大众传媒泛娱乐化现象对我国青少年的影响及对策研究

发布时间：2018-09-03 12:07

【摘要】： 近年来,我国经济和社会生活领域发生了一系列的变化,随着国民经济持续快速的增长,人民群众生活水平的迅速提高,居民消费结构的不断升级,长期以来困扰我们的物质产品的“短缺”,正在向服务类产品,特别是精神文化的消费服务类产品的“短缺”转移。我国经过20多年以市场为取向的改革后,文化市场日益扩展,正在从计划向市场转移。成功加入WTO后,在经济领域我国的全球化进程明显加快,在文化领域市场开放的时间表也已经被WTO协议所设定。正是这些变化,在很大程度上构成了我们目前谈论以文化体制改革促进文化产业发展这类话题的可能性和必要性。在十七大报告中,“文化大发展大繁荣”、“文化创造活力”、“文化软实力”、“文化权益”、“文化生产力”、“文化产业群”等新名词频频闪现。这些新名词体现了党中央在新世纪新阶段对中国文化发展的新思路和新部署。专家们认为,十七大报告关于文化的论述新意迭出,许多提法的首次出现令人耳目一新,而其中“文化软实力”一词更是成为讨论的焦点。“‘文化软实力’是出现在党的代表大会的报告中,体现了党中央站在战略的高度看待文化发展,”中国人民大学教授金元浦说,“可以看出来,在国家发展的总体框架中,文化的地位越来越高。”他认为,这既是适应世界发展潮流的必然选择,也是中国经济发展、人民文化需求日益强烈的要求。在我国文化产业面临转型契机之时,社会生活中一些衍生现象悄然而生。作为文化载体的大众传媒,在文化改制的口号中,不加区别的大肆商业化,以娱乐的名义,为求争夺大众市场份额,节目质量日益同质化,庸俗化。由此,一个新的名词诞生——“泛娱乐化”。它的出现标志了中国文化从政治、启蒙文化向娱乐文化的转变。在这种娱乐文化中,文化的政治功能、认知功能、教育功能,甚至审美功能都受到了抑制,而强化和突出了它的感官刺激功能,游戏功能和娱乐功能,快乐成为凌驾于一切之上的文化标准,正如一些批评者所描述,“这是一个没有史诗的世纪,侃爷、丑角和明星占据着文化大舞台的中央,夸张、做作、神侃、混聊、故作轻松,充满噱头或者轻佻、卖弄风情的各路‘明星’充斥着电视、电影、广告等传播媒介。百年来审美风尚在此明显地‘转了个急弯’。它世俗化了,生活化了,享乐化了。大众消费的世俗趣味第一次成为审美文化的主导趣味。”一代乾隆变成了风流倜傥的多情小生,楚汉的金戈铁马被写成了三角恋爱的悲剧,秦始皇登基成了现代人跨越时空后的阴差阳错。文化文本在这个“泛娱乐化”的时代就是一种游戏文本。在这种封闭的游戏文本中,一切现实矛盾都被转化为一种以人为的二元对立为基础的、具有先验的因果逻辑的戏剧性矛盾。在那些形形色色的故事中,当那个早就为观众预备好的叙事高潮到来以后,一个善恶分明、赏罚公正,有志者事竟成,有情人终成眷属的结局偏偏而至,随着永恒正义的恢复,叙事游戏也就吹响了暂停的哨声。受众失去了自我意识和自我判断,对文化产品的观看已经不是一种文化行为,而仅仅是一种可以把思维关掉的娱乐行为。在大众传媒极力的配合“炒作”下,人们开始在媒体的娱乐狂潮中投射着他们的智慧、勇气,实现着他们的光荣与梦想,同时也在那些虚幻故事的生与死,情与爱,沉与浮之中释放着他们被抑制的潜意识,满足着与现实环境中屡受挫折的弗洛伊德所谓的“快乐原则”。“开心就好”,“玩的就是心跳”,“过把瘾就死”成为了现在娱乐文化生产和消费的直接目的。与此同时,大众的娱乐文化正从一种审美文化向文化工业转变。随着信息技术的广泛传播和应用,传统媒介结合电子媒介的传播方式愈加熟练,在依赖于高技术条件下的工业产品,像电影拷贝,CD盘,激光视盘、电脑光盘等,以一种无限的摹本取代了一个独一无二的存在,这意味着文化产品不再是个体创造的产物,而是一种工业生产的结果,从策划、投资、制作宣传、发行,进入实际消费,文化产品都被作为一种批量生产的工业产品而进入了文化市场。电影厂、出版社率先从事业化转向了企业化。接着,许多报纸、刊物和新闻业也开始自负盈亏,电视台的广告收入逐渐成为支持其运转的主要经济来源。于是,经济效益、利润成了衡量文化产品的重要参数。因而,生产者和消费者之间建立了一种直接的经济关系。更重要的是,这种文化现象不再把作品的美学价值和精神价值作为理想,而是把商品的交换价值和使用价值当作了重要的、有时甚至是最重要的目的。商品的逻辑不仅影响到人们的生活方式,而且也影响到人们的思维方式和价值观念。文化业受到商业投机行为的制约,人们已经不再以个性、创造性、批判性、超越性或者韵味性这样的概念来评价和要求文化,而是以大众性、娱乐性,甚至畅销性来衡量文化的意义。大众传媒及其文化的消极影响已经不仅仅停留在传播领域,对于教育,尤其是对于青少年教育已经发出了严峻的挑战,它们对现实的歪曲反映影响到青少年对世界的认识和判断;它们表现方式的模式化影响了青少年的创造性和想象力;它们平庸的通俗性降低了青少年的艺术鉴赏力和审美能力。总之,无论是接受“泛娱乐化”,为它的存在辩护,或是拒绝它,反对它,一个显而易见的事实是这个现象已经成为我们当代文化一个不可回避的重大问题。它泥沙俱下,扑面而来,冲击着我们的传统,向我们过去所坚信的理想和价值观念,向我们的教育、艺术乃至整个社会提出了新的挑战。与此同时,人们开始关注到依附于高科技媒介力量的大众文化居然有如此之强大的力量,它可以颠倒众生,造成巨大挑战;那么它是否也具有固本培元的神奇功效,能促进社会主义文化、教育事业的发展呢?大众传媒的工具性意义已不言而喻,它既可以在追求商业利益的驱使下,迎合低俗;也可以在各方监管下作为大众教育的一条新路径,服务大众。当然,我们不是把对高雅文化,精英艺术的要求强加于大众文化,也不是要求大众传媒忽视自身特点和竞争环境全部献身公益,拒绝盈利。而是希望大众传媒能强化和提升精神动力,任何一个国家的改革,意味着价值目标的重组与转型,在这一过程中,大众传媒作为影响一个社会的价值观念、提升精神动力方面有着不可忽视的作用。特别是在全球化的今天,全球的受众变得越来越相似。全球传播的结果,往往会消解原先文化价值判断的差别,甚至改变或是取代原有的文化价值判断。大众传播的全球化也引发了人们生活方式的巨大改变,一种新的生活方式正以光速在世界范围内普及,并可能辐射到世界每个角落。这是一个传媒的契机,这是一个文化的契机,这是一个国家的契机。本文将在全球视野下结合我国“文化战略性缺失”的现状,探讨我国文化改制的实质意义和未来方向以及我国传媒在文化转型期的困惑,着重对大众传媒“泛娱乐化”现象以及它对我国青少年各方面的影响等加以研究。综合运用文献研究方法、比较研究方法等。关于将大众传播学、社会学、以及教育学等问题加以综合研究,目前在国内还不够成熟和完善。文化改制方面的问题更多显见于一些政策性的报告文件,而近来社会生活领域中的文化衍生现象——泛娱乐化,尚为研究冷点,仅有一些杂谈,点评类的文章鲜见于各类报刊杂志或网络。相关的文章,观点更加少有将其与教育层面的理论研究相联系,或者分析得不全面、不透彻,不能解决相关的问题。本文在总结和借鉴这些理论成果的基础上,将传媒泛娱乐化现象对我国青少年教育的影响及对策进行了理论上的梳理和实践上的把握,结合社会热点事件进一步的分析和探索,努力探求文化、教育在当代中国社会环境下的适应与发展问题。
[Abstract]:In recent years, a series of changes have taken place in China's economic and social life. With the sustained and rapid growth of the national economy, the rapid improvement of the people's living standards and the continuous upgrading of the residents'consumption structure, the "shortage" of our material products, which has long plagued us, is turning to service products, especially spiritual and cultural consumer clothing. After more than 20 years of market-oriented reform, China's cultural market is expanding from planning to market. After China's successful accession to the WTO, China's globalization in the economic field has been accelerated significantly, and the timetable for opening up the market in the cultural field has been set by the WTO agreement. To a great extent, it is possible and necessary for us to discuss the topic of promoting the development of cultural industry through the reform of cultural system.
In the report of the 17th National Congress of the CPC, new terms such as "great development and prosperity of culture", "cultural creativity", "cultural soft power", "cultural rights and interests", "cultural productivity" and "cultural industrial group" appeared frequently. For the first time, the term "cultural soft power" has become the focus of discussion. Jin Yuanpu, a professor of Renmin University, said, "It can be seen that culture is playing a higher and higher role in the overall framework of national development." In his view, this is not only an inevitable choice to adapt to the trend of world development, but also a requirement of China's economic development and people's increasingly strong cultural needs. The mass media, as the carrier of culture, is indiscriminately commercialized in the slogan of cultural reform. In the name of entertainment, the quality of programs is increasingly homogeneous and vulgarized in order to compete for the share of the mass market. Thus, a new term is born - "pan-entertainment". Its appearance marks China. In this entertainment culture, the political function, cognitive function, educational function and even aesthetic function of culture are restrained, and its sensory stimulation function, game function and entertainment function are strengthened and highlighted. Happiness becomes the cultural standard above everything, just like some others. Critics say, "This is a century without epics. Kanye, clowns and stars occupy the center of the cultural stage, exaggerating, pretending, ridiculing, chatting, pretending to be relaxed, full of gimmicks or frivolities, showing off the charm of the various'stars'filled with television, movies, advertising and other media. The secular interest of mass consumption became the dominant interest of aesthetic culture for the first time. "The Qianlong generation became a romantic and nursery sentimental child, the golden Gothic iron horse of Chu and Han Dynasties was written as the tragedy of love triangle, and the ascent of Qin Shihuang became the Yin and Yang error of modern people after spanning time and space. In this "pan-entertainment" era, the text is a game text. In this closed game text, all realistic contradictions are transformed into a dramatic contradiction based on artificial binary opposition and transcendental causal logic. After the climax of events, a clear distinction between good and evil, fair reward and punishment, where there is a will, where there is a lover will eventually become a family of the outcome of bias to, with the restoration of eternal justice, the narrative game also sounded a pause whistle. Under the hype of mass media, people begin to project their wisdom, courage, glory and dreams into the entertainment craze of the media, and release their subconscious restrained consciousness in the life and death, love and love of the illusory stories. Freud's so-called "pleasure principle" which satisfies the frustration with the real environment. "Happiness is good", "Play is the heartbeat", "Over addiction to death" has become the direct purpose of the production and consumption of entertainment culture nowadays. Meanwhile, the entertainment culture of the public is changing from an aesthetic culture to a cultural industry. The spread and application of technology, the combination of traditional media and electronic media is becoming more and more skillful. Industrial products, such as film copies, CD disks, laser discs, computer discs, etc., which rely on high-tech conditions, replace a unique existence with an infinite copy, which means that cultural products are no longer the product of individual creation. Things are the result of industrial production. From planning, investment, publicity, distribution to actual consumption, cultural products have entered the cultural market as a mass-produced industrial product. Taiwan's advertising revenue has gradually become the main source of economic support for its operation. Thus, economic benefits and profits have become important parameters for measuring cultural products. Thus, a direct economic relationship has been established between producers and consumers. The logic of commodities not only affects people's way of life, but also affects people's way of thinking and values. The cultural industry is restricted by commercial speculation, and people are no longer individualized, creative, critical, and beyond. The negative influence of mass media and its culture has not only stayed in the field of communication, but also posed a serious challenge to education, especially to the education of teenagers. They have distorted the reality. In a word, whether accepting "pan-entertainment" to justify its existence, or rejecting it, or opposing it, a song reflects the young people's understanding and judgment of the world; its mode of expression affects their creativity and imagination; its mediocre popularity reduces their artistic appreciation and aesthetic ability. The obvious fact is that this phenomenon has become an unavoidable and important issue in our contemporary culture. It has come under the influence of sand and sand, impacting our traditions, challenging the ideals and values we believed in in the past, challenging our education, art and even the whole society. At the same time, people begin to pay attention to it. It is obvious that mass culture, which is dependent on the power of high-tech media, has such a powerful force that it can overturn all living beings and pose great challenges. Does it have the magical effect of strengthening the foundation and cultivating the elements, and can promote the development of socialist culture and education? The instrumental significance of mass media is self-evident, and it can pursue business as well. Driven by the interests of the industry, cater to vulgarity; can also be regulated by all parties as a new way of mass education, service to the public. Of course, we are not imposing on the high culture, elite art requirements on mass culture, nor do we require the mass media to ignore their own characteristics and competitive environment, all dedicated to public welfare, refuse to profit. Mass media can strengthen and enhance the spiritual power. The reform of any country means the reorganization and transformation of the value goal. In this process, mass media, as a social value concept, plays an important role in promoting the spiritual power. Similarly, the result of global communication tends to dissolve the differences in original cultural value judgments, even to change or replace them. The globalization of mass communication has also led to dramatic changes in people's way of life. A new way of life is spreading around the world at the speed of light and may radiate to every corner of the world. This paper will discuss the essential significance and future direction of China's cultural restructuring and the confusion of China's media in the period of cultural transformation from a global perspective, focusing on the "pan-entertainment" of mass media. This paper makes a comprehensive study of elephants and their influence on all aspects of adolescents in China.
The comprehensive study of mass communication, sociology, and pedagogy is not yet mature and perfect in China. The issue of cultural restructuring is more evident in some policy-based reports, while the recent phenomenon of cultural derivatives in the field of social life, pan-entertainment, is still a research cold spot, with only a few trivial remarks. Commentary articles are rarely seen in various newspapers, magazines or networks. Relevant articles are seldom related to the theoretical research on education, or are not fully analyzed, not thorough, and can not solve the relevant problems. The influence and Countermeasure of education have been sorted out in theory and grasped in practice. Combining with the further analysis and exploration of hot social events, we try to explore the problem of culture and the adaptation and development of education in the contemporary Chinese social environment.
【学位授予单位】：西南财经大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：C913.5

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