Demonstrates deep understanding of relevant concepts and wider theoretical context to address the assignment. Work shows excellent understanding of relevant readings with a wide and diverse range of relevant literature beyond the core readings.

Requirements: 8000words

The MA dissertation has a word count of 8,000 (+/- 10%).

In short, dissertation chapters would typically then follow this structure: 1. Introduction, 2.Literature Review, 3. Research Methods, 4 – 6. Findings/Analysis (typically 3 sections),7. Conclusion.

Paper requirements：

Demonstrates deep understanding of relevant concepts and wider theoretical context to address the assignment. Work shows excellent understanding of relevant readings with a wide and diverse range of relevant literature beyond the core readings.

Develops excellent lines of argument to address the assignment with each developed in a cogent and persuasive manner. Shows

excellent engagement in interpreting, analysing and evaluating source material, data and evidence.as required. Demonstrates judicious use of source material, data and other types of evidence to support arguments with some individuality.

The assignment is comprehensible with accurate and skilful use of language. Word-choice and grammar are appropriate, effective and

skilful. In-text citation and referencing are entirely complete and accurate and consistent.

If required the assignment demonstrates excellent delivery of visual/audio aids to address the task with individuality. The assignment is coherent and well structured. The requirements of the assignment have been met well with some individuality.

Paper structure：

Abstract: c.150 words: this sets out in summary what the research is about, what you did and what your key findings / arguments are. This should not include citations. 

Table of contents: this should give the names and page numbers of the different sections and sub-sections of your dissertation

Introduction: c. 500 words. This is where you set out what your research is about, including any necessary background to set the scene and to explain to your reader what you are researching. This should also include your key findings / arguments in summary, and a brief description of the structure of the dissertation. 

Literature review: c. 2-3000 words. In this section, you locate your research in the relevant bodies of literature. This will provide the intellectual context for your research. 

Methodology: c. 500-1000 words. The length of this section will depend on the complexity of your research methodology. The key function of this section is to explain what you did and why in the conducting of the research. 

Findings/Analysis : c. 2500-3000. This might be a single chapter divided into section (typically 3 sections) , or more than one chapter addressing different aspects of your analysis. 

Conclusion: c. 500. In this final section, you show how you have answered your research questions. This section should contain no new material. 

List of references. In this section, you list every source that you have cited in your dissertation. It should not contain sources that you have not cited and all cited sources must be included, with full bibliographic information. 

Appendices. Appendices can be used to include information that is not essential to the reader in terms of making sense of the dissertation, but which is additional to it and for reference only. For example, you might include a copy of your particiipant information sheet, your participant consent form and an interview protocol or list of survey questions. 

Content Overview

Music plays a pivotal role in society. As well as adding entertainment value, music can be a valuable medium for artists to promote certain values, beliefs and practices to the public or to influence them and society at large on various challenges. the growing popularity of K-pop (short for Korean pop music) is at the centre of this Korean wave that seeks to take over global pop culture. He has a unique mix of appealing and addictive melodies, creative choreography and production values. Many K-pop icons, both as individuals and in girl and boy groups, have become quite popular not only in Korea, but throughout Asia and the world. Many K-pop groups, especially girl groups, are using their fame and influence to promote feminist ideals (Phillips and Baudinette, 2022). This, coupled with the global acknowledgement of gender inequality, has attracted many young people across the globe.

An example of a research question I will answer through a media analysis of K-pop lyrics, videos and production values is – to what extent is feminist discourse reproduced through K-pop music.

I attempt to use theories of textual analysis and symbolic studies to analyse media texts such as the musical works of girl groups and their music video images and lyrics. You can use the Korean girl group BLACK PINK, which is popular around the world, as an example. I also want to attempt a qualitative analysis by investigating data on fan comments and interactions on platforms such as instagram and twitter. Through these analyses I have attempted to demonstrate the contribution of k-pop to the emergence of feminist.

The attachment includes the high scoring sample text provided by the teacher, which can be used as a reference. The attachment also includes the citation format of the literature. Please provide at least 30 citations for the entire paper.

This paper is very important to me. Please help me, thank you a lot.

1 University of Leeds SCHOOL OF SOCIOLOGY AND SOCIAL POLICY Online Submission of Assessed Work Student ID number Degree programme MA Society Culture and Media Module code SLSP5400M Module title Dissertation Essay Title How does the 2017 reversion of If You Are the One reflects Chinese gender inequality, love in modernity and postfeminism? Word count 8242

Abstract In the 21st century of supreme entertainment, reality television is undoubtedly one of the most typical and important forms, its expression form and the popular culture conveyed also imply a country’s current social concepts. Since 2010, If You Are the One, the most popular dating reality show, dominates Chinese dating programs for a decade. It has always been the social topic maker, in which the social reality reflected by contestants has aroused wide society attention and scholars’ strong interest. As time passed, the fading popularity of If You Are the One led to dramatic drop in the number of related studies, while the popular culture reflecting on the program changed continuously over the years. In order to fill the time gap in relevant study development and make further exploration, this article will reveal how does 2017 reversion of If You Are the One reflects contemporary Chinese society situation from the perspective of sociology, including three aspects: 1. Gender inequality of women in age

3 and family responsibilities 2. Modernity and social capital importance in contemporary intimate relationships 3. Postfeminism under patriarchal privilege.

4 Content Introduction ……………………………………………………………………………………………………….. 4 Literature Review ………………………………………………………………………………………………. 7 1 Reality TV and dating reality show in China …………………………………………………… 7 2 If You Are the One …………………………………………………………………………………………… 9 3 My research …………………………………………………………………………………………………… 12 Methodology ………………………………………………………………………………………………………. 15 Analysis ……………………………………………………………………………………………………………. 17 1 Gender inequality ………………………………………………………………………………………….. 17 1.1 ‘Sheng Nv’ dilemma ……………………………………………………………………………… 17 1.2 Family responsbility for only female ……………………………………………………. 18 2 Love in modernity …………………………………………………………………………………………. 21 3 Postfeminism ………………………………………………………………………………………………… 25 3.1 Male gaze, women objectify and male choice ………………………………………………… 26 3.2 Female appearance and patriarchal taste ……………………………………………. 28 Conclusion……………………………………………………………………………………………………….. 32 References ……………………………………………………………………………………………………….. 35

5 Introduction With the popularization and development of TV and Internet, reality show has gradually become an indispensable entertainment form. Since 2000, reality television (RTV) has grown in popularity and maturity as a type of television program and developed more categories and systems. Their global success has also made relevant international cooperation and export a profitable business. In different countries, variety of reality shows, especially those introduced copyright from foreign countries, show the localization trend of international format, reflecting the conflict and integration between exoteric globalization value and local traditional culture. Dating reality shows especially represent their country’s contemporary marriage concept, which involves divergence and compromise between traditional culture and modern global thoughts, particularly expressing young middle-class standards and social values (Lewis, 2017), and also exposed problems in a country’s development process. As sociological thinking regards romantic heterosexuality as a way to understand modernity (Illouz, 2013), dating reality shows, as a showcase to promote and reflect ideal lifestyle and identity, represent a state’s current hegemonic culture (Lewis, 2017). Dating RTV evolution reflects not only the shifts of audience preferences, but also broader changes in society, gender relations, media regulation, and values and identities across generations. The initiate and improvement process of Chinese dating reality show reflects how it promotes the dating culture development by innovating a form based on tradition. Since the birth of the first dating show The Red Bride (1988), the most famous and longest-running show If You Are the One (abbreviated as IYAO), has undoubtedly become synonymous with Chinese dating reality shows. As a localized reality show of the imported British RTV Take Me Out, IYAO has dominated the dating shows’ deserved champion for a decade, its

6 successful and controversial traditional pattern aroused different analysis from different perspectives from both domestic and foreign scholars. Looking through related studies, its novelty form, popularity reason, the social relationship and the realistic problems it contains have all experienced scholars’ exploration and survey. Time flies, the popularity of mobile Internet and the booming development of RTV have gradually stolen IYAO’s past glory away. IYAO faded out of audiences’ sight in recent years, even though it is still the most famous and top-rated dating reality show. In response, the number of related academic analyses has also fallen sharply. Mindfully, on 13th May 2017, If You Are the One made its most radical overhaul since its debut on 15th January 2010, refreshing everything from its rules to the stage decoration. During the neglected years, the concepts and values conveyed by IYAO have been changing silently, which are inseparable from the current Chinese society. Therefore, this dissertation aims to examine how IYAO 2017 reversion reflects current Chinese social realities from a sociological perspective, including gender inequality, modernity in intimate relationships, and postfeminism. This paper is not only a further expansion of the existed sociological IYAO research but also a time gap-filling in relevant study development. This paper starts with a literature review, exploring the general situation of reality shows and the Chinese dating reality shows development history as the background, draws out the existing research on If you Are the One and determines the particularity and significance of this study. Secondly, explain the reasons for using critical discourse analysis and visual analysis as the research method, as well as specific implementation steps. Then, sociological analysis is carried out in combination with the 2017 reversion of If You Are the One from three aspects: 1. Gender inequality of women in age and family responsibilities; 2. Modernity in intimate relationships, including the importance of social capital and the significance of failed marriage; 3. Patriarchal privilege which against postfeminism reflects on both male aesthetics on female appearance, and male choice. Finally, concludes contemporary Chinese

7 situation by gender inequality, love in modernity and post-feminism reflected in IYAO 2017 version, and highlights media’s potential social role.

8 Literature Review 1 Reality TV and dating reality show in China Holliday (2020) believes that neoliberalism promotes not only new TV genres but also new TV content and communication methods. Reality TV shows the daily characters overcoming their personal shortcomings and changing themselves in intimate relationship or family background. Ouellette (2014) defined reality show as “hybrid ‘reality entertainment’ programs that combined the factual conventions of journalism, observational documentary, and video diaries with the plot elements and entertainment appeals of soap operas, sitcoms, dramas, and game shows.”（2014:1） Misha Kavka (2012) believes that RTV not only enables people to realize self-improvement through transformation but also provides audience with the characters’ experiences and their emotions from their failure and success. Social Cognitive Theory (Bandura, 1986) argues that TV models can instruct or remind audiences of appropriate norms or standards of personal behavior in specific situation. People are not only contents’ passive viewers but also cognitive consumers who reflect, regulate, and indirectly learn the content of TV programs (Bandura, 2001). According to Foucault (2010), the reality show completes the government transformation from “Sovereign state” to “Technology of biopower”, it enables individuals to reshape themselves to achieve governance by forcefully spreading the value of national interests. Lewis (2017) believes that RTV as the main stage to advertise and embody ideal lifestyle and identity represents the state’s current hegemonic culture. RTV evolution reflects not only changes in audience preferences but also broader society, gender relations, media regulation, social values, and identity changes.

9 Sociological thoughts tend to regard romance as a condition constituted by social relation events rather than natural human expression (Foucault, 1979; Giddens, 1992; Luhmann, 1998). Illouz (2013) believed that romantic heterosexuality provides people with an opportunity to understand the modernity process. In her research on Indian dating reality shows, Lewis (2017) explains how Indian media culture participates in and promotes sexualized individualism and social changes between modern and traditional societies. In the context of traditional family, religion and caste which dominated India (Ganguly-Scrase and Scrase, 2009), romantic love and marriage from dating reality shows an ideal state of liberalization as well as the fusion of new and old concepts of “modernity”. Such programs reflect the new middle-class anxiety over the “double entanglement” of the risks and contradictions between modernity and tradition (McRobbie, 2004) and the tension between parents and young people caused by cultural transformation, and also, provide a possible compromise solution (Lewis et al., 2016). The situation Lewis illustrates is also inevitable in China, a traditional Asian country. The creation and improvement process of Chinese dating reality shows promotes the development of the inherent dating culture by improving the tradition. In Chinese tradition, unfamiliar males and females are connected by “matchmakers” due to their similar family situation or prominent advantages and disadvantages and combined their families without feelings, as “blind date”— until modern China. Nowadays, numbers of elder parents still wondering in parks, exchanging information with other parents or looking forward to their children’s future partners with their children’s photos and printed conditions, which called “white-haired matchmaking” (Sun, 2012). For traditional blind dating culture, dating shows are more likely an innovation than a challenge. Generally, Chinese dating reality show first appeared as personal matchmaking stage in the late 1980s. The first Chinese dating show The

10 Red Bride (1988) reflects the beginning of Chinese ruling minds’ opening, it paved the way to a new dating shows generation. After the 1990s, rapid marketization enabled Chinese media to works as an entertainment platform and evolved singles to show their talents and communicate (Wang, 2017), but their popularity was overshadowed by other competition shows. In 2010, reshaped dating reality show took back the market and created a new situation of mass consumption dating programs of 21st century: it both serves as a new form of traditional matchmaking and arouses intense discussions among audiences about love concepts and social changes. This situation brings focus to If You Are the One— Chinese most famous and popular dating reality show recommended with both praise and criticism, which is unavoidable to Chinese both RTV and dating programs. 2 If You Are the One Inspired by the British dating reality show Take Me Out, If You Are the One premiered in 2010 and suddenly became Chinese’ most well-known and high-rated entertainment program (CSM Media Research, 2011). It represents China’s new era of modernization and globalization: the combination of traditional and modern music, fashion clothing and advanced styling, the support of dating websites and advertisers, freely expression of marriage and love. Whilst, IYAO success for not only its modern match-making mode but also its related intense public debate of sensitive and critical social and moral issues. It highlights China’s growing cosmopolitan identity and the tribute to the past by tying traditional, iconoclastic and modern values together. For reasons above, If You Are the One achieved dating reality shows’ top glory and confirmed its dominant position among similar programs: it reached Chinese highest audience rating in few weeks since its premiere on January 15th, 2010 (CSM Media Research, 2011) and inspired dozens of similar dating show, initiated the ‘era of TV dating shows’ in China’s television industry

11 (Sohu, 2011). Every word and action of IYAO is closely watched by fan clubs; newspapers offer columns for its latest news; local television station even launched its behind-the-scenes shows. Besides, its popularity made several contestants classified as celebrities by Baidu Encyclopedia, some even developed to real star influenced by the IYAO heat. Such a representative program immediately aroused strong interest and high attention of scholars from various areas, both inside and outside China. Scholars studied If You Are the One from different perspectives for its phenomenal representation of Chinese society. Some noticed its novel form: Zhao and Zhang (2011) summarized the innovation of the Chinese dating show through IYAO; Han (2011) also focused on the modern form which brings dating shows popular again; Chen and Song (2010) search for its successful elements from the perspective of commercial packaging and positioning. More scholars noticed the relationship between the show and Chinese society, assume IYAO’s popularity reflects the changes in audience preferences and current social situation. Connected to the overall social environment, Li (2010) and Wang (2011) analyzed the current Chinese situation from the show’s popularity; Zhan (2010) criticized the superficial form of entertainment and blamed the commercialized and vulgar environment; Feng (2011) got the result of the mutual promotion of mass culture and postmodernism; Xu (2010) argues entertainment culture caters to the aesthetic trend of mass culture in the post-modern consumer society, while Yv (2011) focused on the social responsibility of TV media that assumes and proposes the values of reality show screening and controlling its communication; Han (2010) attributed IYAO’s influence to meeting audience demand and public expectation. To specific social problems, Kong (2013) believed IYAO creates Chinese urban youth space of lifestyle communicating; Wu (2012) discussed how women interact with freedom and constraint in modern society; Li (2015) examined gender politics in contemporary China through female performance. Approached to the consensus of Lewis’s Indian reality shows

12 research, China, an Asian country with thousand years history and tradition, also emerges middle-class marriage and love anxiety (Sun, 2014) by the interacts between global pattern and Chinese traditional norms. Wei and Zhen (2015) analyzed its stage arrangement and potential rules, concluded the social pressure of unmarried older women in contemporary China and the role of post-socialist media in the patriarchal society. Their study examines the creation and dissemination of new labels, metaphors and descriptions, which have penetrated into Chinese neoliberal media discourse and formed a new force of gender and class inequality. They argued the dating shows’ success in capitalist market ar accompanied by the spread of gender and class asymmetry and prejudice, media plays a complicit role in weakening women’s resistance to new male privilege. Chen (2017) analyzed IYAO’s masculinity transformation from its discourse, public discussion, and the changes after government regulation, explained the mutual influence and restriction between market operation and political control in Chinese media. He contrasts the transformations with patriarchal shaping: before the rectification, IYAO used conflicts and contradictions to attract social attention by mean speeches or the misleading edition, anti-normal values especially the explicit economic desire, cause fierce social debate about whether this concept is distorted or reflects the reality. Cars, houses and wealth are highlighted as men’s responsibilities and women’s legitimate needs. The heated argument made government regulate reality show policies, IYAO was forced to make a series of changes: invite a communist party member as commentator and a talent performance part to replace the over-hyped economical conditions. It subsequently portrayed male participants as romantic and positive people, hiding material descriptions behind the definitions like ‘dream’ or ’success’. Meanwhile, the representative characteristics of centered female participants (who have more attention and opportunities) transformed from controversial beauties into well-educated or economically independent women, as the modern ideal pattern— which reveals the media role of expressing national values.

13 3 My research A decade past since IYAO first broadcasted, television and other traditional media have been acutely impacted by the rise and prosperity of mobile internet which brought China into online epoch. Responding to television industry lapsing and the entertainment supremacy, multiplied number and types of reality shows emerged to attract the audience’s attention. Even though If You Are the One kept its first-rating and the biggest fame, it has lost its popularity and past glory, gradually fading out of people’s sight— relevant studies declined sharply, most literature mentioned above was published around 2010, when IYAO dominant. To alleviate this crisis, on May 13th 2017, IYAO finish its most radical transformation since its January 15th 2010 premiere: the viewing experience, broadcasting purpose and program effect have changed significantly by its changes from rules to stage decoration. Without any policies and regulations influence, If You Are the One 2017 almost completely overturned its previous rules, the commentator (called ‘love guide’) and even the stage has been replaced. Firstly, the four communication and mutual selection steps had increased to six. The most shocking change is male participants have a new right to choose their interested female through image and temperament without revealing themselves appearance in the first round, on the contrary of the past female choice. It claims the interweaving of communication and selection balances the gender choice. Secondly, it invited Zhenyu Jiang, a psychologist who analyzes male personality through their choices and gives reliable guidance as the “love guide”. Jiang calls himself “straight man”: a male who represents the aesthetics and values of traditional patriarchal society. To balance the suspicion of paternal hegemony, IYAO then invites Lan Huang, a successful TV director who is also a single mother (representing feminism and independence) in October 2018, as the second guide. The subversive changes of controversial rules and guest invitations embodied IYAO’s efforts and ambitions to attract social attention and market recognition again.

14 During the years neglected by scholars, the concept and value IYAO advocated have been constantly and silently changing by the Chinese social situation. Officially redefined as a “large service offering program”, IYAO propagandizing governmental moral and gender norms under state regulatory (Wei& Zhen, 2015). Xu (2010) defined it as an “arena of social phenomenon” which maintains the blind date function, it also provides cruel and exaggerated fun of “consumption, projection and participation” and fierce fight between genders, social status, family relationship, age and other realistic problems. From the perspective of sociology, IYAO contributes to audiences’ rethink of themselves and their environment: including Chinese television industry and the society— it explores contemporary values of marriage and family beyond the boundaries of ’blind date’ and ‘reality show’. IYAO also presents current practical problems: the pursued self-realization, material worship, social capital and urban-rural differences; traditional issues such as family conditions, premarital property and the conflict between mother-in-law and daughter-in-law… have been given their modern importance and meaning. As a typical program of the new era, IYAO reveals the conflict between modernity and traditional values, causing people’s reflection and transformation in the process of modernization. To sum up, IYAO 2017 is obviously different from the previous version in terms of timeliness and rules, it reflects contemporary Chinese mainstream values that gradually occupying society. This article aims to sociologically explore how the 2017 reversion of If You Are the One embodies Chinese social realities, including gender inequality, love in modernity, and post-feminism. It not only makes the further expansion of previous IYAO sociological research but also fills the time gap in relevant study development.

15 Methodology According to the object and purpose of this study, critical discourse analysis and visual analysis will be used in combination as the research method. Discourse analysis is a common inquiry method in sociology, which includes a series of interdisciplinary methods. Social and cultural background is especially valued in order to connect text context with language power ideology (Jørgensen and Phillips, 2002), therefore, discourse analysis is widely used in modern studies. Foucault (1970) argued that discourse is the constructive means of social relations, knowledge and power. As a branch of discourse analysis, critical discourse analysis (CDA) regards language as a form of social practice to explore how linguistic texts and discourse reproduce social and political dominance (Wodak and Meyer, 2001; Fairclough and Hole, 1995; Fairclough and Wodak 1997). Lazar proposed that CDA highlights the complex ways of harmonic power relations generated, negotiated and challenge in different contexts and communities (2007). Huckin (2002) also believed CDA’s context-sensitive form combines “discursive practices, intertextual relations, and sociocultural factors” (157), which helps to reveal and clarify what media “simultaneously conceal and disseminate” (163). Therefore, in this analysis, CDA is helpful to explore the present media discourse forms of disseminating social values and national consciousness in China’s post-socialist system. As Lazar (2005) believed that joint critical discourse analysis with other semiotic modalities (such as visual images, layout and sound) can achieve enriched and insightful analysis, discourse analysis can supplement by visual analysis out of spoken word while analyzing visual systems (Mills, 1997). Visual analysis helps to construct realities through the “socially produced words, colour, gesture, music or fashion” (Branston& Strafford, 2002, p.9), thus media becomes communication channel that builds the world image, namely

16 “window on the world” (2002, p.12). To understand the construction of images, representations and meanings within media, visual analysis has the outstanding function of identifying and exposing male privileges through female characteristics supervision (Huckin, 2002). Consequently, it fits the analysis object reality show If you Are the One, its rationality will be embodied in the program’s discourse, sound effect, scene and other media discourse in the following analysis. Since it focuses on the new IYAO version, the author made a general overview from its first change on May 13th 2017 to the latest series, carefully selected the most representative case for each argument. In addition to ordinary event exposition and character speech, the material also involves sound effects, camera clips, live arrangements and other program details, so as to reveal the value representation in media discourse more comprehensively and vividly. The author attempted to combine these elements with Chinese cultural background and social context in which the study embedded, so as to explore how does IYAO contestants, love guides, host and the program production section express and spread gender inequality, modernity in intimate relationship and feminism in contemporary post-socialist China. To sum up, critical discourse analysis combined with visual analysis seems to be the most appropriate and comprehensive method to analyze reality show IYAO. This method can not only reflect the cultural background which value expression embedded but also suitable for exploring how reality TV (as a media form) express and spread social norms and national thoughts by structuring media discourse, which is the exact purpose of this dissertation. Specifically, this paper will analyze the speech, program rules, sound effects, scene clips and other elements of If You Are the One by combining the contemporary social environment and traditional cultural background of China.

17 Analysis 1 Gender inequality 1.1 ‘Sheng Nv’ dilemma In 2007, the Ministry of Education added the word ‘Sheng Nv’ (leftover women) into the official vocabulary (Fincher, 2012), which was defined by the All-China Women’s Federation as unmarried women over the age of 27. As important state organizations representing Chinese political thought, this action represents a flagrant violation of the long-term mission of propagating gender equality (Wei &Zhen, 2015). Although the Chinese men proportion is significantly higher, women are disadvantaged in the marriage market for their obvious more urgent deadline of finding a spouse than men: the ideal age of women marry is 25-28, drops sharply after 30, while men can escape the pressure of reproductive exhaustion until 40 (Gaetano, 2009). This gender inequality in marriage market further intensified ‘Sheng Nv’ dilemma and exacerbates the blame of them: they are often speculated as unattractive or picky, thus being rebuked and restricted, and their marital situation gradually rise from a personal problem to a public focus. A woman named Jin is the most representative case that confused by ‘Sheng Nv’ dilemma, who is known for her elegant appearance, generous speech and her elder age guilt. Her well-known story is she tearfully refused a young pursuer who coming for her, concerning public discussion and his family opposition. “31 is too pathetic to be brave, I had been repeatedly rejected and harmed for that. He was too young for me to bear the pressure of public opinion.” The host agreed:

18 “An understandable choice, you are 6-years elder and his family will demand his marriage. As your relationship reaches that certain point, you cannot resist double-opposition from his family and public gaze, then your age becomes an even more serious problem.”(2016.5.28) In stark contrast, age seems never an obsession for males. While a 47-year-old young-looking male revealed his age, no lights turned off consequently, a woman even asked whether he mind a younger mother-in-law. A female confesses bluntly in the latest program: “Extraordinary men get better by age as wine does.”(2020.2.15) The seemingly exaggerated cases reflected the contemporary Chinese mate selection situation: some women prefer elder mate alike brother even father for their higher social conditions and mature personality. Socially, as time pasts, male becomes more competitive and stable by their social status and experience increased; while females lose their advantages of young appearance and the fertility condition. Under the marriage principle of men ‘marrying down’ and women ‘marrying up’ in the post-socialist era, higher status enables men superiority in their marriage relationship (Wei& Zhen, 2015). Ironically, this underlying norm put well-educated and financially affluent women to an awkward position by the conflict between their high social status and normative gender roles. Yet on IYAO, female participants as Jin, host and love mentors treat the negative definition of ‘Sheng Nv’ as an objective fact rather than an oppressive social construct, complicit in stigmatizing single women and reducing their social resistance to male privilege. 1.2 Family responsbility for only female

19 According to McRobbie (2004), single women become the irony of post-feminist emotion: “free” women are still suffered from new gender norms and inequality. In traditional Chinese culture, ‘servicing husband and raising children’ is woman’s normative duty, the top praise to a wife’s excellence is ‘up to hall, down to kitchen’ (to accomplish both social success and family responsibility). From ancient dynasty to the globalization and diversification country, females are never separated from family responsibility including housework, assisting husbands and raising children, this concept is firmly rooted in every Chinese generation’s consciousness. As Harriet Evans’ (2002) comprehensive elaboration: ‘The wife could now be variously represented as the busy professional mother, the financially comfortable domestic manager, the pretty and endlessly available companion to a busy husband, or the diligent educator of a growing child. She could now withdraw from employment to identify entirely with domestic concerns, or she could be the female strong woman who managed to combine mothering with success in public life.’ （Evans, 2002: 340） Neoliberal feminism distinguishes itself from post-feminism by supporting gender equality and woman’s power participation, but it still advocates female family responsibility within work-life balance assuming (Rottenberg, 2018). Oppositely, male domestic duty seems dispensable under strict requirements and constraints to women, men normally absent in housework. The male who participates in housework or accompanies their children are always commended as “conscientious and thoughtful”, while women do fewer chores are criticized as “lazy and irresponsible”. Doubled gender standards for domestic responsibilities have been inherited with traditional culture for thousands years, even fully reflected in modern programs like IYAO. In IYAO 2018, a man persists in choosing “household woman” resulting in females angry protest:

20 “Independent women do not serve at home but fight in society, we are modern female with our own career and life.” (2018.6.9) Unexpectedly, the love guide Huang, a successful single mother, supports him: “Some believe that modern women should only focus on career, however, independence is not contradicted with family duty. She can return to family while needed, outstanding women are able to maintain their spiritual enrichment in any condition.” （2018.6.9） The host agreed and adding: “Some feminists claim for hundred percent equal with men to show the strength and posture of women, that’s the total weak mentality. Huang stands for the most appropriate and suitable attitude of an independent and experienced women. For a self-esteem women who enables work-life balance, timely adjustment to emphasize family is the best choice for female physical and mental health, couple relationship, and even social harmony.” (2018.6.9) The men then apologized for his harsh requirements, explained his regard for family maintenance, children cultivation and his willingness to take family responsibility. It praised by the host as “a very rational and realistic attitude of young couples in facing marriage and arranging their future, which is conducive to guiding a harmony life.” Supported by the host and mentor, he dates a woman who has no objection to being a full-time housewife and leaves without female blames. In 2017’s episode 52, a woman who can’t cook and refuses to do any housework is satirized as “incapacitated” while another female was commended as “virtuous” after demonstrating her cooking skills. During years of IYAO broadcasting, several males that cover all ages and social status had indicated their preference of family-focused female— even tolerate their marriage experience or child with ex-husband. As Li (2011) points out, despite gender role redefined, motherhood is still an integral part of females, and

21 they are still expected to be “virtuous wife and loving mother”. Post-socialist China compulsive normalizes women in gender norms (Hanser, 2005). They are inevitably bound to gender roles of wife and mother and have to take relevant responsibilities, for their lifetimes. Distinctively in contrast to the mandatory requirements on females, male participants deliberately show their housework ability as an advantage to balance their common conditions. In 2017’s 41st series, an ordinary male participant matched successfully without suspense by adding cooking scene and housework sharing determination into his introducing tape, which made him “a responsible and chariness person with life enthusiasm” and “men who conscientious to a relationship”. 2 Love in modernity 2.1 Importance of social capital (both economical and cultural) Eva Illouz (2012) argues the struggle between gender identity and gender relations in love reveals the core dilemma of modernity’s institutional and cultural concerns. As Giddens (1992) claimed democratic and equal are the trend of contemporary love relationships, but Illouz put the further argument of the intermixed between emotion and market, claimed love as a deal in modern society: “Love is rational, self-interested, strategic and profit-maximizing …romantic relationships are conceived and managed in the categories of the utilitarian and instrumentalist ethos that lies at the heart of the capitalist economic system.” (Illouz, 2012:188) The post-modernism prevailing in the 1960s and 1970s China associated with consumerism to build the external atmosphere of Chinese mass culture, postmodernism subverted and destroyed the once eternal authority, everything was consumable in this process (Feng, 2011).

22 In the fast-paced modern society, “love” replaced by “marriage” for the absence of comprehensive understanding and communication, “marriage” reasonably replaced by “match of realistic conditions” for the lack of emotional foundation, so-called “matchmaking”. Therefore, marriage works as trade of social capital in current China: female appearance, character and family situation; male educational level, income, family resources… are externalized into real capital in marriage competition. In IYAO, participants display their capital possession to exchange expectations for high-quality marriage, capital which shapes a better life, such as the studying-abroad experience, property, and vehicles became their jetton to win the competition. So far, Chinese traditional love value of spiritual conjunction and romance has been eliminated, leaving instrumental ‘suitable couples’ without love. Driven by material requirements, IYAO embodies transactional characteristic— dialogue with negotiations capital matching faded the romantic atmosphere of love and intimacy, highlights the exchange of ‘appropriate’ in the marriage market. It is obvious that male participants with high educational level and social status have greater chance to match successfully, especially to win their desirable partner. Ensured by outstanding social capital, successful males tend to have broader choice than ordinary men, female participants prefer to strive for communication opportunities and keep their lights on to express the match will, which provides popular man reverse choice and chance to pursue desirable women. In the 46th issue of 2017, a man who created an education brand publicized his monthly pay of a million yuan (about 120,000 pounds) and turned all female participants’ worries and concerns about his high income into competitive advantages with logical solutions. Outstanding personal ability, excellent social status and the wise, gentle speeches won all-female favor, he creates the record for 23 remain lights in the last round. Clearly, a wide consistency of individualism, career success and the importance of self-creation can be found among post-liberalism, neoliberal or popular feminism represented by the new media (Ouellette and Hay, 2008). These qualities are clearly embodied in IYAO

23 female participants, who are exactly chosen from thousands of women to represent the Chinese modern era. The popularity of these characteristics was indeed confirmed in men’s interest and pursuit, in fact, male chose their desirable traits or prominent characteristics among eligible women. In this regard, Wen (2013) concludes those charming and outstanding women in IYAO represent “post-socialist femininities”, which reflects China’s new economic power and modernity. The absolute capital advantage fairly incarnates in intimate relationship, the importance of class, economic conditions and cultural capital is dramatic confirmed in the representative 43rd program of 2017. Male participant graduated from Yale University at only 20-years-old became a manager in Silicon Valley. Even though his image disappointed some females, his outstanding ability triggered fierce competition, the host called him a “high-end configuration in the dating market”. The intense competition result in a session extension, as almost every woman— even the normally silent one— tried to get her chance. Among competitors showing various advantages from interest, personality, appearance, family atmosphere, the same values… three women with decent career and high degree final contest through their ranking grades, awards and way admitted by school. Confident female engineer Funghi from Massachusetts Institute of Technology finally won for her elegance conversation and honored experiences: recommended and competed by elite schools every time, with scholarships and government support. Love adviser confirms his absolute initiative: “You know girls behave differently to previous shows, the choice left to be yours, just follow your preferences.” Dramatically, the “winner” Funghi rejects him for lifestyle divergence, and he had to accept another actively courting “beauty” with striking figure but average degree. After the broadcast, a number of audience claim he is too ugly to deserve the attractive woman, however, it is what she fight for, she fortunately benefited by the winners’ quit. In this exhausting battle, the economic and cultural capital power brought by social class directly deprives most woman’s qualification to participate in the competition, confirmed the unique competitiveness of

24 cultural capital and brutal class facts. From Pierre Bourdieu’s (2010) saying, objective distance without emotion is crucial to the positioning of the middle class, and only the cultural capital (symbolic capital) of the middle class is endowed with value. In addition, it confirms the triumph of cultural capital over economic capital, because it implies more personal and family strength than money, it is an advantage of equal importance to men and women. 2.2 Failed marriage experience (personal/ social failure) Marriage experience is always despise as failure for especially women in China, the analysis of this section will be interspersed in a representative case. In IYAO 2018, a handsome youth unconsciously chose a single mother as his interested female, who has good temperament and considerate personality. After heard of her marriage experience, he became anxious and hesitant, which made the single mother ashamed and tried to give up her opportunity. Love guide Jiang advised: “She is a single mother but with fair job, income and social status.” Whether in the East or the West, traditional marriage has a strong social significance of families grouped for social reasons. Unlike Giddens (1992), who claimed that advanced industrial economies society creates a more democratic, egalitarian intimate relationship, most scholars such as Mary Evans (2003), argued the personalization of modernity is destructive to positive social relationships. The mobility of the market and the “homeless” modernity characteristic make an intimate commitment to ease the dual relationship between country and the market (Beck& Beck-Gernsheim, 1995). However, the “relation” is replaced by “connection” which represents the realistic meaning, and the social bond becomes commoditized (Bauman, 2003). From this perspective, divorce may suggest a not competitive social condition: the force that drives people to intimacy also destroys intimacy.

25 At the same time, another female who attempted to speak for her were strictly refused by another adviser Huang (also a successful single mother): “To fight for love is her own choice, no one can help her— she needs no sympathy. His hesitation told his worries, he did not act even if for a relationship rather than a marriage.” Aside from materialistic reasons, the marriage experience is likely to have another special significance in China: chastity. In the last century China which did not modernize and open up internationally, people still adhere to the traditional moral concept that premarital sex is shameful, women who have lost their virginity are condemned by society as “worn shoes”. In this cultural environment, not only men mind divorced women under social pressure but women themselves isolate and despise the non-virginity women, regardless their victim identity. Although feminist like Huang supports the rights and self confidence of divorced women seeking equal love, this traditional disadvantage status of divorced women is deeply rooted. The young man finally leave alone in the sound effect of sigh: “You are exactly my type that I forgot your identity, sorry for I can’t accept a single mother in my 20s.” Meanwhile, the camera gives a discontent and disappointment expression of another female. The host summarized: “I usually hate the man give up, except special situation— we can not morally kidnapping him to chose her for the show effect or the audience expectation, it is irresponsible for him and a waste of her stage.” The camera falls on another woman whose brow furrowed with anger. Although IYAO uses anger and dissatisfaction scenes, it still support and affirm the negative attitudes about marriage experience, sound effects and emotional frames are appeal to audience emotions and foil atmosphere, disguise the strong values it embodied. The host’s speech first went along and calmed audience’s emotions, then exaggerate the rejection responsibility with seemingly fair comments, rationalizes the traditional and national negative attitude towards failed marriages by logical expression, which profoundly spreads divorce disadvantage.

26 3 Postfeminism Rosalind Gill (2007) proposed postfeminism as a distinctive sensibility consists a series of interrelated themes: “These include the notion that femininity is a bodily property; the shift from objectification to subjectification; an emphasis upon self-surveillance, monitoring and self-discipline; a focus on individualism, choice and empowerment; the dominance of a makeover paradigm; and a resurgence of ideas about natural sexual difference.”(Gill, 2007,147) Scholars such as Gill argue that post-feminism emphasizes “choice and autonomy”, the value of woman’s bodies and inner transformation, including the demand of one’s spiritual ‘upgrade’ to be “positive, confident and glowing” (Gill and Schalff, 2011). Obviously, Chinese dating reality show “If You Are the One”, which embodies modernity, runs counter to it. 3.1 Male gaze, women objectify and male choice According to IYAO’s rule of comprehensive 2017 revision, the first round of women scrutiny male by appearance, changes into males choose 24 walking up females by their image and temperament before they reveal themselves’ appearance, the chosen woman have most chance in the following communication. For such phenomenon, John Berger (Berger in Bal, 1985) argues that women are subject of man’s observation, they transform themselves into objects, especially as a visual situation. This rule fully reflects present Chinese social environment’s highly tolerant of women materialize— female participants took turns to show themselves, awaiting chosen like sushi on conveyor, even attract male attention by marketing themselves with sweet smiles and loving gestures. Laura Mulvey (2015) pointed out that traditional media texts contain three meanings of watching perspective: male director, male protagonist and male audience. Cater to male gaze, IYAO symbolic display 24 well-dressed

27 women as sexuality and imitating object: surrounded by male aesthetic, it satisfies the plot needs of general audience, meet male sexual desire and female ideal object (Zhuang, 2011). Accompanied by delightful music and cheers from the live audience, 24 single women being selected and defined one after another in the review of patriarchal aesthetics, made male contestants and audiences experience the “pleasure of the ancient emperor during beauty contest”. IYAO once won societies’ favor by “providing choice to female”, because it balances or at least moderates the female status that been observed and selected by men (Zhan, 2010). Before the change of 2017, IYAO set to magnify woman’s power and put males in female position of being examined, questioned and judged. The extremely imbalanced ratio of 1:24 made male discourse power at a disadvantage, which seemed to fight against patriarchal tradition. Through Chinese mass media image construction, women are at the edge of societies’ discourse power and lack of speak rights. Traditionally, female images are observed and evaluated as viewing objects, IYAO used to poses men on female status of being commented through appearance and temperament, which empowers female discourse and brings Chinese society positive gender significance (Zhan, 2010). John Fiske (1990) argues game shows can empower women within the female sphere of construction, IYAO show its potential to female expression and class and gender identity renegotiation, which seems to hold women a great promise. Although female appearance is still one of its highlights and female aesthetic standards have not been completely overturned, this subversive female empowerment rule against woman minority status in patriarchal system brought IYAO abundance social favor and heat. Even in such show women seemingly dominant, the actual choice belongs to men— female had only the right to know male’s information and decide whether to date him, while the man had 24 mate options! Women can only get each man’s information during the 20 minutes live, while every man has all details of 24 women— from their identity, family

28 background to personality— through registration, past programs and scene communication, to comprehensively evaluate them from different aspects (Fang, 2016). IYAO ostensibly provides women choice but actually completes the female consumption and inspection in the retrospection of male discourse. Female value needs to be confirmed by male choice and recognition, rather than reflected by their own existence. Audiences are blinded by the number and “advantaged” status of women, ignore the essence of variety male choices— this rule just increased the difficulty of male participants’ condition and ability to balance the actual inequality. The essence of IYAO is still the male-dominated commercialization women selection, patriarchal decision-making power even causes women self-objectifying competition. The female subordinate value of being watched and examined under male scrutiny is deeply rooted. Ironically, the seemingly subvert gender rights stemmed from not woman’s confidence or social acceptance, but the show stunt and female contestants’ trick for attention. 2017’s rules change completely overturned the actively attempt to gender rights inversion, brought full extent of traditional patriarchal hegemony, which burst public into heat discussion— not for the correctness of objectifying women, but for the chosen woman standard— society’s high tolerance for female objectification directly exposed female participants’ privacy to public opinion. As a program expresses the state’s moral standards, reformed IYAO avoids public opposition and successfully passes government audit, confirmed traditional patriarchy’s unshakeable dominance on both country’s will and public acceptance. 3.2 Female appearance and patriarchal taste When it comes to media feminism, the importance of personal grooming image cannot be ignored in either post-liberalism, neo-liberalism or popular feminism (Ouellette and Hay, 2008). In 2017 reversion IYAO, woman’s appearance becomes their first barrier to screen

29 them. Traditional Chinese patriarchal aesthetic favors beautiful, considerate and elegant women, as poetry phrase “the fair maiden, the noble bride” (beautiful and graceful woman should be pursued by excellent men). Followed by either traditional or modern taste, IYAO incisively and vividly reflects female appearance standards: female in long skirt or has long hair get obviously higher selected rate than those wearing pants or short hair; tall and slim women (especially with slender legs) are male first choice; fair and delicate skin is better than dark and yellowish skin; sweet smiles and positive body language are more attractive. Love guide Jiang evaluate a contestant’s taste as “classic”: “Typical ‘straight man’ (the heterosexual men with representative traditional patriarchal value and aesthetic), all his choices are tall, shaped, well-dressed dream lover template.” (2017.10.14) Among most selections, “tall and slim women with long hair” is almost the men’s favorite, tight or curvy shape and good temperament are most male contestants’ criteria, which completely conforms Chinese present popular aesthetic. On Hupu, a sports forum that authorizes on male taste, a survey reflects the popular female physical characteristics, top-ranking are “elegant temperament, good figure, good-looking face, sweet smile, and arouse male desire for protection” (Cicada, 2020). Noteworthy, IYAO actually propagandizes or intentionally guides audiences’ aesthetic to a certain extent: female participants identified as “beauty” always enter with special background music and cheers sound; while “beauties” are classified as uninterested, it accompanied by incredible sound effects or scenes of puzzled expressions from the audience, the host or love mentor. In IYAO, the patriarchal aesthetic is not only universal but even mandatory as social norms. Typically, female participant “Bai the village head” stick out for her significant gap among glamorous female contestants: nerdy thick black-framed glasses and conservative clothes, stiff and awkward steps in high heels; the regional accent and out-of-date values which seems inappropriate for a representative modern show. Her appearance has sparked a heated debate: some argue that she represents more ordinary women in reality than those

30 inauthentic high comprehensive conditioned women handpicked; others speculated her as a ploy to create conflict and attract discussion for her invisible contend qualification. Social standards demonstrate harshly: the host meanly teases even interrupts her for times; males seldom show her interest, rather chose other females who corresponds appearance, personality and conditions standards. After suffering disregard and contempt, Bai put off her heavy glasses which represents her rigorous attitude (so-called “watch clearly”), promoted her external image to patriarchal aesthetic and behaved from casual to cautious. This transformation was appreciated and glorified by the host and love advisers as “yearning and striving for love”— ironically, she has indeed rewarded for hiding real herself, her competitiveness increased and had more opportunities. McRobbie (2009) believes the “right” lifestyle depends on cultural capital which leads “good” consumption choices, beauty is more likely a capitalist or patriarchal demand instead of a personal taste. Good-looking is rather a class classification and employers’ requirement than individual choice, people lose their personal self-creation freedom. Holliday’s (2019) research confirmed these social guidelines of appearance accordingly support the expansion of beauty parlors and cosmetic surgery clinics. In contemporary China, medical beauty and cosmetic surgery clinics are rapidly increasing, related information spreading software also sprung up recently. As forward-looking industry-institute report released, Chinese 2020 medical cosmetology market scale is expected to reach 500 billion yuan (Qianzhan.com, 2019). Cosmetic surgery information platform “Xin Yang” even claims “Woman can only be completed by cosmetic surgery” as its advertisement, directly connects women’s success to the means of targeting male aesthetics in society like plastic surgery. According to those social realities, female appearance is more than a competitive advantage but a mandatory social norm in modern society under patriarchal aesthetic.

31 Conclusion According to the analysis above, Chinese women suffer from double gender inequality in terms of age and family responsibilities. Firstly, the post-socialist China’s marriage rule of “men marry down, women marry up” puts women on a comparative disadvantage marriage position, therefore numbers of well-educated and wealthy modern women get stuck for their excellence. The biological decline of fertility has made age a serious problem for women in a country that values the family successivity. Single women after marriageable age are subjected to social denigration and malicious speculation, while male age has never been treated as an issue. Secondly, women are born with their gender identities of wives and mothers in traditional Chinese culture. Even in today’s international and diversified era, female career success cannot separate them from their family responsibilities, and society has firmly confined them to traditional gender identities and norms. Men, by contrast, are praised for taking family responsibility from the loose demands. In modern intimate relations, the importance of social class and modernity can be fully reflected. In Chinese dating market represented by IYAO, individual social conditions and family resources gradually show its decisive position, replacing the sincere feelings. Intimate relationship and marriage evolved into a deal: male educational background, economic conditions and social status, female appearance, personality and family conditions. This trend confirmed Chinese society’s modernity transformation— people become selfish and value individuals, love becomes a rational, material and strategic relationship in pursuit of profit maximization. Furthermore, marriage is a spouse to especially women, because a failed marriage represents not only the broke of social docking but also a personal failure of life

32 decision. Divorce’s traditional negative nature also traps people who experienced a marriage into a predicament in contemporary dating market and society. While post-feminism advocates female rights to choose and the value of their bodies, the patriarchal privilege obviously runs counter. In IYAO and its embedded society, women are often objectified by the male gaze, and their value can only be corroborated by men’s affirmation instead of themselves. IYAO’s rule seems to empower women to decide their future, while decision and choice actually remain for men. As for women’s appearance, the patriarchal aesthetics serves as not only a standard but also a mandatory social norm. The program itself also intentionally guides audience to the social taste through its sound effects, scene editing, etc.. “Beauty” becomes a new patriarchal privilege and social norm, a requirement of cultural capital to have “good aesthetics”, rather than women’s freedom to express themselves. Therefore, it promotes the rise of cosmetic surgery industry in China both directly and mediately. To sum up, If you Are the One has succeeded in introducing a global format and creating its local significance by capitalist perspective, whilst boosted the gender inequality, class oppression and patriarchal privilege dissemination. Controlled and verified by the State Administration of Radio, Film and Television (Wong 2011), reality show has become a script to spread social norms and gender relations as a media form that reflecting and exporting the national propagated social values and morality. Antonio Gramsci expounded post-socialist countries’ subtle means of using cultural system (especially commercial media) to maintain social and political power through the transforming process to capitalist market economy (Gramsci in Forgacs, 2000), as Ibroscheva’s word “producing new masked politics of domination and subordination” (Ibroscheva, 2012, 117). Through critical discourse analysis, this paper demonstrates how contemporary media represented by IYAO convey national social norms, and how neoliberal media discourse plays its role, through authoritative

33 and ingenious speeches of hosts and guests, program rules setting, and sound effects and scene editing. Chinese transformation of new liberalism and market economy converts social class into women’s gender identity and appearance (Wei& Zhen, 2015)— corresponding to three conclusions: gender inequality of age and family responsibility, more strict class inequality for women, and the patriarchal privilege against postfeminism. Affected by both traditional culture and post-socialist system, contemporary media ostensibly exerting female initiative but actually reducing women’s resistance to new patriarchal privilege and becoming an inciting force of gender and class inequality in post-socialist China.

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41 Xu, W. 2010. “非诚勿扰”还是“非钱勿扰”—当电视沦为一场“秀”(“If You Are the One” or “If Money is the One” — When TELEVISION is a “show”). 社会观察 (Social observation), 7. Yu, Y. 2011. “新派婚恋交友节目的冷思考——以江苏卫视《非诚勿扰》为例” (Rethinking the new dating programs: a case study of “If You Are the One”). 今传媒 (Communication Today). 1, 75–76. Zhao, B.& Zhang, X. 2011. “从《非诚勿扰》看婚恋类节目的创新” (Innovation in dating programs: a case study of “If You Are the One”). 当代电视 (Televison Nowadays), 06, 34–36. Zhan, J. 2010. “谈电视节目娱乐化现象批判——以电视相亲节目为例” (A critical analysis of TV entertainment: a case study of TV dating shows). 现代视听(Modern Listening and Watching). 9, 73–75. A Zhan, N. 2010.《非诚勿扰》电视相亲节目的叙事话语分析 (Analysis of Narrative Discourse of TV Dating Program “If You Are the One”).今传媒 (Communication Today),10:78-79. Zhuang, P. 2011. 媒介景观中的浪漫絮语——对《非诚勿扰》的符号学分析 (Romantic Discourse in Media Landscape — A Semiotic Analysis of If You Are the One). 宜宾学院学报(Journal of Yibin College), 11(2), 22–24.

Harvard Quick Referencing Guide 1 Harvard Referencing Quick Guide What is referencing? Referencing is a system used in the academic community to indicate where ideas, theories, quotes, facts and any other evidence and information used to undertake an assignment, can be found. Why do I need to reference my work?  To avoid plagiarism, a form of academic theft.  Referencing your work correctly ensures that you give appropriate credit to the sources and authors that you have used to complete your assignment.  Referencing the sources that you have used for your assignment demonstrates that you have undertaken wide-ranging research in order to create your work.  Referencing your work enables the reader to consult for themselves the same materials that you used. What do I need to reference? All the information that you have used in your assignment will need to be acknowledged. It is essential to make a note of all the details of the sources that you use for your assignment as you go along. Harvard examples in this guide are based on guidance in: BRITISH STANDARDS INSTITUTE. (2010). BS ISO 690:2010. Information and documentation – Guidelines for bibliographic references and citations to information resources. Switzerland: ISO Copyright Office. NEVILLE, C. (2010) The Complete Guide to Referencing and Avoiding Plagiarism. 2nd Ed. Maidenhead: Open University Press. The basics Harvard is known as the Author & Date system: 1. Citations in the text of your assignment should be made following the in-text guidelines given in the examples on the following pages. 2. A complete list of all the citations used in your text will need to be provided at the end of your assignment. This is called your reference list or bibliography and needs to be presented in alphabetical author/originator order. Capitals: Harvard is not prescriptive about capitalisation of authors’ names in your reference list. If you do wish to use capitals, then the family/surname of authors are only capitalised in this reference list and not in the body of your work. If you prefer not to use capitals in this list, that is fine, but you must be consistent in the style you decide to use. Italics & underlining: Only the title of the source of information is italicised or underlined, but you should choose only one method throughout your assignment and stick to it! Do not use both italics and underlining. Punctuation: Harvard has no one true style of punctuation so the generally accepted rule (BS ISO 690:2010) is to be consistent with your style of punctuation throughout the whole of your assignment. Information Services Academic Skills Know-how

Harvard Quick Referencing Guide 2 How to reference sources Here are some examples of how to reference commonly used materials. If you need more guidance please look at the RefZone website: http://www.staffs.ac.uk/support_depts/infoservices/learning_support/refzone or ask the Academic Skills Tutors/Librarians for help. Type of resource Format Bibliography Example In text example Book (1 author) FAMILY/SURNAME, Initials. (Publication year in brackets) Book title – italicised or underlined. Series title and volume if applicable. Edition – if not the first. Place of publication: publisher. NEVILLE, C. (2010) The Complete Guide to Referencing and Avoiding Plagiarism. 2nd Ed. Maidenhead: Open University Press. Neville (2010) argues that… “Quotation” (Neville, 2010, p.76) Book (2 to 3 authors) FAMILY/SURNAME, Initials., FAMILY/SURNAME, Initials. and FAMILY/SURNAME, Initials. (Publication year in brackets) Book title – italicised or underlined. Series title and volume if applicable. Edition – if not the first. Place of publication: Publisher BRADBURY, I., BOYLE, J. and MORSE, A. (2002) Scientific Principles for Physical Geographers. Harlow: Prentice Hall. Note: Use either “and” or “&” between authors’ names as dictated by the book’s own presentation. Bradbury, Boyle and Morse (2002)… As noted by Bradbury, Boyle and Morse (2002) “Quotation” (Bradbury, Boyle and Morse, 2002, p.51) Book (4 or more authors) It is discretionary as to whether you list all authors and also whether you use ‘et al.’ or ‘and others’ as below: FAMILY/SURNAME, Initials. et al. or and others. (Publication year in brackets) Book title – italicised or underlined. Series title and volume if applicable. Edition – if not the first. Place of publication: Publisher. CAMPBELL, N. A. et al. (2008) Biology. 8th Ed. London: Pearson. (Campbell et al., 2008)…. “Quotation” (Campbell et al., p.76)

Harvard Quick Referencing Guide 3 Type of resource Format Bibliography Example In text example Book (Editor/s) FAMILY/SURNAME, Initials. (ed.) or (eds.) – in brackets for editor(s). (Publication year in brackets) Book title – italicised or underlined. Series title and volume if applicable. Edition – if not the first. Place of publication: Publisher. FONTANA-GIUSTI, G. (ed.) (2008) Designing Cities for People: Social, Environmental and Psychological Sustainability. London: Earthscan. (Fontana-Giusti, 2008) Chapter in an edited book FAMILY/SURNAME, Initials of the author writing the chapter. (Publication year in brackets) Title of chapter. In: FAMILY/SURNAME, Initials. of author or editor of book (ed.) or (eds.). Book title – italicised or underlined. Series title and volume if applicable. Edition – if not the first. Place of publication: Publisher. MARSHALL, W. A. (1975) The Child as a Mirror of his Brain’s Development. In SANTS, J. & BUTCHER, H. J. (eds.). Development Psychology. Aylesbury, Bucks: Hazell Watson & Viney Ltd. As noted by Marshall (1975)…. “Quotation” (Marshall, 1975, p.76) Corporate authors (groups, committees, companies) Includes publications by Government departments, Committees: COUNTRY. NAME OF ISSUING BODY. (Year of publication in brackets) Title of publication – in italics or underlined. Place of publication: Publisher. (Report Number – if applicable in brackets). GREAT BRITAIN. DEPARTMENT OF ENERGY. (1977) Tidal Power Barrages in the Severn Trent Estuary: Recent Evidence on their Feasibility. London: H. M.S. O. (Energy Papers 23) The Great Britain Department of Energy (1977) concluded that… “Quotation” (Great Britain, Department of Energy, 1977, p.12) E-Book FAMILY/SURNAME, Initials. (Publication year in brackets) Book title – italicised or underlined. [Online] Series title and volume if applicable. Edition – if not the first. Place of publication: Publisher. Available from – URL. [Accessed: date]. SADLER, P. (2003) Strategic Management. [Online] Sterling. VA Kogan Page. Available from: http://www.netlibrary.com/reader/. [Accessed: 6th May 2012]. Sadler (2003) argues that…….. “Quotation” (Sadler, 2003, p.18)

Harvard Quick Referencing Guide 4 Type of resource Format Bibliography Example In text example Films [DVD], [VHS], [Blu-ray Disc] Title – in italics or underlined. (Year of distribution in brackets) Material type. Directed by – name of director(s). [Format of source in square brackets] Place of distribution: Distribution company. Chicken Run. (2000) Animated Film. Directed by Peter Lord and Nick Park. [VHS] UK: Pathe Distribution. Requiem for a Dream. (2000) Film. Directed by Darren Aronofsky. [DVD] UK: Momentum Pictures. If you refer to a film in the body of your work, the title will need to be underlined or placed in italics: …the animation movement (Chicken Run, 2000) …this is highlighted by Harry’s character in the film Requiem for a Dream (2000). Journal article (electronic/online) If you are referencing a journal from an online database service which is password accessible only i.e. EBSCO you can shorten the URL to the home page of the database service. If you are accessing a journal article directly and for free from the internet, you will need the entire URL. Author(s) of article’s FAMILY/SURNAME, Initials. (Publication year in brackets) Title of article. Title of journal – italicised or underlined. [Online in square brackets] Name of Database the article is from if appropriate. Volume number (Part number/month in brackets). p. followed by the page numbers of the article. Available from: URL. [Accessed: followed by the date viewed in square brackets]. WILSON, J. (1995) Enter the Cyberpunk librarian: future directions in cyberspace. Library Review. [Online] Emerald Database 44 (8). p.63-72. Available from: http://www.emeraldinsight.com. [Accessed: 30th January 2012]. Wilson (1995) argues that….. “Quotation” (Wilson, 1995, p.66)

Harvard Quick Referencing Guide 5 Type of resource Format Bibliography Example In text example Journal article (printed) Author(s) of article’s FAMILY/SURNAME, Initials. (Publication year in brackets) Title of article. Title of journal – italicised or underlined. Volume number (Part number/month in brackets). p. followed by the page numbers of the article. TREFTS, K. & BLACKSEE, S. (2000) Did you hear the one about Boolean Operators? Incorporating comedy into the library induction. Reference Services Review. 28 (4). p.369-378. Trefts and Blacksee (2000) argue that…. “Quotation” (Trefts and Blacksee, 2000, p.376) Newspaper (online) Author(s) of article’s FAMILY/SURNAME, Initials. (Publication year in brackets) Title of article. Title of Newspaper – italicised or underlined. [Online in square brackets] Name of Database article is from if appropriate. Day and month of the article. Page number of the article if applicable. Available from: URL. [Accessed: followed by the date viewed in square brackets]. RANDERSON, J. (2008) Researchers find fish that can count up to four. The Guardian. [Online] 26th February. p.14. Available from: http://theguardian.co.uk. [Accessed: 22nd May 2012]. Randerson (2008) argues that….. “Quotation” (Randerson, 2008, p.14 Website Author of website FAMILY/SURNAME, Initials or WEBSITE name if no author is available. (Year – in brackets) Title of website in italics or underlined. Any numbers if necessary or available if website is part of a series. [Online in square brackets] Available from: URL. [Accessed: followed by date in square brackets]. BBC NEWS. (2008) Factory gloom worst since 1980. [Online] Available from: http://news.bbc.co.uk/1/hi/business/7681569.stm. [Accessed: 19th June 2012]. …as reported by the BBC (2008) “Quotation” (BBC, 2008) Author: Academic Skills Tutors/Librarians, Information Services Date: May 2013

Harvard Quick Referencing Guide 1 Harvard Referencing Quick Guide What is referencing? Referencing is a system used in the academic community to indicate where ideas, theories, quotes, facts and any other evidence and information used to undertake an assignment, can be found. Why do I need to reference my work?  To avoid plagiarism, a form of academic theft.  Referencing your work correctly ensures that you give appropriate credit to the sources and authors that you have used to complete your assignment.  Referencing the sources that you have used for your assignment demonstrates that you have undertaken wide-ranging research in order to create your work.  Referencing your work enables the reader to consult for themselves the same materials that you used. What do I need to reference? All the information that you have used in your assignment will need to be acknowledged. It is essential to make a note of all the details of the sources that you use for your assignment as you go along. Harvard examples in this guide are based on guidance in: BRITISH STANDARDS INSTITUTE. (2010). BS ISO 690:2010. Information and documentation – Guidelines for bibliographic references and citations to information resources. Switzerland: ISO Copyright Office. NEVILLE, C. (2010) The Complete Guide to Referencing and Avoiding Plagiarism. 2nd Ed. Maidenhead: Open University Press. The basics Harvard is known as the Author & Date system: 1. Citations in the text of your assignment should be made following the in-text guidelines given in the examples on the following pages. 2. A complete list of all the citations used in your text will need to be provided at the end of your assignment. This is called your reference list or bibliography and needs to be presented in alphabetical author/originator order. Capitals: Harvard is not prescriptive about capitalisation of authors’ names in your reference list. If you do wish to use capitals, then the family/surname of authors are only capitalised in this reference list and not in the body of your work. If you prefer not to use capitals in this list, that is fine, but you must be consistent in the style you decide to use. Italics & underlining: Only the title of the source of information is italicised or underlined, but you should choose only one method throughout your assignment and stick to it! Do not use both italics and underlining. Punctuation: Harvard has no one true style of punctuation so the generally accepted rule (BS ISO 690:2010) is to be consistent with your style of punctuation throughout the whole of your assignment. Information Services Academic Skills Know-how

Harvard Quick Referencing Guide 2 How to reference sources Here are some examples of how to reference commonly used materials. If you need more guidance please look at the RefZone website: http://www.staffs.ac.uk/support_depts/infoservices/learning_support/refzone or ask the Academic Skills Tutors/Librarians for help. Type of resource Format Bibliography Example In text example Book (1 author) FAMILY/SURNAME, Initials. (Publication year in brackets) Book title – italicised or underlined. Series title and volume if applicable. Edition – if not the first. Place of publication: publisher. NEVILLE, C. (2010) The Complete Guide to Referencing and Avoiding Plagiarism. 2nd Ed. Maidenhead: Open University Press. Neville (2010) argues that… “Quotation” (Neville, 2010, p.76) Book (2 to 3 authors) FAMILY/SURNAME, Initials., FAMILY/SURNAME, Initials. and FAMILY/SURNAME, Initials. (Publication year in brackets) Book title – italicised or underlined. Series title and volume if applicable. Edition – if not the first. Place of publication: Publisher BRADBURY, I., BOYLE, J. and MORSE, A. (2002) Scientific Principles for Physical Geographers. Harlow: Prentice Hall. Note: Use either “and” or “&” between authors’ names as dictated by the book’s own presentation. Bradbury, Boyle and Morse (2002)… As noted by Bradbury, Boyle and Morse (2002) “Quotation” (Bradbury, Boyle and Morse, 2002, p.51) Book (4 or more authors) It is discretionary as to whether you list all authors and also whether you use ‘et al.’ or ‘and others’ as below: FAMILY/SURNAME, Initials. et al. or and others. (Publication year in brackets) Book title – italicised or underlined. Series title and volume if applicable. Edition – if not the first. Place of publication: Publisher. CAMPBELL, N. A. et al. (2008) Biology. 8th Ed. London: Pearson. (Campbell et al., 2008)…. “Quotation” (Campbell et al., p.76)

Harvard Quick Referencing Guide 3 Type of resource Format Bibliography Example In text example Book (Editor/s) FAMILY/SURNAME, Initials. (ed.) or (eds.) – in brackets for editor(s). (Publication year in brackets) Book title – italicised or underlined. Series title and volume if applicable. Edition – if not the first. Place of publication: Publisher. FONTANA-GIUSTI, G. (ed.) (2008) Designing Cities for People: Social, Environmental and Psychological Sustainability. London: Earthscan. (Fontana-Giusti, 2008) Chapter in an edited book FAMILY/SURNAME, Initials of the author writing the chapter. (Publication year in brackets) Title of chapter. In: FAMILY/SURNAME, Initials. of author or editor of book (ed.) or (eds.). Book title – italicised or underlined. Series title and volume if applicable. Edition – if not the first. Place of publication: Publisher. MARSHALL, W. A. (1975) The Child as a Mirror of his Brain’s Development. In SANTS, J. & BUTCHER, H. J. (eds.). Development Psychology. Aylesbury, Bucks: Hazell Watson & Viney Ltd. As noted by Marshall (1975)…. “Quotation” (Marshall, 1975, p.76) Corporate authors (groups, committees, companies) Includes publications by Government departments, Committees: COUNTRY. NAME OF ISSUING BODY. (Year of publication in brackets) Title of publication – in italics or underlined. Place of publication: Publisher. (Report Number – if applicable in brackets). GREAT BRITAIN. DEPARTMENT OF ENERGY. (1977) Tidal Power Barrages in the Severn Trent Estuary: Recent Evidence on their Feasibility. London: H. M.S. O. (Energy Papers 23) The Great Britain Department of Energy (1977) concluded that… “Quotation” (Great Britain, Department of Energy, 1977, p.12) E-Book FAMILY/SURNAME, Initials. (Publication year in brackets) Book title – italicised or underlined. [Online] Series title and volume if applicable. Edition – if not the first. Place of publication: Publisher. Available from – URL. [Accessed: date]. SADLER, P. (2003) Strategic Management. [Online] Sterling. VA Kogan Page. Available from: http://www.netlibrary.com/reader/. [Accessed: 6th May 2012]. Sadler (2003) argues that…….. “Quotation” (Sadler, 2003, p.18)

Harvard Quick Referencing Guide 4 Type of resource Format Bibliography Example In text example Films [DVD], [VHS], [Blu-ray Disc] Title – in italics or underlined. (Year of distribution in brackets) Material type. Directed by – name of director(s). [Format of source in square brackets] Place of distribution: Distribution company. Chicken Run. (2000) Animated Film. Directed by Peter Lord and Nick Park. [VHS] UK: Pathe Distribution. Requiem for a Dream. (2000) Film. Directed by Darren Aronofsky. [DVD] UK: Momentum Pictures. If you refer to a film in the body of your work, the title will need to be underlined or placed in italics: …the animation movement (Chicken Run, 2000) …this is highlighted by Harry’s character in the film Requiem for a Dream (2000). Journal article (electronic/online) If you are referencing a journal from an online database service which is password accessible only i.e. EBSCO you can shorten the URL to the home page of the database service. If you are accessing a journal article directly and for free from the internet, you will need the entire URL. Author(s) of article’s FAMILY/SURNAME, Initials. (Publication year in brackets) Title of article. Title of journal – italicised or underlined. [Online in square brackets] Name of Database the article is from if appropriate. Volume number (Part number/month in brackets). p. followed by the page numbers of the article. Available from: URL. [Accessed: followed by the date viewed in square brackets]. WILSON, J. (1995) Enter the Cyberpunk librarian: future directions in cyberspace. Library Review. [Online] Emerald Database 44 (8). p.63-72. Available from: http://www.emeraldinsight.com. [Accessed: 30th January 2012]. Wilson (1995) argues that….. “Quotation” (Wilson, 1995, p.66)

Harvard Quick Referencing Guide 5 Type of resource Format Bibliography Example In text example Journal article (printed) Author(s) of article’s FAMILY/SURNAME, Initials. (Publication year in brackets) Title of article. Title of journal – italicised or underlined. Volume number (Part number/month in brackets). p. followed by the page numbers of the article. TREFTS, K. & BLACKSEE, S. (2000) Did you hear the one about Boolean Operators? Incorporating comedy into the library induction. Reference Services Review. 28 (4). p.369-378. Trefts and Blacksee (2000) argue that…. “Quotation” (Trefts and Blacksee, 2000, p.376) Newspaper (online) Author(s) of article’s FAMILY/SURNAME, Initials. (Publication year in brackets) Title of article. Title of Newspaper – italicised or underlined. [Online in square brackets] Name of Database article is from if appropriate. Day and month of the article. Page number of the article if applicable. Available from: URL. [Accessed: followed by the date viewed in square brackets]. RANDERSON, J. (2008) Researchers find fish that can count up to four. The Guardian. [Online] 26th February. p.14. Available from: http://theguardian.co.uk. [Accessed: 22nd May 2012]. Randerson (2008) argues that….. “Quotation” (Randerson, 2008, p.14 Website Author of website FAMILY/SURNAME, Initials or WEBSITE name if no author is available. (Year – in brackets) Title of website in italics or underlined. Any numbers if necessary or available if website is part of a series. [Online in square brackets] Available from: URL. [Accessed: followed by date in square brackets]. BBC NEWS. (2008) Factory gloom worst since 1980. [Online] Available from: http://news.bbc.co.uk/1/hi/business/7681569.stm. [Accessed: 19th June 2012]. …as reported by the BBC (2008) “Quotation” (BBC, 2008) Author: Academic Skills Tutors/Librarians, Information Services Date: May 2013

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