【作者】 岳璐；

【导师】 秦志希；

【作者基本信息】 武汉大学 ， 新闻学， 2008， 博士

【摘要】 在当下的媒介社会中,大众传媒是现代社会日常生活不可或缺的一部分,是现代文化最为重要的载体,也是其重要的文化形式。文化、传播与媒介共生共荣,彼此依赖,难分彼此,由此形成了当代文化的主导性形式——媒介文化。它主宰着个体社会化的过程以及日常生活的领域,对现代社会的政治、经济以及文化领域影响之深远不可低估。明星是当代媒介文化的重要表征之一。在媒介文化中,明星是市场化的大众传媒必然性的产物。一方面,明星是大众传媒生产出来的,明星活在大众传媒中,大众传媒塑造着明星的形象,延续着明星的生命。离开大众传媒,明星不可能存在;另一方面,光彩夺目的明星也是大众传媒市场化生产中不可缺少的元素,大众传媒的各项功能的实现一定程度上都需要明星的出场,明星不是传媒选择性生产的内容,而是媒介必然的生产。可以说,现代社会庞大的传媒体系就是一架明星生产的大机器,当代媒介文化是明星生产与消费的大舞台。在文化研究的理论指引与分析框架之下,本文立足当代中国社会本身的历史土壤和现实语境,对当代中国大众传媒的明星生产与消费进行批判的、现实的文化关照和考察。当代中国大众传媒的明星现象有其特定的历史背景与现实语境。在历史渊源方面,中国近代商业化电影的蓬勃发展孕育了中国最早的一批明星,并产生了相对成熟的明星制,虽然明星的制度化生产与大量消费在1949年以后的泛政治化语境下被迫中断,但改革开放之后,长期压抑的大众对娱乐的渴求在市场经济的崛起中喷涌而出,大众传媒的明星生产与消费得以复兴、活跃与繁荣,成为大众文化急剧扩张的重要表现。从萌动、勃兴到断裂,再到复苏与繁荣,这一变迁轨迹一方面表明市场化运作的媒介是明星的栖息之地、生命之源,另一方面也表明当下中国明星生产与消费是在长期的泛政治化社会结束、大众普遍的政治信仰坍塌的背景下发生的。在现实社会语境方面,当代中国明星生产与消费的社会语境是正在进行的、裹夹着全球化等复杂因素的社会转型。现阶段社会转型的全面性、过渡性、渐进性等特点使得中国媒介文化成为一个比西方国家更加充满矛盾、变异、冲突、暧昧的文化空间,这使得明星具有了复杂的文化意味。本文对当代中国明星现象的研究主要遵循“大众传媒的明星生产—生产的明星文本—受众对文本的消费与解读”的框架与线索。首先,通过分析明星生产的三大制度安排——娱乐化、明星制以及政府规制——探讨了媒介与其它社会系统间各种权力关系运作的策略及其对明星生产的制约,图绘出政府、企业、文化精英、传媒从业人员、受众乃至明星本身等权力要素构成的权力运作系统,内中的合谋与斗争、施控与受控、操纵与依附、主宰与服从、诱导与迎合、压力与张力等等有些是可见的,但更多的是以不可见的形式影响着明星的生产;其次,对明星的媒介文本进行了符号学意义上的解析,认为明星不仅仅是一种经济现象,更是一种文化现象,明星的生产是一种符号意义的生产,明星之所以成为各种权力元素之间暧昧合谋与永远斗争的场域,正是由于明星已经成为现代社会中不可忽视的文化现象,对社会文化、社会生活有着空前的影响力和渗透力,这种影响力直接源自明星形象的巨大魅力对大众无可抵挡的吸引力,而明星的魅力源泉在于其多样媒介文本产生的互文效果和符号象征意义,这些媒介文本在建构明星形象地同时体现和构成了社会的多元话语;最终,明星的媒介文本被大众所消费、解读,大众甚至主动产制出新的明星文本,这其中有妥协、依附,有协商,也有抵抗,但不论何种情况,大众已经不再是被动的接收者,而成为主动的消费者和多元意义的生产者,消费明星、解读明星、生产明星成为大众诉说自我、身份认同的重要路径。当代中国大众传媒的明星生产与消费是一场意义的斗争,不管是大众传媒生产明星、赋予明星意义的过程还是大众对明星的消费和解读,整个明星文化的场域都是各种利益群体之间发生冲突的舞台,是社会控制与个人抵制的你争我夺的领域。在这一领域里,主要的社会群体和诸种意识形态都在争夺着控制权,而个体通过主动的消费明星与解读明星甚至生产明星经历并参与着这种争夺和斗争。当下中国语境中传媒大量的明星生产与消费具有极其复杂与多元的文化意义,虽然在表象上似乎与西方理论话语批判的“娱乐至死”相符合,但在本质上,扎根于本土语境的明星及其所代表的传媒娱乐化有着与西方完全不同的现实土壤,尚在完善中的政治民主改革、传媒体制的桎梏等现实表明娱乐并非当下中国传媒最根本的病根,反而在某些情形下成为大众生存与反抗的路径。总之,明星是一个复杂的充满斗争的矛盾体,既可以为意识形态控制提供手段和力量,也可以为大众的抵制和抗争提供资源和策略,成为多元话语书写的场域。更多还原

【Abstract】 In the present media society, mass media is an integral part of daily life of the modern society and the most important carrier of the modern culture, and also it is an important cultural form of the modern culture. Culture, communication and media symbioses and prospers together, and depends on each other, so it is difficult to distinguish each other, resulting in the dominant form of the modern culture-the media culture. It dominates the socialization process of individual and the domain of the daily life, and has a far-reaching impact on the politics, economics and culture of the modern society.The stardom is one of the significant representations of the present media culture. In the media culture, stars are the necessary products of the market-operating media. On the one hand, stars are produced by the mass media which shape the images of stars. Departing from the mass media, there can be no star. On the other hand, stars are indispensable elements of marketing production of the mass media. It can be said that the huge media system in the modern society is a tremendous machine of the stardom production, and the media culture is the big stage of the production and consumption of stardom.According to the theoretical guidance and analytical frame of Cultural Studies, this paper bases on the historical context and the realistic context of contemporary China, and critically studies the stardom production and consumption of contemporary Chinese mass media.The stardom phenomenon of the contemporary Chinese mass media has its specific historical background and practical context. With regard to the historical origins, the commercialization of Chinese modern film had given birth to the vigorous development of China’s first batch of stars, and produced a relatively mature star system. After 1949 the institutional stardom production and consumption was forced to interrupt in the pan-Political Context, but the reforming and opening-up policy and the development of market economy cleared up pan-politicization, making long-term suppression of the public’s desire for entertainment spew out and the stardom production and consumption resuscitate and flourish, which is the important manifestation of the dramatic expansion of Popular Culture. From the emergence to the interruption, and to the recovery and prosperity, the change track on the one hand indicates that the market-operating media is the habitat of stars, on the other hand also shows that the current Chinese stardom production and consumption occurred under the background of the end of a long-term pan-political society and the collapse of public political beliefs. Furthermore, the real social context is the ongoing social transformation, which goes with complex factors such as globalization. The characteristics of Chinese social transformation in present stage, such as comprehensive, transitional and gradual, cause media culture of the contemporary China to be a cultural space with contradictions, variation and conflict, which makes stars also have a complex cultural means.In this paper, the research about the contemporary Chinese stars follows a frame: "the stardom production of mass media - star text - the consumption and interpretation of stars". Firstly, the stardom production has three systems, which are entertainment, star system, as well as government regulation. In the system arrangement, we can see the operation of the various power relations and its influence on stardom production, and we can map the complex operation of the power system, which includes many power elements, such as government, corporation, cultural elites, media practitioners, audiences and even stardom. These elements are in collusion with each other, and at the same time struggle with each other. Some power practice is visible, but more is not visible, all of which impact on stardom production. Secondly, we analyze the semiotic significance of the media text of stars, and consider that the stardom is not only an economic phenomenon, but also a cultural phenomenon, thus stardom production is a kind of production with symbolic significance. The enormous charm of star image to the public lies in the intertextuality among diverse media texts and significance of symbols. These media texts about stardom construct these star images, and at the same time reflect the social diverse discourses.Ultimately, the media texts about stardom are consumed and interpreted by the public, who even actively produce new texts and means of stars. Stardom consumption by the public has many situations, covering attachment, consultation, also resistance, but whatever the situation, the public is no longer a passive audience, but become an active producer and consumer. Stardom consumption is an important path of identity.The stardom production and consumption of the contemporary Chinese media is a struggle about significance, and the whole star culture is conflicting area among the various interest groups, and is the field of fighting each other between social control and personal resistance. In star culture, the main social groups and ideologies are contesting for the right of control, and through the initiative stardom consumption and interpretation, individual experience and participate in the struggle. In conclusion, the stardom production and consumption of mass media in the context of present China has extremely complex and diverse cultural significance. The stardom can provide the control means for ideology, as well as provide the public the strategy and resource of resistance, therefore stardom has become the field writing by pluralistic discourse.更多还原