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所谓现代消费社会,不只包括物质交流和消费观念,更是一种全面渗透的意识形态。近年来,国产抗战剧成为消费社会关注的焦点之一,在经由观众从视像中常态地获得看点和“刺点”发展到遭遇“雷点”的过程中,消费社会里的抗战电视剧已被剥离了人文的意义系统,而异化为感官娱乐的景观——“抗战神剧”。其作为现代性视觉文化滑向娱乐至死的舞台,不仅历史真实失守,而且观众的生活观念也在对拟像的消费新符号中被规训。本文从生产者、观众与消费社会的社会语境中反思近年来抗战剧的特点,并探寻其背后的深层次社会原因。
The so-called modern consumer society includes not only the concepts of material exchange and consumption, but also an ideology of full penetration. In recent years, the domestically produced war drama has become one of the focuses of the consumer society. In the process of developing the spotlight and the “thorn point” from the view of the audience through the audience, the consumer society War drama has been stripped of the human sense of the system, and alienated into a sensory entertainment landscape - “War of God ”. As the modern visual culture slides to the stage of entertainment and death, not only the history is truly lost, but also the concept of audience life is being disciplined in the new symbol of consumption of simulacrum. This essay introspects the characteristics of war drama in recent years from the social context of producer, audience and consumer society and explores the underlying social causes behind it.