【作者】 秦红雨；

【导师】 颜海平；

【作者基本信息】 华东师范大学 ， 文学与传媒， 2009， 博士

【摘要】 随着麦克卢汉所预言的“地球村”正在变成现实，我们正处在一个传媒化生存和媒介文化包围的时代，媒介文化随着视觉媒介的发展而出现了“视觉转向”，并对传统文化的继承和创新产生了重要影响。中华民族是带着它的文化传统一起走向现代文明的，作为中国文化传统典型代表的戏曲，在中国广大的农村有着深厚的群众基础，其媒介化和视觉化也产生了戏曲舞台演出、戏曲电视、戏曲电影、网络戏曲flash等不同的戏曲媒介形态，这些戏曲媒介形态的共存和农村观众的戏曲审美和文化创造有着深层的联系，也有着不可忽视的社会意义。本文以一个村庄——兴源铺的戏曲文化为主要观察对象，把媒介研究和人文研究结合起来，探讨多样的戏曲媒介在一个村庄共存并激发出文化创造的原因及深层意义。论文认为不同的戏曲视觉媒介在兴源铺建构了不同的视觉“场”，而不同的视觉场一方面满足了村民不同的审美需要，另一方面也造成了传统“戏场儿”的失落和村民能动性的压制。在复杂的戏曲视觉媒介环境中，村民一方面有着传统的看戏经验和表演功底，另一方面也接受着影视技术的影响和熏陶，他们在此情况下把戏曲能量和自身能动结合起来，在丰富的戏曲文化环境中进行新的创造——自编自导自演电影、戏曲，创造了属于“自己”的文化，并形成了以戏曲为核心的文化共同体，在村民的日常生活和族群交往中扮演着重要的角色，兴源铺是中国农村文化发展的一个典型和缩影，并蕴含着农村文化发展的新的可能。本论文从结构上分为前言、正文、结语三大块，而在正文中又可分为三大部分：第一部分即第一章，主要是对论文选题的文献梳理和选题意义的论证，文章从视觉媒介和乡村戏曲两个角度进行，论述了在农村文化境遇中，视觉文化和戏曲媒介文化结合的可能性及其限度。第二部分是第二章至第四章，主要是以兴源铺农民拍电影开始，揭开农民拍电影是以丰富的戏曲媒介文化为基础的事实。论文指出，不同的戏曲媒介形成了村民不同的看戏场景——戏场儿、戏曲电影场儿、戏迷场儿和家庭，不同的看戏场景塑造了村民不同的看戏方式，也带给他们不同的审美体验。村民在丰富的戏曲媒介之间的“穿越”，激发了他们的能动性创造——自编自导自演电影、戏曲。第三部分则是第五、六章，主要是对兴源铺存在的戏曲媒介文化现象进行理论的分析和概括，笔者认为不同的戏曲视觉媒介形成了不同的看戏“场景”，不同“场景”背后不同的媒介“场域”，反映着不同的媒介权力对农村视觉空间的争夺，甚至渗透着城市对乡村文化的压制，兴源铺村民的能动性文化实践则为这种争夺和压制争夺提供了另外一种可能。兴源铺丰富的戏曲媒介文化也形成了一个以戏曲为核心的文化共同体，这一共同体对于乡村文化建设也有重要的借鉴意义。我们已经置身于一个媒介日益渗透和控制我们生活的时代，我们也处在一个越来越被“异化”的景观社会中，以兴源铺为中心的戏曲媒介文化以及他们的能动性文化实践，不仅为我们探讨“视觉媒介与戏曲”的关系，思考戏曲的命运提供了新的思考，更为处在“景观社会”中逐渐失去“能动性”的我们提供了一个新的视角，引发我们更深入的思考。更多还原

【Abstract】 Along with“the global village”predicted by Marshall McLuhan coming ture, itis absolutely clear that our current cultural formation has been saturated with massmedia representations in genaral, and televion in particular. The mass media and thevisual turning thereof impact on the inheriting and innovating of the Chinesetraditional culture, especially the traditional Chinese opera,which has been mediatizedby television, movie,internet, and other technology based media. As the most typicalrepresention of Chinese traditional culture, the traditional opera has a lot of spectatorsin the countrysides, hence it is an inevitable issue that what the coexistence ofdifferent mediatized formations of the opera impact on the people’s aesthetics andcultural innovation in the countrysides.Taking Xing Yuan Pu villige as observed subject, this dissertation explores thenew cultural innovation arising from the multiple formation of the traditional opera inthe countrysides and the deep meaning thereof, showing that the different visualmedia of the traditional opera shapes different“visual scenes”, which on the one handsatisfies all kinds of aethestic demands of villgers, on the other hand brings out theloss of the traditional opera scenes and supression of villagers’ dynamic role. Amongthe complicated media environment of traditional opera, the villagers, connecting theenergy of the traditional opera with their subjective initiative and inspired by themedia technology, create their own culture and form the cultural community with thetraditional opera as the core. Xing Yuan Pu is a typical represention and a microcosmof chinese rural soceity, which implicits the new possibility of the rural culturaldevelopment in China.The structure of this dissertation can be divided into three sections: preface, textand epilogue.The first chapter is the introduction, which focuses on the literature review,discussing the possibility and limitation of the research combining visual culturestudy with the traditional opera study.The second part includes the three chapters, beginning with the story of filmsmaking of villagers in Xing Yuan Pu, pointing out that different visual media of thetraditional opera shapes different“visual scenes”, which include live theatre,television,movie and internet.The third part is composed of the fifth and the sixth chapter, summarizing themediatized culture of the traditional opera theoretically based on the fieldinvestigation in Xing Yuan Pu. It points out that different scenes in which thespectators watch opera shape different visual experience, reflecting the powerstruggling for the visual fields. Villagers’conscious activity in Xing Yuan Pu providesanother way to resolve the conflict between the traditional opera and the visual media.We are now in the era interpenetrated and controlled by the public media, whichcauses an alienated society of the spectacles. The media culture of the traditionalopera and the villagers’cultural practice not only provide us a way to think about thefate of the traditional opera and connection between the visual media and the traditional opera, but also bring forth a new viewpoint of restoring the human activityin the society of the spectacles.更多还原