【作者】 虞昕；

【导师】 曲春景；

【作者基本信息】 上海大学 ， 电影学， 2011， 博士

【摘要】 网络时代的到来,开创了以互联网为核心的新兴电影批评空间,使得中国电影批评场域从话语方式、文本特征、身份建构到批评语境、批评主体等方面,均发生了巨大变化。本文试图并采用媒介批评和话语分析的研究方法,以布迪厄的场域概念为核心,对这种变化进行系统的学理阐释。从话语形式来看,网络语言的兴起更新了日常语言的符号体系,具有鲜明的时代特色,全面渗透到了电影批评话语中,对电影批评的话语形式造成了颠覆性的影响。从文本特征来看,语言暴力成为网络时代中国电影批评的突出症候,在网络空间里,语言暴力还受到群体极化和哄客现象的催化,并延续了中国电影批评史中的政治索隐路线,生产出大量政治索隐式的暴力影评。网络时代的中国电影批评既有公开语本的属性也有隐秘语本的属性,其中网络电影批评突出的呈现出隐秘语本的属性,通过隐秘语本,批评主体得以宣泄出“想象性报复”。反讽成为网络时代电影批评文本的公共修辞语态,具体表现为恶搞式反讽、敏感词反讽、负责的反讽三种形式,其中,具有积极意义的负责的反讽应当得到倡导。在网络时代的电影批评话语中,身份认同成为集中凸显的主体焦虑。首先是网络全球化时代言语主体均遭遇到民族文化身份认同的困境,在本土的电影批评语境中,此一问题又具体的表现为文化民族主义与雪耻型民族主义两大话语脉络。其次是市场化时代的中产想象,批评主体籍此完成对自身在商品社会中的身份确证,在批评话语中则突出的表现为“小资”和“布波族”情调。最后,随着社会思想分化的加剧,新左派和自由主义的对立态势也波及到了电影批评中,同一电影文本也常常被这两种不同的意识形态话语策略所操持,并产制出基于各自立场的截然不同的文本释义,批评主体通过这一过程完成了自身意识形态身份的确立,不过,随之而来的庸俗自由主义不良倾向也在批评话语中大量出现。消费主义成为网络时代中国电影批评显著的语言环境,此时,电影批评不可避免的被纳入到电影营销的环节中去,并为受众大量提供视觉图像消费。其次,时尚—流行文化消费成为网络时代电影批评消费的一个显著特征,在当下的电影批评话语中,沉积着大量供时尚消费的流行文化元素,造就了电影批评中的趣味形式。在网络时代,过度消费的粉丝(迷)文化也成为电影批评话语的生产驱力之一,粉丝(迷)文化展现出强大的批评话语生产力,并与电影工业间保持着复杂的对抗、共谋关系,同时,同人、腐女批评在本土的粉丝(迷)批评中占据了重要的位置,生产出海量的同人、腐女式批评话语。网络时代的批评主体变迁也直接影响了批评场域的形塑。由于青年在网民和电影观众中的主体地位,使得网络时代的中国电影批评带有浓厚的青年文化特质,同时,“文艺青年”成为了批评场域中醒目的话语表征。随着“迷影一代”的集体登场,迷影爱好者生产的迷影话语在批评场域中迅速崛起,迷影话语专业性与激情兼备,成为了平衡专业电影批评和其他电影批评的“屋脊”话语。随着“蓝色理论”时代的到来,学术体制内的专业电影批评工具不断涌现,专业电影批评繁荣一时,以观众反应批评、生态批评和媒介批评为主要代表;但随着启蒙姿态的丧失,以及互联网新媒体所造成的话语权转移,知识分子亦出现了专业电影批评“无人倾听”的失语焦虑,就此,知识分子展开了系统的反思,重新审视了网络时代知识分子影评的功能和作用。同时,许多专业知识分子向网络知识分子靠拢,并出现了媒体知识分子的态势。互联网对全球电影批评场域都有剧烈的冲击,中国电影批评场域的“游戏规则”业已发生天翻地覆的变化,从话语结构来看,权力话语、知识话语、网络—民间话语成为了批评场域中最主要的话语类型,其中权力话语的位置比较稳定,知识话语渐趋边缘,网络—民间话语主流化的势头明显。同时,电影批评场域亦受到了权力场域和经济场域的双重挤压,难以保证自主性。批评主体作为场域内的行动者,展开了激烈的资本争夺,为适应新的场域规则,不断调试着自身的惯习特别是话语惯习。更多还原

【Abstract】 The dawning of the Internet age and the emergence of a new space for film criticism based on the Internet have brought about profound changes on the field of China’s film criticism in such terms as discourse modes, text features, identity construction, critical context and critical subjects. This paper aims to center on Pierre Bordieu’s field theory, and use methods of media criticism and discourse analysis to give a systematic analysis on such changes.In terms of discourse modes, the boom of the cyber language has reshuffled the code system of everyday Chinese language, and injected strong contemporary elements into the discourse of film criticism, which exerted subversive impact on the modes of discourse for film criticism in China. In terms of text features, verbal violence has become a prominent syndrome of Chinese film criticism in the Internet age, which is fermented by Group Polarization and the hongke phenomenon (crowd hooting), and this is further worsened by a strong tendency of political index inherited from China’s history of film criticism. As texts, Chinese film criticism in the age of Internet have attributes as public transcript and hidden transcript, and film criticism on the Internet are mostly perceived as implicit texts by which the criticizing subjects could express their“imagined vengeance”. Irony has become the dominant public rhetoric of film criticism texts in the age of Internet, which is exhibited in three main forms including parody, word of play on sensitive words and responsible irony, the latter being the most constructive.In terms of identity construction, the sense of anxiety is a most distinctive feature in the discourse of film criticism in the Internet age. The plight of confusion in seeking a national cultural identity encountered by all subjects of discourse in this globalized Internet age is exemplified by two schools of discourse in China, namely cultural nationalism and vengeful nationalism. Another type of identity construction comes from the imagination of the middle class in the market economy through its self alignment with the commercial society, which is further divided into the tones of "petty bourgeois" and "the bobos". In the meantime, with the widening disparity of social consciousnesses, critical subjects also find their places in the two contradictory camps of the New Left and liberalism which have also penetrated into film criticism, as one film text can be rendered by these two different ideological rhetoric strategies into totally contradictory interpretations based on their different positions. However, the tendency of vulgar liberalism is also rampant in critical discourse.Consumerism has become the prominent language environment of China’s film criticism in the Internet age. During this time, film criticism itself is inevitably intertwined with the process of film marketing, providing large amount of visual images for public consumption. And the consumption of fashionable and trendy culture also becomes a leading expectation for the consumption of film criticism. In today’s film criticism, there are a lot of fashionable cultural factors to appeal to the readers, which largely shaped the taste of film criticism. In the age of Internet, over-consumed fan culture has also become a driving force for film criticism, a big fan culture, with strong productivity of critical texts, maintains a complex relationship of both confrontation and conspiracy with the film industry. In the meantime, doujin critics and slash critics have also take a conspicuous space in local fan criticism and produced immense critical texts with doujin fan fiction and slash writing’s language styles.The evolution of critical subjects in the Internet age has also directly influenced the shaping of the critical field. Since youth has a dominating position in both Internet users and film viewers, film criticism in China is also imprinted with a strong factor of youth culture, and wenyiqingnian, or "literary youth", has become an eye-catching discourse representation. As the new generation of Chinese cinephiles make their collective debut, cinephilia languages have also risen quickly in the field of criticism. Due to the professionalism and passion of cinephilia discourse, it has become the "fa?te" discourse balancing academic film criticism and other kinds of film criticism. With the coming of "blue theories" (western theories) to China, professional critical tools within the academic institution have been widely used by professional critics, represented by audience response criticism, ecocriticism and media criticism. However, with intellectuals losing their vantage height as enlightenment pioneers, and with the shift of the power of discourse due to the Internet and new media, anxiety of aphasia and lack of listeners for professional film criticism have also emerged, therefore, many intellectuals have had systematic reflections on this change and re-examined the functions and roles of intellectual film criticism in the Internet age, and many professional intellectuals have also moved closer to Internet intellectuals to become media intellectuals.The Internet has inflicted fierce impact on the global field of film criticism, and the "rule of the game" of the field of China’s film criticism has witnessed drastic changes. From the structure of discourses, power discourse, knowledge discourse and discourse of the Internet and the public have become three main types of discourses in the field of criticism. Among these three, power discourse is comparatively stable, knowledge discourse is drifting toward marginalization and web and public discourses have a visible momentum of becoming the mainstream. At the same time, because China’s film criticism field is hard-pressed both by the field of power and the field of economics, it can hardly maintain autonomy. The critical subjects, as players in this field, are engaged in fierce scramble for capital, and in order to adapt to new rules of the field, they are constantly readjusting their own habitus, in particular language habitus.更多还原