[1]蔡竺言,朱丽丽.夹缝中的大众狂欢 —以日常生活实践视角再议《武媚娘传奇》[J].苏州教育学院学报,2016,(05):41-47.[doi:10.16217/j.cnki.szxbsk.2016.05.007]
 CAI Zhuyuan,ZHU Lili.Carnival Between the Cracks: A Rediscussion of The Empress of China from the Perspective of Everyday Life Practice Theory[J].,2016,(05):41-47.[doi:10.16217/j.cnki.szxbsk.2016.05.007]
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夹缝中的大众狂欢 —以日常生活实践视角再议《武媚娘传奇》()
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《苏州教育学院学报》[ISSN:1008-7931/CN:32-1556/G4]

卷:
期数:
2016年05期
页码:
41-47
栏目:
媒介与大众文化
出版日期:
2016-10-25

文章信息/Info

Title:
Carnival Between the Cracks: A Rediscussion of The Empress of China from the Perspective of Everyday Life Practice Theory
文章编号:
1008-7931(2016)05-0041-07
作者:
蔡竺言朱丽丽
南京大学 新闻传播学院
Author(s):
CAI Zhuyuan ZHU Lili
School of Journalism and Communication, Nanjing University
关键词:
《武媚娘传奇》狂欢日常生活实践德塞托巴赫金
Keywords:
The Empress of China carnival theory practice of everyday life De Cerdeau Bakhtin
分类号:
J943
DOI:
10.16217/j.cnki.szxbsk.2016.05.007
文献标志码:
A
摘要:
沿袭巴赫金狂欢理论和德塞托日常生活实践视角,以文本分析法和话语分析法,对电视剧《武媚娘传奇》引发的大众狂欢进行剖析。这是一场夹缝中的大众狂欢,既受限于社会既有文化框架,特别是主流性别意识形态,也体现出大众在文化消费过程中以规避、抵制等战术所进行的再生产。一方面,它在文本上并没有超越灰姑娘童话原型,露胸奇观式视觉狂欢更不具有实质的“颠覆”意义,而观众对此文本框架的顺从恰是当代女性主义困局的写照;另一方面,由观众的协调式、对抗式阅读战术到网络嘲讽文化,再到停播整顿风波之中的挪用行为,确是一场由电视媒体向网络媒体延伸的、体现出大众创造和颠覆力的狂欢仪式。
Abstract:
Adopting Bakhtin’s carnival theory and De Cerdeau’s theory of everyday life practice, the paper makes an analysis of the carnival of audience caused by The Empress of China, which was one of the most famous TV series in 2015. Based on the analysis, the carnival is described as “a carnival between the cracks” limited by social and cultural frameworks, especially by the mainsteam gender ideology. And it also reflected audience’ secondary production by various kinds of tactics in the process of cultural consumption. On the one hand, the text of the TV series does not go beyond the prototype of a Cinderella story, nor does it have a real subversive significance, taking into account its visual spectacle of bare breasts. The obedience of considerable audiences, especially female audiences, to the textual structure shows the predicament of feminism in contemporary China. On the other hand, audiences’ tactics such as negotiated code and oppositional code that result in the ironical culture on the Internet, and their appropriation when stricter controls were placed on the content of the TV series, do reflect the creative and subversive power of mass audience. In this sense, the “carnival between the cracks” was a real carnival happened in TV and Internet platforms.

参考文献/References:

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更新日期/Last Update: 2016-11-16