本文選題：德波　切入點(diǎn)：凱爾納　出處：《蘇州大學(xué)》2014年博士論文　論文類型：學(xué)位論文

【摘要】：當(dāng)代法國馬克思主義思想家居伊·德波在20世紀(jì)60年代提出了“景觀觀社會(huì)”理論，用以描述二戰(zhàn)后資本主義國家按照“景觀”原則所建構(gòu)的消費(fèi)社會(huì)。而當(dāng)代文化研究學(xué)者道格拉斯·凱爾納則借鑒了德波的理論，提出了“媒體奇觀”的概念，將其定義為能夠體現(xiàn)當(dāng)代社會(huì)基本價(jià)值觀的媒體文化現(xiàn)象，并借此分析了美國社會(huì)的文化現(xiàn)實(shí)。奇觀文化飛速發(fā)展并迅速擴(kuò)散和滲透到了社會(huì)和文化的各個(gè)領(lǐng)域，各種奇觀現(xiàn)象復(fù)雜多變且異彩紛呈，甚至可以說，媒體奇觀已經(jīng)成為我們這個(gè)時(shí)代的主要特征。本文將德波和凱爾納兩人的研究作為主要理論支撐，并依據(jù)當(dāng)前中國電視文化發(fā)展的實(shí)際，對(duì)當(dāng)代中國電視奇觀現(xiàn)象進(jìn)行了研究、探討。 研究中，本文以文化研究的理論分析框架為依托，立足當(dāng)代中國社會(huì)自身的發(fā)展歷程和現(xiàn)實(shí)語境，對(duì)當(dāng)代中國電視奇觀現(xiàn)象予以批判的、現(xiàn)實(shí)的理論關(guān)照以及考察。 當(dāng)代中國電視奇觀現(xiàn)象的產(chǎn)生對(duì)應(yīng)著特定的現(xiàn)實(shí)語境：隨著社會(huì)轉(zhuǎn)型的不斷推進(jìn)，中國社會(huì)的泛政治化狀態(tài)得以消解；主導(dǎo)文化、大眾文化以及精英文化三者的共存，構(gòu)建了當(dāng)代中國社會(huì)復(fù)雜的文化格局；全球化浪潮洶涌而至，消費(fèi)主義開始在中國社會(huì)興起。處于轉(zhuǎn)型期的中國社會(huì)在政治、經(jīng)濟(jì)以及文化等各個(gè)領(lǐng)域都呈現(xiàn)出的這種種復(fù)雜的形貌使得當(dāng)下的中國電視文化成為一個(gè)充滿了矛盾與沖突、合作與共謀等諸多復(fù)雜糾葛的文化空間，而這也意味著電視奇觀現(xiàn)象具有著復(fù)雜的文化意味。 本文對(duì)當(dāng)代中國電視奇觀現(xiàn)象的研究主要遵循“電視傳媒的奇觀生產(chǎn)—受眾對(duì)奇觀文本的消費(fèi)與解讀”這樣的線索來展開。首先，在對(duì)媒體奇觀理論發(fā)展脈絡(luò)進(jìn)行梳理的基礎(chǔ)之上，分析了當(dāng)下中國電視奇觀現(xiàn)象產(chǎn)生的社會(huì)語境，進(jìn)而立足于社會(huì)現(xiàn)實(shí)，探討了隱藏于電視奇觀之間的各種權(quán)力元素的運(yùn)作以及由此對(duì)電視奇觀生產(chǎn)形成的種種影響，諸如操控與依附、主宰與臣服、誘導(dǎo)與迎合、合謀與競(jìng)爭(zhēng)等等，它們有些是能夠被清晰地觀察到的，而更多的則是以不易察覺的方式滲透進(jìn)電視奇觀的生產(chǎn)過程。其次，從符號(hào)學(xué)意義上對(duì)電視奇觀文本進(jìn)行了解析，描繪出電視媒體建構(gòu)奇觀文本的復(fù)雜策略。作為一種文化現(xiàn)象，電視奇觀的生產(chǎn)是一種符號(hào)意義的生產(chǎn)建構(gòu)，它的建構(gòu)策略體現(xiàn)在三個(gè)方面：視覺化、儀式化以及狂歡化。最后，就電視奇觀文本如何被大眾所消費(fèi)、解讀的情況進(jìn)行了探討。這其中有迎合、有妥協(xié)、也有抗拒，但不論何種情況，大眾已經(jīng)不再是被動(dòng)的接收者，而成為主動(dòng)的消費(fèi)者和多元意義的生產(chǎn)者，消費(fèi)奇觀、解讀奇觀成為大眾進(jìn)行自我表達(dá)、尋求身份認(rèn)同的重要路徑。 作為當(dāng)代中國電視文化的重要組成部分，奇觀并不只是一個(gè)個(gè)具體的電視節(jié)目，它更是被附著了豐富話語意義的文化符號(hào)，其中充滿了各種意義的爭(zhēng)奪。電視奇觀生產(chǎn)者在生產(chǎn)過程中試圖將某些特定的意義附著在奇觀文本上，，大眾在對(duì)奇觀進(jìn)行消費(fèi)時(shí)也努力自主地由文本中解讀出一定的意義。由此，電視奇觀成為一個(gè)“眾聲喧嘩”的場(chǎng)域，諸多的話語意義在其間爭(zhēng)奪著文本的控制權(quán)，各種權(quán)力因素、利益群體乃至普通受眾都被卷入其中，沖突與合謀并存，支配與抵制同現(xiàn)。
[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.
浣滀負(fù)褰撲唬涓浗鐢?shù)瑙嗘枃鍖栫殑閲嶈缁勬垚閮ㄥ?

本文編號(hào)：1577515