当代中国电视奇观现象研究

发布时间：2018-03-07 02:19

  本文选题：德波　切入点：凯尔纳　出处：《苏州大学》2014年博士论文　论文类型：学位论文

【摘要】：当代法国马克思主义思想家居伊·德波在20世纪60年代提出了“景观观社会”理论，用以描述二战后资本主义国家按照“景观”原则所建构的消费社会。而当代文化研究学者道格拉斯·凯尔纳则借鉴了德波的理论，提出了“媒体奇观”的概念，将其定义为能够体现当代社会基本价值观的媒体文化现象，并借此分析了美国社会的文化现实。奇观文化飞速发展并迅速扩散和渗透到了社会和文化的各个领域，各种奇观现象复杂多变且异彩纷呈，甚至可以说，媒体奇观已经成为我们这个时代的主要特征。本文将德波和凯尔纳两人的研究作为主要理论支撑，并依据当前中国电视文化发展的实际，对当代中国电视奇观现象进行了研究、探讨。 研究中，本文以文化研究的理论分析框架为依托，立足当代中国社会自身的发展历程和现实语境，对当代中国电视奇观现象予以批判的、现实的理论关照以及考察。 当代中国电视奇观现象的产生对应着特定的现实语境：随着社会转型的不断推进，中国社会的泛政治化状态得以消解；主导文化、大众文化以及精英文化三者的共存，构建了当代中国社会复杂的文化格局；全球化浪潮汹涌而至，消费主义开始在中国社会兴起。处于转型期的中国社会在政治、经济以及文化等各个领域都呈现出的这种种复杂的形貌使得当下的中国电视文化成为一个充满了矛盾与冲突、合作与共谋等诸多复杂纠葛的文化空间，而这也意味着电视奇观现象具有着复杂的文化意味。 本文对当代中国电视奇观现象的研究主要遵循“电视传媒的奇观生产—受众对奇观文本的消费与解读”这样的线索来展开。首先，在对媒体奇观理论发展脉络进行梳理的基础之上，分析了当下中国电视奇观现象产生的社会语境，进而立足于社会现实，探讨了隐藏于电视奇观之间的各种权力元素的运作以及由此对电视奇观生产形成的种种影响，诸如操控与依附、主宰与臣服、诱导与迎合、合谋与竞争等等，它们有些是能够被清晰地观察到的，而更多的则是以不易察觉的方式渗透进电视奇观的生产过程。其次，从符号学意义上对电视奇观文本进行了解析，描绘出电视媒体建构奇观文本的复杂策略。作为一种文化现象，电视奇观的生产是一种符号意义的生产建构，它的建构策略体现在三个方面：视觉化、仪式化以及狂欢化。最后，就电视奇观文本如何被大众所消费、解读的情况进行了探讨。这其中有迎合、有妥协、也有抗拒，但不论何种情况，大众已经不再是被动的接收者，而成为主动的消费者和多元意义的生产者，消费奇观、解读奇观成为大众进行自我表达、寻求身份认同的重要路径。 作为当代中国电视文化的重要组成部分，奇观并不只是一个个具体的电视节目，它更是被附着了丰富话语意义的文化符号，其中充满了各种意义的争夺。电视奇观生产者在生产过程中试图将某些特定的意义附着在奇观文本上，，大众在对奇观进行消费时也努力自主地由文本中解读出一定的意义。由此，电视奇观成为一个“众声喧哗”的场域，诸多的话语意义在其间争夺着文本的控制权，各种权力因素、利益群体乃至普通受众都被卷入其中，冲突与合谋并存，支配与抵制同现。
[Abstract]:The French Marx thought Home Furnishing Debord's Iran in 1960s proposed the "landscape society" theory, is used to describe the capitalist countries after World War II, in accordance with the principle of "landscape" constructed by the consumer society. The contemporary cultural studies scholar Douglas Kellner draws on Debord's theory, put forward the concept of "media spectacle", which is defined as the media can reflect the cultural phenomenon of contemporary social values ", and analyzes the actuality of American culture. The cultural wonders of rapid development and spread rapidly and penetrated into all areas of social and cultural phenomenon, various wonders of complex and colorful, and even can be said that the media spectacle has become a major feature of our era. This paper will study the Catherine and Kellner two people as the main theoretical support, and on the basis of the current development of the real China TV culture At the same time, the phenomenon of TV spectacle in China is studied and discussed.
Based on the theoretical analysis framework of cultural research, based on the development process and realistic context of contemporary Chinese society, this paper criticizes and examines the reality of contemporary Chinese TV wonders.
The China TV spectacle of contemporary reality corresponds to specific context: with the progress of social transitions, politicized state Chinese society to digestion; the dominant culture, elite culture and mass culture coexistence of the three, the construction of contemporary Chinese complicated social cultural pattern; globalization tide surging, consumerism began to rise in Chinese in the transition period of the society. China society in politics, this kind of complex morphology of all areas of the economy and culture are showing makes the moment become a Chinese TV culture is full of contradictions and conflicts, in cooperation with many other complex entanglements common cultural space, but it also means that the TV spectacle has cultural meaning complex.
This paper studies on the TV China mainly follow the spectacle of contemporary TV media spectacle production - the audience on the wonders of text consumption and interpretation of such clues. Firstly, on the basis of analyzing the development of media spectacle theory, analyzes China's TV spectacle phenomenon in contemporary social context, and then based on the the social reality, explores various elements of power hidden in the TV spectacle between the operation and the various influence of this form of TV spectacle production, such as manipulation and attachment, domination and surrender, induction and to collusion and competition and so on, some of them can be clearly observed, and more are in the process of production in the TV spectacle imperceptible way. Secondly, from the semiotic significance of TV spectacle is analyzed to depict the text, text construction of TV media spectacle Complex strategies. As a kind of cultural phenomenon, the wonders of television production is to construct a kind of symbolic meaning of production, construction strategy it is embodied in three aspects: visual, ritual and carnival. Finally, he wonders how text is public television consumption, interpretation of the situation in which there are discussed. To compromise, also have to resist, but whatever the circumstances, the public is no longer passive receivers, and become active consumers and multi meaning producer, consumer wonders, wonders become a popular self expression interpretation, to seek a path of identity.
浣滀负褰撲唬涓�鍥界數瑙嗘枃鍖栫殑閲嶈�佺粍鎴愰儴鍒

本文编号：1577515