农村小学儿童电视收视状况调查——以四川省两所农村小学为例

本文是对四川省两所农村小学儿童电视收视状况的调查报告.经调查我们发现,在收视环境上,农村儿童一个人看电视的情况较多;收视时间多在1～3小时之间,且对电视的依赖程度与年级的增长呈正相关;多数家长对农村儿童的收视状况积极干涉,控制着节目选择的权力;在收视习惯上农村儿童看电视的专注度较高;在收视兴趣方面偏爱动画片、影视剧和娱乐综艺节目,且对不同类型的电视剧表现出明显的性别差异;收视心理上则以放松压力为首要目的,次为学习知识,对节目内容有显著的辨识能力.     

青春之歌——国产青春剧的类型演进与文化逻辑

作为中国电视剧的流行创作类型,国产青春剧的类型演进始终与中国社会文化语境的斗转星移相呼应。近几年,随着媒介融合和“互联网+”战略的推进,国产青春剧在快速发展态势中呈现出较之前更为复杂的青春文化样貌。这不仅意味着国产青春剧类型边界的不断扩充与升级,而且反映出青年文化在电视剧话语建构中的策略性表达模式。通过对近三十年来国产青春剧发展状况的分析,指出在不同的社会历史语境中,其类型发展经历了“移植”“自生”以及“复合”发展的过程,详细分析这种类型演进背后的文化逻辑和对青春世界的想象图景,讨论其中折射出的中国社会文化和价值观念的转型发展,力图为当下国产青春剧的发展提供历史经验的借鉴。     

I want my Snooki: MTV’s failed subjects and post-feminist ambivalence in and around the Jersey Shore

As a sexually promiscuous and outrageously flamboyant young woman, Nicole “Snooki” Polizzi of MTV’s Jersey Shore (2009–2012) Jersey Shore. 2009–2012. Television Series. Seasons 1–6. USA: MTV. [Google Scholar] could be said to be the ultimate example of Angela McRobbie’s post-feminist subject. However, as pervasive as post-feminist narratives have become in popular culture, the figure of Snooki problematizes its ideal forms of femininity and meritocratic success. In this paper I argue that Snooki’s potential challenges to post-feminist ideology were contained by news reporting on her at the height of her fame. This analysis posits a noteworthy divide in that those most inclined to watch/consume Snooki-as-text (the MTV audience) likely remained beyond the reach of the news media’s attempt to re-inscribe hegemonic ideologies onto her star image/text. I examine the relation between Snooki-as-text (the Snooki presented on Jersey Shore) and the extra-textual attempts to undermine her popularity and legitimacy. I frame this discussion along three axes of transgression and containment: the sexual empowerment/threat paradigm; the physical markings of class and ethnic subjectivity; and the textual boundaries of meritocratic success. Despite efforts to contain her, Snooki’s short-lived success hints at an ambivalence toward post-feminism today that could help chart a revitalized form of feminist politics within youth-driven popular culture.     

Shameless television: gendering transnational narratives

The UK television drama Shameless (Channel 4, 2004–2011) ran for eleven series, ending with its 138th episode in 2011. The closing episode did not only mark an end, however, but also a beginning – of a US remake on Showtime (2011-). Eight series down the line and carrying the weight of critical acclaim, this article works to consider the textual representations and formal constructions of gender through the process of adaptation. Paying close attention to the structural elements of recaps, voiceovers, and final sequences of Shameless’ first series, while drawing on the work of feminist narratologists and transnational TV theory, we argue that the examination of gender in narrative reveals differing cultural values between the UK and US.     

电视新闻话语失语的发生及其因由

电视新闻的出现使人们得以站在时事发生的第一时间获知信息。但即便是在坚持了客观真实的情况下,传播者通过电视话语的陈述所取得的效果也并非都是起初的传播意愿,仍会有失语现象的发生。针对这一现象,本文从美学特性,符号特性,新闻结构的角度对电视新闻的话语失语现象的发生及其因由做了探讨。     

析约翰·菲斯克的两种经济电视理论

约翰·菲斯克的电视研究主要是在上世纪80年代完成的,以《解读电视》和《电视文化》两本著作以及散见于各学术杂志上的论文为代表成果。菲斯克在自己的电视研究中注重运用符号学方法研究电视文本、电视观众以及电视文化在意识形态中的霸权建构关系。菲斯克非常推崇符号学方法,因为符号学特定的研究视角和研究领域,特别是其对“意义”的基本认识给了他很大的启发,决定了他的电视研究对接收者(也即观众)的角色予以特别的关注。菲斯克通过对电视的双重经济流程的分析,发掘出电视观众创造意义和快感的价值之所在,彰显了大众文化潜在的进步力量,较好地解释了电视话语和人们对电视话语日常体验之间的复杂性问题。     

以多种方式促进秦皇岛市影视文化市场的繁荣

在现代经济社会中,文化产业在一个国家的经济发展中占据着越来越大的比重,文化产业的发展是国家经济发展的重要指标。在这一背景下,秦皇岛市文化产业的发展日益受到我们的关注,对秦皇岛市文化产业的一个重要分支——影视文化市场的现状进行分析,并从建设公共文化设施、推介精品文化、以人为本、加大政府扶持力度、开辟农村市场、招商引资等方面探讨如何促进秦皇岛市影视文化市场的繁荣发展。     

产业价值链视野的民营电视公司创新

在新的传媒环境下．政策不明、内容同质、平台限制、流通不畅和资金短缺等因素成为民营电视公司进一步发展的障碍。为拓展更大的发展空间,民营电视公司应从纵向的流程与横向的多元化实现电视产业链上的突破创新：一方面由单一的“点”式经营转型为规模化的“结构”型经营;另一方面开拓业务内容,促进发行渠道的多元化,逐步构建出一条比较完整的产业链,再扩展成一张覆盖目标市场的产业网,从而与传媒市场的多家主体竞争博弈。     

Television crime series,women police,and fuddy-duddy feminism

This essay argues that Prime Suspect has become a canonical text for feminist television studies and that Helen Mirren's performance of Lynda La Plante's creation has provided an influential template for television, and the broader culture, to imagine what a senior female police officer is like. So Jane Tennison is important not only within the depicted world of the “canteen culture” of the police in Prime Suspect, but also within the broader context of television production where she has demonstrated that crime shows with female leads can be extremely successful. Juxtaposing Prime Suspect with two later “girly” British TV police series, I ask how we might approach the “daughters of Jane Tennison” found in series such as Ghost Squad (2005) and Murder in Suburbia (2004–2006). Are these “postfeminist” shows? I argue that attention to these programmes can productively inform our understanding of what is entailed for women in not being “fuddy-duddy,” and my comments thus engage, in the continuing debate about the utility and periodisation of the notion of “postfeminism.”     

短视频与传统影视作品的叙事策略比较与创新 ———以抖音为例

随着当代数字通信、传媒技术的迅猛发展,跨媒体的传播环境为包括传统影视作品和新兴的短视频在内的叙事艺术 发展带来了前所未有的机遇,由此产生了新的跨媒体、超文本叙事形态。 跨媒体语境下的短视频与传统影视作品相比,产生 了从叙事结构的封闭式结构向开放式结构,从单一线性化叙事到跨媒体的立体化叙事等多元化演变,并呈现出叙事角度多维 化,叙述语态融合杂糅等新特点。 厘清短视频的发展与演变,对融媒体时代视频作品产业发展尤为重要。