作　　者： ;

机构地区： 北京师范大学文艺学研究中心

出　　处： 《广东技术师范学院学报》 2004年第1期61-66,共6页

摘　　要： 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去研究电视文本、电视观众以及电视文化在意识形态中的霸权建构关系 ,在他眼里 ,符号学是揭示接受者接受信息认识途径的有效方法 ,而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两种经济流程的分析 ,发掘了电视观众创造意义和快感的价值 ,彰显了大众文化潜在的进步力量。 Television is the popular cultural form of the late twentieth century. It is without doubt the world's most popular leisure activity. No other medium can match television for the volume of popular cultural texts it produces and the sheer size of its audiences. Television is a resource open to virtually everybody in modern industrialized societies and an increasing one in the developing world. It is a source of popular knowledge about the world and increasingly brings us into contact, albeit in a mediated way, with ways of life other than those into which we were born. According to Stuart Hall, Te1evisionis implicated in “the provision and the selective construction of social knowledge, of socia1 imagery, through which we perceive the ‘worlds’, the ‘lived realities’ of others, and imaginarily reconstruct their lives and ours into some intelligible ‘world-of-the-whole’”. John Fiske, a very famous popular culture theorist in the Unite States, advocates the two economies of television and the audience's value of creating meaning, pleasure and the social identity circulating in the two economies.

关 键 词： 电视 电视观众 意义 金融经济 文化经济

领　　域： [文化科学]