【作者】 王文捷；

【导师】 樊星；

【作者基本信息】 武汉大学 ， 中国现当代文学， 2011， 博士

【摘要】 政治色彩浓厚的“典型性”意义的影像文化,一度营造了中国社会“主旋律”影像文化的既成背景。不过在时代变迁中,这种“主旋律”影像艺术也逐步呈现出一些局限性与保守性。而世纪之交“非典型性”影像,则通过对不确定性、平俗化、争议性、奇幻性、另类性、游戏化、新媒体化、多元化等新兴文化症候的综合表征,形成了相异于“主旋律”意义与特色的流行影像文本。一、作为中国当代图像社会一种突出的表征形式,“无厘头”电影在文化理论上可以得到合理性阐释。在后现代观念不断渗透的状态下,“无厘头”电影非连续、非逻辑影像实践可以得到理解。基于视觉图像文化功能的认识,“无厘头”影像同样提供着一种特殊性的知性建构。这种零散性碎片化影像的文化意义,可以通过一些对应性与任意性的感知方式来阐释。周星驰等人的“无厘头”电影承续着香港喜剧文化传统,营构了一种反叛性的后现代游戏娱乐影像。无论是在主题、题材、人物与情节方面,“无厘头”电影都融合了平民世俗人性与夸张喜剧符号的意义。而更为突出的是其中人物的语言特色,即“无厘头”电影创造了一种思维跳跃、逻辑含混的幽默“大话”形式。“无厘头”电影通过更新的相对性认知方式,对人生世相的理解也体现出种种相对主义的精神症候。就其映现生活现实的方式而言,其碎片化影像符码消解了“真实”与“虚构”的差异,它通过影像蒙太奇中某些生活痕迹的延伸,含蓄性地指涉到现实事相的相关意义。而这种文化符号结构,也对历史幻像进行了浅明故意的暴露和显现,其古代文化“残片”亦言说了历史理性力量的虚无。“无厘头”言说彰显了历史话语的游戏特色。在媒介时代强大的传播力量推动下,“无厘头”文化在影视剧领域不断娱乐大众的同时,也对其它媒介文化影像与话语产生了广泛影响。90年代后无论在港台还是内地,不少喜剧电影、电视情景剧目都吸纳了“无厘头”的情节建构与搞笑拼贴形式。而港台、内地的电视综艺、曲艺节目,也承续或呼应了“无厘头”文化的言说意识与娱乐精神。当网络媒介新兴之后,网络写作中也形成了“无厘头”式“世说新语”潮流。充满个性的网民在自在想象与多元文化开拓之中,同样以碎片性文字对社会文化进行另类观照。这种网络文字符码以其游戏精神,同样对社会文化作出解构甚至是粗俗的戏说。其“无厘头”痴语妄言风格,使网络写作成为颇具生命力的一种特殊表达时尚。二、当下影视历史剧不但出现了繁盛的娱乐化制作态势,而其所呈现的历史情景也是题材丰富而铺张眩目。不过这种历史剧模式采用了淡化“历史真实”的表达方式,相关剧情的虚拟架构中,也忽视或模糊了一些既有的历史“通识”规范。这导致当下影视历史剧完整文化知性的缺失,并呈现出一种更新的虚拟文化幻象与景观画卷。影视历史剧创作在本质上说是一种虚构性的历史再阐释,无论“正说”还是“戏说”的历史影像文本,都是某些具有整合与调适意义的当代文化“切片”。历史剧的这种主观性虚构的更新书写,在中国古代历史文化书写中也是一种常见的传统。故而,当下影视历史剧这种“戏说”与虚构的创作本质,是可以在大众娱乐审美的游戏意义上得到确立的。作为一种影像“符号”建构的“拟像”环境,影视历史剧也是一种契合受众心理的消费文化存在。而其基于映照当代一些社会问题的历史影像符号系统,正在对当下社会大众各种社会困惑与期求作出幻像性抚慰。其通俗化的趣味性与情感性叙事,也基本上守持着非西方化的民族传统审美意识与习惯。大部分帝王将相题材的影视历史剧,多烘托出一种缺失现代观照的传统政治文化意识,家国同构、君主民本、权力本位等传统政治文化得以映射,其浓厚封建意识的张扬则常常惹人非议。这些传统政治文化中非现代性的意识因素,需要人们进一步作出批判性考量。三、作为一种真人参与的电视表演,“真人秀”节目在电视虚拟影像形式上强化了真实的意义。在美国等西方国家里,不断创新、整合不同质态的“真人秀”影像节目,成为人们体验和探索新兴生活意趣与奇观的重要舞台。而中国电视“真人秀”节目,也同样在学习西方同类影像的过程中得到大致同步的发展,这些节目在融合中国国情与文化因素后产生了一些本土化特色。当下中国本土“真人秀”的创制实践异常繁复,各种娱乐至死的综艺“真人秀”、竞争至赢的比赛“真人秀”与体验至奇的生活“真人秀”影像,为当下中国社会大众提供了较为突出而丰厚的娱乐新体验。从文化意义上观照,这些节目作为一种真实复现社会文化景观的“镜象”,生动地表征着当下中国大众社会的平民梦想、英雄情结、草根民主、现实竞争、本真人性等各种人文想象与情态。国内“真人秀”从根本的形式建构上看,明显存在对国外节目的模仿与国内节目相互复制的现象。这种后现代消费文化影像的复制方式,自有其后工业时代机械复制艺术的特殊性意义,也包含着一种通过复制模仿而创新的另类推动因素。不过,真正“中国原创”的“真人秀”节目的稀缺,也引发了节目创制在复制问题上的文化焦虑与观念碰撞。中国电视节目追求收视率的问题逐步显现,其背后蕴含的商业经济利益成为驱动“真人秀”更新的力量。而收视率观念发散的这种张力,则促使“真人秀”必然迎合受众的欣赏旨趣与情感兴味。而此种收视语境下一些被批评的“真人秀”节目探索,显示了主流价值观念与娱乐文化真实的复杂关系。四、新兴互联网及其多媒体视频技术的发展,促发了大众“去影视化”的影像观赏模式,大量“草根”影像制作与交流方式得以出现。网络戏仿文字、诗歌、流行语营构了影像“恶搞”的背景与要素,网络大众获得一种崭新的调侃与游戏文化空间。在对影像形式的解构性探索中,种种戏谑式重新编配的搞怪视频大量充斥于网络。胡戈及其所制视频,是引发网络“恶搞”视频风尚的代表人物及作品。他创作的网络视频,在引领网络大众进行搞笑娱乐的同时,也对当下现实与文化事象作出了讽喻式批评。“恶搞”视频的风靡,意味着对合法化“正搞”方式的思考。这种“正搞”方式同样包含某些局限性,一些正统影像中的固化虚假形态也应得到反思。网络“恶搞”视频属于青年亚文化的新异潮流,渗透出对主流精英文化敏锐的叛逆性思考。不过这种亚文化中种种粗鄙化形态和方式,也明显对社会典范文化产生颠覆性的效果。故而,网络“恶搞”亚文化的最大价值,在于一种推陈出新文化意识的显现,一种青年自我调适式独立话语的表达。在“恶搞”文化的大众狂欢传播状态下,娱乐文化呈现出遵从道德底线还是追求自由理念的争端。这种争端的持续导致了对“恶搞”文化的管理困境。而解决这一困境的出路在于将其纳入法律规范,同时社会各方还要加强文化宽容与开明沟通。还值得强调的是,“非典型性”影像文本抛弃了部分正统影像的旨趣,强化了种种反叛性的游戏性与娱乐性色彩。虽然作为“异化”的文化符号,也具有一些社会亚文化的消极影响并不时引发种种争议,然而社会文化愈加开明宽容与新兴氛围渐趋自由多元,都为“非典型性”游戏影像文本创造提供了空间与路径,我们也应以不断更新的文化观念与姿态对其进行感知、审视与清理。流行文本在当下媒介时代表征着社会文化的丰富内容,其形式与意义亦在各种媒介互动的变迁时尚中,关联着社会文化认知与大众消费娱情意识的更替。世纪之交大众文本特别是“非典型性”的纸媒、影视、网络文本,正在多元复合化地建构着大众文化实践的新理念与新气象。而对当下泛审美化流行媒介文本意识趋向的这种探索,有利于文化观念与主体知性的积极开拓及健康发展。更多还原

【Abstract】 The typical optical impression culture with pronounced political color once constructed the existent background of optical impression culture reflecting Chinese theme. However, in the changing times, this optical impression gradually presents some limitation and conservatism. And at the turn of century, atypical optical impression becomes popular by representation of uncertainty, vulgarization, controversy, fantasy, alternative, recreation, new media orientation, diversification and other emerging culture, which is different from the significance and characteristics of the theme.PartⅠAs one of outstanding representation forms of Chinese images in contemporary society, reasonless humor movies could be interpreted in cultural theory. And its discontinuous and illogical video practice becomes understandable with increasing penetration of postmodern concept. Meanwhile, based on the understanding of cultural functions towards visual images, reasonless humor movies also offer a particular intellectual construction. Therefore, the cultural significance of these fragmental video images could be interpreted through perception of correspondence and arbitrariness.Reasonless humor movies of Stephan Chow and other actors inherit the tradition of Hong Kong comedy, forming a rebellious postmodern recreation optical impression. Whether in theme, subject matter, characters or in plot, the reasonless humor movies blend the humanity of secular civilians with the meaning of exaggerated comedy symbol. Moreover, the more prominent feature is characters’language which is a kind of jump thinking, ambiguously logical and humorous "Dahua"form created by reasonless humor movies.Reasonless humor reflects various symptoms of relativism on the understanding of life and world by means of a more updating style of cognizance. The fragmented code of optical impression eliminates the differences between reality and fabrication, in terms of the way to reflect the reality of life, and it references to the significance of real events in a reserved way by extending traces of life in optical impression montage. In addition, the construction of this kind of cultural code exposes and reveals the historical visions in a clear and intentional way. And the fragments of ancient culture also showed the nothingness of historical power of reason. Expression of reasonless humor demonstrates the recreational features of historical utterance.With the spread of media and its strong impact, the reasonless humor culture not only continuously entertains the public in the field of movie and TV, but also extensively exerts a great influence on the optical impression and expression of the other media culture. After the 1990s, whether in Hong Kong, Taiwan or mainland, a lot of comedy movies and TV scene plays have been absorbing the plot constructions of reasonless humor and the joking collage forms. Meanwhile, TV variety shows and the opera shows in these three areas also inherit or echo the interpreting consciousness and the entertainment spirit of the reasonless humor culture.With the emerging of net medium, online writing has developed a style of reasonless humor and fashionable explanation. Likewise, the netizens of character, who are in the free imagination and multicultural exploration, alternatively contemplate the social culture with fragmentary words. Towards the social culture, such net codes make a deconstructive or even vulgar joking in the spirit of recreation. Its style of reasonless humor as well as talk nonsense makes the online writing a special expressive trend, which is becoming more energetic.PartⅡThe current historical play on movies and TV becomes prosperous in entertaining production which has the theme presented in a rich and dazzling extravagance. However such mode of historical play not only adopts the expression which fades the "truth of history", but also ignores and blurs the general acceptance of existing history. This results in the lack of the integrity of culture intellectuality and the presence of a new virtual illusion of culture and panorama.The creation of historical play on movies and TV is essentially a reinterpretation of fictional history. And the historical optical impressions, no matter displayed in a joking or non-joking way, are slices of contemporary culture with integrated and adaptive meaning. Rewriting the historical drama in such a subjective and fictional manner is a common tradition in the writing of historical culture in ancient China. Therefore, the creating essence of present historical drama on movies and TV, which is joking and fictional, can be established in the sense of recreation for the public entertainment aesthetic.As a kind of suppositional impression environment constructed by optical impression symbol, optical historical play is also an existence of consumption culture tallying with the audience’s psychology. In addition, basing on the historical optical impression system which reflects some cotemporary social problems, it is consoling fantastically the contemporary masses’various social confusion and expectation. It’s common interesting and emotional statements basically insist on non-Western national traditional aesthetics consciousness and custom.Most of the historical plays of movie and TV, which are about emperors and their generals and ministers, express the consciousness of traditional political culture with a lack of modern scrutinization. Therefore, the traditional political culture, including the similarity between countries and families, the relationship between emperor’s domination and people essence and the power in focus, could be reflected. However, its strong sense of feudalism that has been publicized often arouses criticism. Those non-modern conscious elements in the traditional political culture need people to make a further critical consideration.PartⅢAs a live TV performance, the Reality Show strengthens the real significance in the form of TV optical impression. In Western countries like America, the continuous innovation, integration of different nature of the Reality Show, have become an important stage for people to experience and explore the emerging life interests and wonders. And also, in those Chinese TV Reality programs, they have obtained a rough synchronized development in the process of learning Western optical impressions of the same kind, which produce certain localization features after integrating China’s national conditions and cultural factors.Currently, the creation and practice of Chinese local Reality Show is very complicated. All kinds of variety reality shows focusing on entertaining, competition reality show focus on winning, life reality show focusing on experiencing, provide an outstanding and rich new entertainment experience for Chinese mass society. From the perspective of cultural sense, these programs, as a sort of reflection of the real social and cultural landscape, vividly represent and symbolize a variety of human imagination and modality, such as civil dram, heroic complex, grassroots’democracy, realistic competition, true human nature in mass society.From the angle of the fundamental structure, the obvious existing phenomenon is that the domestic reality TV shows imitate foreign programs and copy other domestic programs. This duplication about postmodern consuming culture impression has its special significance for the art of post-industrial inflexible copy. And it also includes the alternative factors to inspire creation by imitating and copying. However, a lack of original creation of Chinese reality TV shows also cause the anxiety of the problems on how to copy, how to refer and how to advance in current production of programs.China’s TV programs’striving for a higher audience rating gradually shows that the commercial benefit behind it has become a force which stimulates the Reality Show to update. Forced by the concept of the higher audience rating, the Reality Show has to cater to the taste and emotional pleasure of the audiences. However, in such situation, some Reality Show exploration, though were criticized, have indicated the relations between mainstream value and real entertainment culture.PartⅣThe emergence and development of Internet and multimedia video technology urge the mass to change their mode of appreciating optical impression without movie and TV. Given this data, a lot of optical impression production and communication means have appeared. The jokingly-imitated words, poems and fashionable words on the Internet form the background and elements of optical impressions’practical joke. The mass of the Internet gain a brand new space of mocking and recreation culture. In the process of deconstructive exploration of the means of optical impression, all kinds of jokingly recreated videos come flooding to the Internet.Hu Ge is a representative who triggers a wave of practical joke videos on the Internet and his self-made videos are also regarded as typical works. The videos created by him not only initiate the netizens to make jokes and enjoy entertainment, but also make an allegorical criticism on the current reality and cultural phenomenon. The prevalence of practical joke videos indicates a consideration of the legalized non-practical joke. But there are also limitations of this approach, and the fixed virtual image of some orthodox optical impression needs to be reflected.Practical joke video on the Internet is a fantastic new trend of subculture among the youth. It exudes the acute rebellion thinking in the mainstream of elite culture. However, it is obvious that various coarse form and crude means that exist in such kind of subculture has a disruptive effect on the typical culture of the society. Therefore, the greatest value of cyber practical joke subculture lies in the manifestation of innovating culture awareness---getting rid of the stale and bringing forth the fresh, and in its expression on the youth’s self-adaptation on independent utterance.As the practical joke culture is being feverishly spread by the public, entertainment culture has trapped into a disputation as whether to follow the moral baseline or to pursue freedom. The continuity of such disputation leads to managerial dilemma of practical joke culture. One way to solve this problem is to regulate it by bringing it into norms of law. In the meantime, the whole society should enhance tolerance and open communication.The atypical optical impression text has abandoned parts of the objective purport of the orthodox optical impression and strengthened various rebellious features of playfulness and entertainment. As a culture symbol of dissimilation, it also has some negative effects on social subculture and lead to various disputes off and on. However, nowadays the social culture is becoming more and more liberal and tolerant and the emerging cultural atmosphere tends to be more free and diverse, which has provided the space and path for the development of the atypical optical impression text. Therefore, we should keep updating our cultural value and attitude to recognize, review and cleanup it.In the present media era, popular texts represent the abundant context of social culture, whose form and meanings are associated with the turnover of the recognition of social culture and the awareness of consumption and entertainment in the changing fashion of a various media interaction. At the turn of the century, mass texts, particularly, atypical media in print, movie and TV, Internet texts are diversely and jointly constructing the new concept and atmosphere of the mass cultural practice. The exploration in tendency of the current pan-aesthetic media text sense contributes to the positive exploitation and healthy development of culture values and subjective comprehension.更多还原