【摘要】：正微媒體以其獨(dú)有的媒介特質(zhì)影響了文化產(chǎn)業(yè)從業(yè)者的職能分工。其中,"文化中間人"角色嬗變最為明顯,構(gòu)成微媒體時(shí)代一大文化特色�；诿襟w變革的"文化中間人"角色嬗變歷程(一)傳統(tǒng)媒體時(shí)代"文化中間人"角色特質(zhì)"文化中間人"一詞源起于法國(guó)哲學(xué)家布爾迪厄的描述,"他們的職業(yè)多與呈現(xiàn)和再現(xiàn)有關(guān)(銷(xiāo)售、營(yíng)銷(xiāo)、廣告、公共關(guān)系、時(shí)尚、裝飾等),并且身處提供符號(hào)物品及服務(wù)的系統(tǒng)之內(nèi)"。1美國(guó)文化產(chǎn)業(yè)學(xué)者赫斯蒙德夫?qū)⑵涠x為"斡旋于生產(chǎn)者和消費(fèi)者之間"2的人。在傳統(tǒng)媒體時(shí)代,"文化中間人"充當(dāng)著
[Abstract]:Due to its unique media characteristics, positive micro media has influenced the division of functions of cultural industry practitioners. Among them, the role of "cultural middleman" is the most obvious, forming a major cultural characteristics in the micro-media era. The Evolution of the role of "Cultural intermediary" based on the Media Reform (1) in the traditional media era, the term "cultural intermediary" originated from the description of the French philosopher Bourdieu. "their careers are related to presentation and reproduction (sales, marketing, advertising, public relations, fashion, decoration, etc.) "and within the system of providing symbolic goods and services.". [1] Hess Mondev, an American cultural industrialist, defined it as "mediating between producers and consumers." In the era of traditional media, "cultural middleman" acts as
【作者單位】： 廣西財(cái)經(jīng)學(xué)院文化傳播學(xué)院;
【分類(lèi)號(hào)】：G206

【相似文獻(xiàn)】

相關(guān)期刊論文 前1條

1 賀圣遂;;出版需要具有服務(wù)精神的文化中間人[J];編輯學(xué)刊;2014年03期

相關(guān)碩士學(xué)位論文 前2條

1 白楊;旅游語(yǔ)境中民間文化中間人研究[D];廣西師范大學(xué);2007年

2 曾鳴;走出陰影的譯者[D];首都師范大學(xué);2003年

，

本文編號(hào)：2325516