Arts, Technology and Communication

ISBN: 978-1-80590-327-7(Print) / 978-1-80590-328-4(Online)
Editor: Enrique Mallen
Conference date: 21 October 2025
Series: Lecture Notes in Education Psychology and Public Media
Volume number: Vol.126
ISSN: 2753-7048(Print) / 2753-7056(Online)