电视娱乐节目中明星奇观的生产和消费

发布时间：2018-07-11 11:32

本文选题：明星奇观 + 娱乐节目　；参考：《南京师范大学》2015年硕士论文

【摘要】：早在20世纪60年代,法国学者居伊·德波便指出,人类进入了“景观社会”,“景观”成为“主导性的生活模式”,当代社会充斥着消费和商品构建的图景,人们沉醉在景观中,丧失了对原本真实生活的渴望和要求,社会的控制者通过景观的在场来遮蔽社会现实。随着社会经济的发展和媒介技术的进步,被展现的“景观”更加精致、细腻和逼真,“景观”已发展成渗透到社会和文化各个领域的“奇观”。美国学者道格拉斯·凯尔纳以德波的理论为基础,提出“媒体奇观”的概念,认为“媒体奇观”体现了当代社会的基本价值,引导个人适应现代的生活方式,成为人们认识世界的中介。在当代中国,社会生活的各个方面也受到了“媒体奇观”的影响。媒介传递的信息和影像缔造了受众无以拒绝与躲避的物质世界和精神家园。其中,明星作为“媒体文化的偶像式符码和日常生活中的众神”,成为芸芸众生理想和目标的化身。媒体制造出源源不断的明星影像和故事,明星本人在社交网络上汹涌澎湃地自我坦露,明星文化无孔不入。从社会上最大规模的事件到受众情感投入的最私密习惯,无不穿透着明星文化,明星及其作品和事件构成了媒体文化重要的一部分——明星奇观。近两年,电视娱乐节目重新聚焦明星大腕,电视荧屏呈现出星光熠熠的局面。《我是歌手》、《中国星跳跃》、《爸爸去哪儿》、《奔跑吧兄弟》等节目掀起收视狂潮,节目中的明星影响力飙升,占据了平面媒体、电视以及社交媒介话题榜的前列。本文认为,电视娱乐节目对明星的生产和观众对明星的过度消费已形成明星奇观现象。明星奇观以其强烈的视觉冲击力和叙事感染力彰显了它对于当前中国媒介文化和社会生活全面而深入的影响。明星奇观是多重权力关系博弈与合谋的产物,体现了奇观背后复杂的意识形态话语；受众对明星的身体消费、私生活消费和恶搞消费也反映了当前中国的社会心态。电视娱乐节目中的明星奇观是媒体奇观文化的一个缩影,充分体现了媒体奇观的特性和本质。
[Abstract]:As early as the 1960s, the French scholar Guy de Bow pointed out that human beings have entered a "landscape society", "landscape" has become a "dominant mode of life", and contemporary society is filled with the picture of consumption and commodity construction. People are intoxicated in the landscape and lose their desire and demand for the original real life. The social controller obscures the social reality by the presence of the landscape. With the development of social economy and the progress of media technology, the "landscape" is more exquisite, exquisite and lifelike. The "landscape" has developed into a "spectacle" permeating all fields of society and culture. Douglas Kelner, an American scholar, put forward the concept of "Media Wonder" on the basis of Debo's theory. He believed that Media Wonder embodied the basic values of contemporary society and guided individuals to adapt to the modern way of life. Become the intermediary that people know the world. In contemporary China, all aspects of social life are also influenced by Media Wonders. The information and images transmitted by the media create the material world and spiritual homeland which the audience can not refuse and avoid. Among them, the star, as the symbol of media culture and the gods in daily life, has become the embodiment of the ideal and goal of the masses. The media has created an endless stream of star images and stories, and star culture is everywhere in the world. From the biggest event in the society to the most intimate habit of the audience's emotional input, it penetrates the star culture. The star and his works and events form an important part of the media culture-the star spectacle. In the past two years, TV entertainment programs have refocused on star celebrities, and the TV screen has shown a star-studded situation. "I am the singer", "the Chinese Star jumps", "where's Dad going", "run Brother" and other programs set off a viewing frenzy. The star influence of the show soared to the top of the print media, television and social media lists. This paper holds that the production of stars by TV entertainment programs and the excessive consumption of stars by viewers have formed the phenomenon of star spectacle. Star spectacle, with its strong visual impact and narrative appeal, shows its comprehensive and deep influence on Chinese media culture and social life. Star spectacle is the result of multi-power relationship game and collusion, which reflects the complicated ideological discourse behind the spectacle, and the audience's consumption of body, private life and parody of star also reflects the current social mentality of China. The star spectacle in TV entertainment is a microcosm of the media spectacle culture, which fully reflects the nature and nature of the media spectacle.
【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：G222-F

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