【作者】 盛兰；

【导师】 蔡骐；

【作者基本信息】 湖南师范大学 ， 传播学， 2010， 硕士

【副题名】基于社会学与传播学视角的电视情感类谈话节目研究

【摘要】 古语有云：“感人心者,莫先乎情。”情感既是精神的门户,也是艺术的血液。自上个世纪90年代以来,以情感为基调和诉求的电视情感类谈话节目开始进入国人的视野,凭借真实、朴素、温馨的节目风格,该类节目成功赚取了不少观众的眼泪。然而,随着各类媒体的话题炒作、隐私曝光与矛盾激化,昔日被视作“圣洁”的情感如今亦渐渐沦为一种供人消遣和发泄的工具,电视情感类谈话节目同样遭遇危机,对之进行反思已刻不容缓。本文以我国的电视情感类谈话节目为研究对象,在社会学与传播学的大框架下,通过跨学科的研究方法对问题展开从宏观到微观、从理论到实例的全面关照。论文首先结合社会学本体论、认识论和实践论指出：情感既是人类的本性,也是一种社会事实和社会行动。而作为一种“主观社会现实”,情感的发展与社会结构有着高度的相关性。因此,电视情感类谈话节目的兴衰历程也必然离不开社会语境的变迁。进而视之,后情感社会(postemotional society)的来临催生了我国的电视情感类谈话节目,随着该类节目的扩张,情感这一“私人话语”开始走进“公共领域”。再者,从传播学的视角出发,以悲情故事为文本的电视情感类谈话节目如今开始充斥荧屏。对于传播者而言,一方面,这些电视节目有助于媒介机构从中攫取巨额的商业利润；另一方面,电视情感类谈话节目还为参与嘉宾搭建了一个情感交流与宣泄的公共平台。与此同时,在情感交换的过程中,受众不仅获得了窥视心理的满足,也从中得到了某种情感上的补偿以及心态上的平衡。值得注意的是,自2008年底国家广电总局对电视情感类谈话节目进行“整改”以来,该类节目陷入了一个进退维谷的尴尬境地。具体而言,该类节目目前存在同质化、碎片化和媚俗化等诸多弊端。而其发展前景在于：第一,实现新媒体环境下的互联互动；第二,使感性与理性二者达到和谐统一；第三,在节目定位、内容和形式上进行创新。诚然,电视情感类谈话节目在和谐社会的构建过程中扮演了重要角色,但其带来的负面影响则是,受众将在情感的狂轰滥炸中被潜移默化地“涵化”,其形成的“主观现实”与“客观现实”产生了一定程度的偏离。这不仅不利于人们身心的健康成长,也无益于整个社会的和谐发展。因此,笔者寄希望于我们的大众媒介能以积极乐观、健康向上的内容来为人们营造一个和谐美好的公共情感家园。更多还原

【Abstract】 As an old saying goes:" Touching one’s heart is based on one’s emotion." Emotion is both the access of spirit and the blood of art. Since 1990’s, the emotional TV talk show has come into sight and made a lot of tears of audiences for its ture, homely and warm style. However, because of the speculation, privacy exposure and conflicts intension by all kinds of media, the’holy’emotion is now becoming a tool for amusement and abreacting. And the TV show is also confronted with a crisis which allows of no delay.This paper takes the TV show as subject. And in the frame of sociology and communication, it makes a comprehensive research through the method of interdiscipline, both from the macro to the micro and from theory th practice.At first, combining with the sociological ontology, epistemology and on practice, the paper points out that emotion is human nature, as well as social fact or social action. As a kind of’subjective social reality’the development of emotion is connected with social stucture closely, therefore, the rise and decline of emotional TV talk show is related with the change of social context. Morever, the postemotional society gives birth to the TV show in our country whose expansion makes’private discouse’step into’public domain’. In addition, from the perspective of communication, the screen now is filled with emotional TV talk shows whose texts are sentimental stories. As for communicator, on the one hand, these shows are helpful for media institution to reap huge commercial profits; on the other hand, they build up a public stage for guests to exchange emotions and abreact. At the same time, in the process of emotion exchanging, the audiences not only are satisfied with their peeping consciousness, but also gain some emotional compensation as well as the balance of mind.It is noteworthy that this kind of shows has sunk into an embarrassing siruation, since the end of 2008 when the SARFT implemented a’rectification’on it. In ditail, there are many shortcomings in such program, such as homogenization, fragmentation and vulgarization. In spite of that, its developing prospect is:firstly to bring out the interaction in the environment of new media; next to achieve the union of sensitivity and rationality; and last to make creation on orientation, content and form.Indeed, the emotional TV talk show plays an important role in the process of building harmonious society, but its negative impact is that audiences are cultivated unconsciously in the emotional bombing, and their’subjective reality’is different from’objective reality’in some degree. Abviously, the impact is neither beneficial to the growth of people nor to the harmonious development of society. Therefore, the author expects mass media can create a harmonious public emotion home for people, based on the positive, optimistic and healthy content.更多还原