本研究以2008年起三部論述女性職場生活樣態的偶像劇為分析文本，探討台灣電視戲劇對女性職場角色形塑的變與不變，這類文本突破了過去戲劇對於職場女性避而不談的形式，主打時下新職場女性角色，並描繪其於工作場域的情境。而回朔台灣數十年的戲劇歷史中，女性又是如何被形塑刻劃？研究透過歷史縱深的剖析，從不同時代戲劇文本檢視女性職場角色的型態轉變，更關注於近年以女性職場為主軸的戲劇類型，以此觀看女性在台灣經濟與勞力結構中所佔據的位置，還有各種無形的力量（父權、資本主義、意識形態）運作的軌跡。 研究彙整約四十年的流行戲劇史及台灣勞動發展等文獻資料，將女性勞動變遷概分「家庭產業」、「製造業、客廳即工廠」及「服務業」三階段，發現戲劇的呈現在寫實與非寫實上幾乎是同時發展，且瓊瑤系列作品的戲劇於時間軸上得以橫跨家庭產業及製造業兩時期，顯示早期台灣女性多依賴虛幻的情愛故事作為乏味生活的慰藉。近年則是選擇貼近真實生活以職場為主軸的戲劇，藉由劇中女性角色職場的樣態作形象的認同及參考。 再針對2008年《命中注定我愛你》、2009年《敗犬女王》及2011年《小資女孩向前衝》三部電視偶像劇進行檢視分析，發現戲劇對女性職場角色的論述可歸納出四種改變及兩種不變，其變得部分有：（一）禁聲的鬆動：家庭付出被動V.S職場獨立爭取；（二）勤儉為「家」用V.S勤儉為「己」用；（三）三姑六婆的女性刻板V.S三姑六婆納入男性角色；（四）職場敗犬的污名化V.S多方兼顧小資女；而不變的則是：（一）灰姑娘的敘事結構；（二）職場中穿衣符號與美貌論述。而台灣戲劇之所以在敘事結構上難以有太大的轉變，似乎是與收視群眾對戲劇文本習癖的養成有所關聯。 This study analyzed the images of women in the workplace in dramas in Taiwan. The changed and unchanged role/sexual role construction through the years are explored. There are quite a few trendy dramas addressing women in the workplace since 2008. The study looked at how women were portrayed as pink-collar workers by using the method of discourse analysis. To do the longitudinal research, the study reviewed the literature and documents about the history of drama, drama and movie texts in the past, and workforce development and structure change in Taiwan to capture images of women workers. This study found that women’s worker role has finally been recognized by the mainstream drama, yet some sexual stereotypes still show in the workplace drama. However, women were also described to work for themselves to pursue a better quality of life, to support their parents, to buy a car or a house. Women in these trendy dramas seem independent to some extent. This is different from the traditional dramas in which women were often portrayed in family affair and romantic relationship, and were able to gain a happy life “only” with some man.
