Television China s got viewers Despite government meddling and rampant piracy, commercial television is surging in the Middle kingdom Nov 18th 2010 ShanghaiI from the print edition LAST month Liu Wei, an armless pianist and singer, won the first series of "Chinas Got Talent. En route to victory, he defeated bellydancers comedians and a pig impersonator The talent show was a ratings triumph a third of all televisions in the Shanghai area tuned in for the final. But Yang Wenhong, vice-president of Shanghai Media Group, is just as leased that the Communist Partys media regulator praised the programme for conveying an uplifting message. In China, it is not enough merely to please the masse Chinas television business has deve loped largely in isolation from the rest of the world. Despite heroic efforts, particularly by rupert Murdoch's News Corporation, Western media firms have been unable to launch mainland channels. They have been restricted to Tv sets in Hong Kong and in expensive hotels, or reduced to selling the odd programme te domestic networks. But isolation does not mean chinese television i stagnating. On the contrary: it is progressing at a lunatic pace
Television China's got viewers Despite government meddling and rampant piracy, commercial television is surging in the Middle Kingdom Nov 18th 2010 | Shanghai | from the print edition LAST month Liu Wei, an armless pianist and singer, won the first series of “China’s Got Talent”. En route to victory, he defeated bellydancers, comedians and a pig impersonator. The talent show was a ratings triumph: a third of all televisions in the Shanghai area tuned in for the final. But Yang Wenhong, vice-president of Shanghai Media Group, is just as pleased that the Communist Party’s media regulator praised the programme for conveying an uplifting message. In China, it is not enough merely to please the masses. China’s television business has developed largely in isolation from the rest of the world. Despite heroic efforts, particularly by Rupert Murdoch’s News Corporation, Western media firms have been unable to launch mainland channels. They have been restricted to TV sets in Hong Kong and in expensive hotels, or reduced to selling the odd programme to domestic networks. But isolation does not mean Chinese television is stagnating. On the contrary: it is progressing at a lunatic pace
Money is pouring in. Last week China Central Television(CCTV)announced that it had already booked 12. 7 billion yuan($1.9 billion)of advertising for 2011-16% more than it had sold at this point last year. Total television advertising has grown sevenfold since 2001. It is by far the richest medium: fully of all advertising spending in China this year will be on television, compared with just 28% in Britain. Andrew Carter t firm which i explains that television is well-suited to bringing new products and brands to the attention of China's fast-growing middle class. Rise of the vulgarians viewing% 4 30 Nationally broadcast provincial channels 2007 Aged four years old and over Source: GrOupM f First four months Related topics The box used to be dominated by the state-run CCtv, which is controlled by the Communist Party's publicity department. But despite the launch of new channels-it currently has 15, including one dedicated to opera-CCTV's share of viewing is falling(see chart). Earlier this year t was overtaken by the combined audience of provincial broadcasters like Shanghai Media Group, Hunan TV and Zhe jiang TV, which can each distribute one channel nationally. These provincial outfits, which are less controlled by Beijing, are locked in a fierce, untidy and occasionally underhanded struggle for viewers Not only do many of their shows resemble British and American programmes like“ Pop Idol”and“ The apprentice”. They also rip off each other’s formats. "If a show is successful, clones appear almost instantly, says Rebecca Yang of IPCN, a firm that brokers formats. A few years ago there was an explosion of talent competitions. Then one show offended the State ministration of Radio, Film and Television (SARFT), not least by conducting a huge text-message vote. Channels are now restricted to one such show per year. Judges are discouraged from abusing contestants and voting is restricted
Money is pouring in. Last week China Central Television (CCTV) announced that it had already booked 12.7 billion yuan ($1.9 billion) of advertising for 2011—16% more than it had sold at this point last year. Total television advertising has grown sevenfold since 2001. It is by far the richest medium: fully 63% of all advertising spending in China this year will be on television, compared with just 28% in Britain. Andrew Carter of GroupM, the media-investment firm which issues these estimates, explains that television is well-suited to bringing new products and brands to the attention of China’s fast-growing middle class. Related topics The box used to be dominated by the state-run CCTV, which is controlled by the Communist Party’s publicity department. But despite the launch of new channels—it currently has 15, including one dedicated to opera—CCTV’s share of viewing is falling (see chart). Earlier this year it was overtaken by the combined audience of provincial broadcasters like Shanghai Media Group, Hunan TV and Zhejiang TV, which can each distribute one channel nationally. These provincial outfits, which are less controlled by Beijing, are locked in a fierce, untidy and occasionally underhanded struggle for viewers. Not only do many of their shows resemble British and American programmes like “Pop Idol” and “The Apprentice”. They also rip off each other’s formats. “If a show is successful, clones appear almost instantly,” says Rebecca Yang of IPCN, a firm that brokers formats. A few years ago there was an explosion of talent competitions. Then one show offended the State Administration of Radio, Film and Television (SARFT), not least by conducting a huge text-message vote. Channels are now restricted to one such show per year. Judges are discouraged from abusing contestants and voting is restricted
That has become a pattern. As talent competitions became more staid, producers turned their attention to dating shows, churning out programmes that encouraged bitchiness. Last summer one stepped over the line. A contestant on "If You Are the One declared that she would rather cry in a BMW than smile on the back of a boyfriends bicycle. The host was promptly replaced by a psychology professor, but it was too late. SARFT has promulgated rules banning lewd comments and other moral provocations Why are these troublesome, populist broadcasters allowed to operate at all? Because the Chinese government wants people to watch television. The living-room set is a crucial conduit between the state and the masses However ribald their programming at other times, at seven o' clock in the evening almost all channels carry CCtV' s starchy news broadcast, in which unsmiling anchors relay the latest utterances from party officials. If television becomes too dull, that show would lose its audience. After al many Chinese can go elsewhere for entertainment. Data from the Chinese Marketing and Media Study suggest that the internet accounts for 33% of all media use among 18-to 34-year-olds in Shanghai compared with just 28% for television. Shanghai is an unusually forward-looking city, and people tend to underestimate their television watching. But internet video is undoubtably bigger in China than elsewhere. Victor Koo, chief executive of Youku, a video portal, says the average user spends an hour each day on his website. In contrast, people spend less than ten minutes each day on the America-based You Tube Some Chinese use online video as a way of catching up on programmes that they missed (very few have digital video recorders). But many use it to gorge on pirated Hollywood shows. Subtitled versions of programmes like Gossip girl" circulate in China just a few hours after they are broadcast in America. So widespread is pirated television that it has created stars. Wentworth miller who is best-known for his role in the Fox television show "Prison break, is mobbed when he visits china,, and is the face of General Motors in the country. Yet Prison Break" is not shown on any Chinese television network. Broadcasters are thus caught between the state and the market, between conformity and populism. Both of their audiences are fickle: regulators clamp down on shows with little warning, whereas viewers are liable to switch off and watch pirated videos online or on DVD. Yet in some ways the business is settling down. Searching for the X factor
That has become a pattern. As talent competitions became more staid, producers turned their attention to dating shows, churning out programmes that encouraged bitchiness. Last summer one stepped over the line. A contestant on “If You Are the One” declared that she would rather cry in a BMW than smile on the back of a boyfriend’s bicycle. The host was promptly replaced by a psychology professor, but it was too late. SARFT has promulgated rules banning lewd comments and other moral provocations. Why are these troublesome, populist broadcasters allowed to operate at all? Because the Chinese government wants people to watch television. The living-room set is a crucial conduit between the state and the masses. However ribald their programming at other times, at seven o’clock in the evening almost all channels carry CCTV’s starchy news broadcast, in which unsmiling anchors relay the latest utterances from party officials. If television becomes too dull, that show would lose its audience. After all, many Chinese can go elsewhere for entertainment. Data from the Chinese Marketing and Media Study suggest that the internet accounts for 33% of all media use among 18- to 34-year-olds in Shanghai, compared with just 28% for television. Shanghai is an unusually forward-looking city, and people tend to underestimate their television watching. But internet video is undoubtably bigger in China than elsewhere. Victor Koo, chief executive of Youku, a video portal, says the average user spends an hour each day on his website. In contrast, people spend less than ten minutes each day on the America-based YouTube. Some Chinese use online video as a way of catching up on programmes that they missed (very few have digital video recorders). But many use it to gorge on pirated Hollywood shows. Subtitled versions of programmes like “Gossip Girl” circulate in China just a few hours after they are broadcast in America. So widespread is pirated television that it has created stars. Wentworth Miller, who is best-known for his role in the Fox television show “Prison Break”, is mobbed when he visits China, and is the face of General Motors in the country. Yet “Prison Break” is not shown on any Chinese television network. Broadcasters are thus caught between the state and the market, between conformity and populism. Both of their audiences are fickle: regulators clamp down on shows with little warning, whereas viewers are liable to switch off and watch pirated videos online or on DVD. Yet in some ways the business is settling down. Searching for the X factor
China's provincial television outfits are consolidating, with the stronger broadcasters piggybacking on the weaker broadcasters' national networks. Earlier this year Hunan TV persuaded Qinghai Satellite tv to carry some of its programmes. Shanghai Media Group secured national carriage for its local business channel by doing a deal with a broadcaster in Ningxia. Gradually, half a dozen strong television companies are emerging. A few are branching out: Shanghai Media Group publishes magazines and offers broadband service. Flush with money, and determined to differentiate themselves from a mass of cheap knock-offs, Chinas larger provincial broadcasters are beginning to import foreign programme formats legitimately. Increasingly t is not enough to have or to borrow) a good idea for a programme broadcasters must create professional-looking content. They must also learn to work with sponsors. New restrictions on television advertising mean that money is flowing into product placement. Helen Yang, president f Vivid Media, an independent production moved from making programmes to creating marketing solutions for companies. That adds a layer of complexity, favouring the biggest outfits. Chinese broadcasters are quickly learning how to produce slick-looking television. In a few years, predicts Ms Yang at Shanghai Media group, the will be able to develop compelling programme formats of their then, who knows? The notion of China as an exporter of culture seem far-fetched. But it was once hard to imagine the country churning out advanced telecoms equipment. Chinas tv Dating Shows: For Love or Money For a small but increasingly high-profile num ber of young women in modern-day china, true love is all about the numbers. a potential suitor may have a good sense of humor and reasonable good looks, but what they say really matters is if he owns an apartment and how many square feet it is. A sizable bank account is also a must, and some say, so is a luxury car. // At least, thats the way things look if you watch Chinese television these days though china was slow to pick on the reality-programming trend, a host of dating shows and american Idol copycats have emerged in recent years, capturing millions of viewers but angering critics who say the programs promote negative, non-traditional values among ur ban Chinese youth. The latest reality-TV scandal to transfix the nation involves Ma Nuo, a 22-year-old model from Beijing who appeared on China's most popular dating show, If You are the One. she haughtily rejected an offer from a male contestant to take a ride on his bike, epitomizing the materialism that some say has come to define the nouveau riche of the post-1980s generation I'd rather cry in a bMw car than laugh on the backseat of a bicycle " Ma told her suitor with a giggle //The televised smackdown swept the Internet and made an instant celebrity of Ma, who left the show without a match but has since entertained numerous television offers and become one of the most talked-about women
China’s provincial television outfits are consolidating, with the stronger broadcasters piggybacking on the weaker broadcasters’ national networks. Earlier this year Hunan TV persuaded Qinghai Satellite TV to carry some of its programmes. Shanghai Media Group secured national carriage for its local business channel by doing a deal with a broadcaster in Ningxia. Gradually, half a dozen strong television companies are emerging. A few are branching out: Shanghai Media Group publishes magazines and offers broadband service. Flush with money, and determined to differentiate themselves from a mass of cheap knock-offs, China’s larger provincial broadcasters are beginning to import foreign programme formats legitimately. Increasingly it is not enough to have (or to borrow) a good idea for a programme; broadcasters must create professional-looking content. They must also learn to work with sponsors. New restrictions on television advertising mean that money is flowing into product placement. Helen Yang, president of Vivid Media, an independent production company, says her company has moved from making programmes to creating marketing solutions for companies. That adds a layer of complexity, favouring the biggest outfits. Chinese broadcasters are quickly learning how to produce slick-looking television. In a few years, predicts Ms Yang at Shanghai Media Group, they will be able to develop compelling programme formats of their own. And then, who knows? The notion of China as an exporter of culture may seem far-fetched. But it was once hard to imagine the country churning out advanced telecoms equipment. China's TV Dating Shows: For Love or Money? For a small but increasingly high-profile number of young women in modern-day China, true love is all about the numbers. A potential suitor may have a good sense of humor and reasonable good looks, but what they say really matters is if he owns an apartment and how many square feet it is. A sizable bank account is also a must, and, some say, so is a luxury car. // At least, that's the way things look if you watch Chinese television these days. Though China was slow to pick up on the reality-programming trend, a host of dating shows and American Idol copycats have emerged in recent years, capturing millions of viewers but angering critics who say the programs promote negative, non-traditional values among urban Chinese youth. The latest reality-TV scandal to transfix the nation involves Ma Nuo, a 22-year-old model from Beijing who appeared on China's most popular dating show, If You Are the One. She haughtily rejected an offer from a male contestant to take a ride on his bike, epitomizing the materialism that some say has come to define the nouveau riche of the post-1980s generation. "I'd rather cry in a BMW car than laugh on the backseat of a bicycle," Ma told her suitor with a giggle. // The televised smackdown swept the Internet and made an instant celebrity of Ma, who left the show without a match but has since entertained numerous television offers and become one of the most talked-about women
in the country. The backlash among young Chinese was especially severe, reflecting growing anxieties over the widening gap between rich and poor, shifting societal values and the difficulties of finding a mate in a country where men are expected to outnum ber women by 2 million in a decade. China s 30-year-old one-child policy has caused a disproportionate number of families to abort female fetuses in hopes of having a son )//a lot of people see chastity a important as one's own life, but Ma Nuo, a shallow, sharp-tongued, single girl, treats her chastity like used toilet paper because she wants to be a super star one netizen, Wang Xi Jie, wrote on the popular Internet forum tianya. cn. Yes, the world needs money, but your idea that money is the master of everything is not right Of If You are the one and the handful of other dating shows like it, another blogger, Xie Yong, wrote on the Web portal Sohu. com: The most controversial aspect of these programs is the value contestants place on money worshipping and rich people. These opinions are so contrary to traditional values like loving one's country and respecting one's elders.. But we can' t do anything if these people just like ugly things. "//This cause for concern for the government In response to the publ ic outcry over Ma's infamous quote as well as comments from other money -obsessed contestants on If You are the one and shows like it -the State Administration of Radio, Film and Television(SARFT) issued a harsh set of new rules in early June for matchmaking programs. " Incorrect social and love values such as money worship should not be presented in the shows, the notice read. It also banned "morally provocative hosts and hostesses"and demanded that participants undergo stricter screening procedures and"be cautious before mouthing venturous remarks. "After the new policies were viewers have been by some of the contestants, however, they continue to watch religiously. In fact, Jiangsu's If You are the One has been joined on the airwaves by several competing programs in recent months, including Let's Go On a Date in Hunan province and run for Love in Zhejiang province. Why are people still tuning in? Audiences like the programs because they re honest They show the current reality of chinese society "says Yan Mu, one of the founders of Baihe. com, an on line dating service with 21 million registered users. Young people are so focused on making money and building their careers these days, they have little time to devote to dating -and contestants speak to these difficulties on the shows he says "Many people feel pressure from their parents and peers, Yan adds it can be a struggle to find a partner Money may not buy ou love. But on China's reality shows, it can at least get you a date 中文翻译 对于一小撮中国现代年轻女性来说,真正的爱情都是关于数字的。在要求求婚者必须拥 有幽默感、英俊外貌的同时,她们更在乎的是对方是否有房子、房子的大小、银行卡的钱数, 当然有豪华轿车更好。至少,这些都是近来中国电视相亲节目中的情景 近来,许多相亲节目和类似《美国偶像》的选秀节目如雨后春笋般在中国兴起,吸引了 数百万观众。但是批评人士称,这些节目导致消极的、非传统价值观在中国城市年轻人中盛 行。一些相亲节目曝出的丑闻更是刺痛了整个国家:来自北京的22岁模特马诺出现在当前 中国最受欢迎的相亲节目《非诚勿扰》中。她直接拒绝了一位男嘉宾共骑自行车逛街的邀请, 宣称自己宁可坐在宝马里边哭。马诺成为中国80后“拜金女”的代名词。 这种情况反映出中国年轻人对贫富差距日益增加、社会价值观转变以及寻找合适配偶 的忧虑。网民王义杰(音译)在中国著名网络论坛天涯中写道:“许多人将贞洁视作生命,但是 马诺这样浅薄、刻薄的单身女孩,对待她的贞洁就像用过的卫生纸,因为她想成为超级明星
in the country. The backlash among young Chinese was especially severe, reflecting growing anxieties over the widening gap between rich and poor, shifting societal values and the difficulties of finding a mate in a country where men are expected to outnumber women by 24 million in a decade. (China's 30-year-old one-child policy has caused a disproportionate number of families to abort female fetuses in hopes of having a son.) // A lot of people see chastity as important as one's own life, but Ma Nuo, a shallow, sharp-tongued, single girl, treats her chastity like used toilet paper because she wants to be a super star," one netizen, Wang Xi Jie, wrote on the popular Internet forum Tianya.cn. "Yes, the world needs money, but your idea that money is the master of everything is not right." Of If You Are the One and the handful of other dating shows like it, another blogger, Xie Yong, wrote on the Web portal Sohu.com: "The most controversial aspect of these programs is the value contestants place on money worshipping and rich people. These opinions are so contrary to traditional values, like loving one's country and respecting one's elders ... But we can't do anything if these people just like ugly things." // This is cause for concern for the government. In response to the public outcry over Ma's infamous quote — as well as comments from other money-obsessed contestants on If You Are the One and shows like it — the State Administration of Radio, Film and Television (SARFT) issued a harsh set of new rules in early June for matchmaking programs. "Incorrect social and love values such as money worship should not be presented in the shows," the notice read. It also banned "morally provocative hosts and hostesses" and demanded that participants undergo stricter screening procedures and "be cautious before mouthing venturous remarks." After the new policies were announced, all of China's dating shows said they would promptly comply. // As disgusted as viewers have been by some of the contestants, however, they continue to watch religiously. In fact, Jiangsu's If You Are the One has been joined on the airwaves by several competing programs in recent months, including Let's Go On a Date in Hunan province and Run for Love in Zhejiang province. Why are people still tuning in? "Audiences like the programs because they're honest. They show the current reality of Chinese society," says Yan Mu, one of the founders of Baihe.com, an online dating service with 21 million registered users. Young people are so focused on making money and building their careers these days, they have little time to devote to dating — and contestants speak to these difficulties on the shows, he says. "Many people feel pressure from their parents and peers," Yan adds. "It can be a struggle to find a partner." Money may not buy you love. But on China's reality shows, it can at least get you a date. 中文翻译： 对于一小撮中国现代年轻女性来说，真正的爱情都是关于数字的。在要求求婚者必须拥 有幽默感、英俊外貌的同时，她们更在乎的是对方是否有房子、房子的大小、银行卡的钱数， 当然有豪华轿车更好。至少，这些都是近来中国电视相亲节目中的情景。 近来，许多相亲节目和类似《美国偶像》的选秀节目如雨后春笋般在中国兴起，吸引了 数百万观众。但是批评人士称，这些节目导致消极的、非传统价值观在中国城市年轻人中盛 行。一些相亲节目曝出的丑闻更是刺痛了整个国家：来自北京的 22 岁模特马诺出现在当前 中国最受欢迎的相亲节目《非诚勿扰》中。她直接拒绝了一位男嘉宾共骑自行车逛街的邀请， 宣称自己宁可坐在宝马里边哭。马诺成为中国 80 后“拜金女”的代名词。 这种情况反映出中国年轻人对贫富差距日益增加、社会价值观转变以及寻找合适配偶 的忧虑。网民王义杰(音译)在中国著名网络论坛天涯中写道：“许多人将贞洁视作生命，但是 马诺这样浅薄、刻薄的单身女孩，对待她的贞洁就像用过的卫生纸，因为她想成为超级明星
的确,每个人都需要钱,但认为钱能主宰一切的想法是错的 网友谢勇在搜狐博客上写道:“这些节目最有争议的地方就是价值观层面的碰撞,很多 观点与传统价值观截然相反,比如拜金、崇富、不爱国不爱党,不尊老爱幼不热爱传统文化, 颠覆中国人的爱情观等。 鉴于公众对马诺犀利、毒辣言辞的大声疾呼,以及《非诚勿扰》中层出不穷的拜金言论 中国政府于6月初对相亲类节目出台了新的管理办法。(沈姝华) ·婚恋交友成社会问题,引发婚恋节目再度兴起2010年2月14日情人节,《新周刊》以“剩女 是一个反动词汇”作为主打文章的标题,将目光聚焦到“剩女”这一特别的社会群体。在目前“剩男”“剩 女”的队伍越来越庞大的情况下,我们相信有各种各样的原因让他们暂时还找不到自己满意的另一半。 如今的生活节奏这么緊凑,缺乏相处时间、生活圈子狭窄,使婚恋交友越来越成为一个社会问题。 中国传媒大学电视与新闻学院教授、博士生导师张国涛在接受采访时说。“电视本身就像一个蓄水池, 起到排解大家情绪的功能,反映着当下的社会环境。因此,像《非诚勿扰》这类婚恋节目的再度兴起, 具有必然性。”另外,如今社会的价值观也从当年相亲的志同道合变为最直接的物质取向也是 个重要原因。随着社会价值的多元化,尤其是年轻人在社会中面临的各种压力,与人际交往中的被动 接受等等都造成了将爱情、婚姻是等价交换的物物交易。记者曾经在各个门户网站上调査发现,有很 多人既渴望有一份完美的感情归宿,但又不相信浮躁社会下别人的伪真诚,于是通过婚恋交友节目幻 想可以达到寻找另一半的目的,但其实只是满足了大家的收看欲望,但并不能解决实质的问题。若 细心观看便不难发现,比起10年前的同类节目,新一代速配节目,在节目形式上发生了很大的变化 比如其在征友速配的内核下更加注重节目的娱乐性和话题性,甚至有大量的表演和演绎的成分在节目 里出现。每一期节目都在制造各种各样的话题,从富二代的价值观,到乡村教师的幸福生活,几乎涵 盖了各种社会热点问题。也就是说,只是为了节目的收视率而作,为了节目的可看性而看,于是出现 了令人争议的宝马女等多重角色。·婚恋节目步入《非诚勿扰》后时代作为电视媒体首先要 承担的是社会责任,面对改版,各家纷纷都亮出了看家本领,其中尤其以广西卫视的《大嫁光临》最 受关注。将于7月23日晚22点在广西卫视开播的《大嫁光临》的样片看,该节目每期会邀请几对儿 新人”(有真有假通过爱情大鉴定、爱情无间道、爱要说出来、真假准新人大揭幕4个环节,让明星 嘉宾猜哪对儿是真、哪对儿是假。除每期当红明星嘉宾与新人准热辣互动外,还将有两性情感专家与 婚恋专家携手打造“婚检团”,对各类话题进行专业探讨与点评,帮助选手与观众在自己身上找到或看 到自己面对的问题,并通过分享经验,在轻松娱乐中树立正确的婚恋观还有明星独家分享感情经历, 为新人送上新婚祝福。这档节目是广西卫视与美国著名的婚恋网站theK№OT共同精心打造的一个节 目一起合作投资的一个节目。业内人士分析说,当婚恋节目由最初的认识功能到后来营造的新闻 效应,再到最后广西卫视《大嫁光临》节目的回归,其实是一种必然。除了媒体必须要承担一定的社 会责任,以各种形式去追求效果除外,都不能偏离了自己作为一个有责任媒体的范畴,这是义务又是 权利 变味的中国达人秀"∥正文:中国文字的多义性,让“Chna' s got talent-一中国达人秀”, 这个在西方十分单纯的选秀节目的中国版本,承担起了道德的教化任务:中国《达人秀》节 目组把“ talent”的中译“达人”中的“达”字抽离出来,和孟子的“穷则独善其身,达则 兼济天下”扯到了一起,不仅自诩给了“穷”人们一个展示才艺的舞台,而且还给他们提出 了“兼济天下”高要求。∥10月10月晚,刘伟一一这个无臂的钢琴弹奏者,才刚刚登上中 国达人秀的冠军宝座,就立刻遭遇了“达”的道德逼捐,在评委高晓松的循循善诱下表示: “希望有天我能够为帮助我的人们做点事”;才沉浸在成功的喜悦中,就已经被颁奖嘉宾陈 凯歌上了一课:“走出这个舞台后,达人也应像过去一样,不为名利所羁绊,踏踏实实走下
的确，每个人都需要钱，但认为钱能主宰一切的想法是错的。” 网友谢勇在搜狐博客上写道：“这些节目最有争议的地方就是价值观层面的碰撞，很多 观点与传统价值观截然相反，比如拜金、崇富、不爱国不爱党，不尊老爱幼不热爱传统文化， 颠覆中国人的爱情观等。” 鉴于公众对马诺犀利、毒辣言辞的大声疾呼，以及《非诚勿扰》中层出不穷的拜金言论， 中国政府于 6 月初对相亲类节目出台了新的管理办法。(沈姝华) ●婚恋交友成社会问题，引发婚恋节目再度兴起 2010 年 2 月 14 日情人节，《新周刊》以“剩女， 是一个反动词汇”作为主打文章的标题，将目光聚焦到“剩女”这一特别的社会群体。在目前“剩男”、“剩 女”的队伍越来越庞大的情况下，我们相信有各种各样的原因让他们暂时还找不到自己满意的另一半。 “如今的生活节奏这么紧凑，缺乏相处时间、生活圈子狭窄，使婚恋交友越来越成为一个社会问题。” 中国传媒大学电视与新闻学院教授、博士生导师张国涛在接受采访时说。“电视本身就像一个蓄水池， 起到排解大家情绪的功能，反映着当下的社会环境。因此，像《非诚勿扰》这类婚恋节目的再度兴起， 具有必然性。” 另外，如今社会的价值观也从当年相亲的志同道合变为最直接的物质取向也是一 个重要原因。随着社会价值的多元化，尤其是年轻人在社会中面临的各种压力，与人际交往中的被动 接受等等都造成了将爱情、婚姻是等价交换的物物交易。记者曾经在各个门户网站上调查发现，有很 多人既渴望有一份完美的感情归宿，但又不相信浮躁社会下别人的伪真诚，于是通过婚恋交友节目幻 想可以达到寻找另一半的目的，但其实只是满足了大家的收看欲望，但并不能解决实质的问题。 若 细心观看便不难发现，比起10 年前的同类节目，新一代速配节目，在节目形式上发生了很大的变化。 比如其在征友速配的内核下更加注重节目的娱乐性和话题性，甚至有大量的表演和演绎的成分在节目 里出现。每一期节目都在制造各种各样的话题，从富二代的价值观，到乡村教师的幸福生活，几乎涵 盖了各种社会热点问题。也就是说，只是为了节目的收视率而作，为了节目的可看性而看，于是出现 了令人争议的宝马女等多重角色。 ●婚恋节目步入《非诚勿扰》后时代 作为电视媒体首先要 承担的是社会责任，面对改版，各家纷纷都亮出了看家本领，其中尤其以广西卫视的《大嫁光临》最 受关注。将于 7 月23 日晚22 点在广西卫视开播的《大嫁光临》的样片看，该节目每期会邀请几对儿 “新人”(有真有假)通过爱情大鉴定、爱情无间道、爱要说出来、真假准新人大揭幕 4 个环节，让明星 嘉宾猜哪对儿是真、哪对儿是假。除每期当红明星嘉宾与新人准热辣互动外，还将有两性情感专家与 婚恋专家携手打造“婚检团”，对各类话题进行专业探讨与点评，帮助选手与观众在自己身上找到或看 到自己面对的问题，并通过分享经验，在轻松娱乐中树立正确的婚恋观还有明星独家分享感情经历， 为新人送上新婚祝福。这档节目是广西卫视与美国著名的婚恋网站 the KNOT 共同精心打造的一个节 目一起合作投资的一个节目。 业内人士分析说，当婚恋节目由最初的认识功能到后来营造的新闻 效应，再到最后广西卫视《大嫁光临》节目的回归，其实是一种必然。除了媒体必须要承担一定的社 会责任，以各种形式去追求效果除外，都不能偏离了自己作为一个有责任媒体的范畴，这是义务又是 权利。 变味的"中国达人秀"// 正文：中国文字的多义性，让“China's got talent――中国达人秀”， 这个在西方十分单纯的选秀节目的中国版本，承担起了道德的教化任务：中国《达人秀》节 目组把“talent”的中译“达人”中的“达”字抽离出来，和孟子的“穷则独善其身，达则 兼济天下”扯到了一起，不仅自诩给了“穷”人们一个展示才艺的舞台，而且还给他们提出 了“兼济天下”高要求。// 10 月 10 月晚，刘伟――这个无臂的钢琴弹奏者，才刚刚登上中 国达人秀的冠军宝座，就立刻遭遇了“达”的道德逼捐，在评委高晓松的循循善诱下表示： “希望有天我能够为帮助我的人们做点事”；才沉浸在成功的喜悦中，就已经被颁奖嘉宾陈 凯歌上了一课：“走出这个舞台后，达人也应像过去一样，不为名利所羁绊，踏踏实实走下
去。”∥在英国或美国,不管是“ Britain' s got talent”或“ American Idol”,不管是最终夺冠 的保罗,或者是惜败的苏珊大妈,比赛尘埃落定之时,不管是冠军还是观众,最先想到的, 应该是这些有才华的普通人的命运就此可以改变了吧。如同在温哥华冬奥会上,速滑运动员 周洋在压冠后接受媒体采访时脱口而出:“可以让我爸我妈生活得更好一点。”∥/然而在中 国,这句再普通不过的真情流露却会引发中国体育总局副局长于再清的不满,在中国的两会 上予以“她需要先感谢国家和领导,而非只想到父母和自己生活的改善”的责难一一刘伟受 到评委们的道德逼捐和名导的语重心长,几无二致。∥/如果说在中国的举国体育体制下 周洋是国家用纳税人的钱来培养的,确实应该不只感谢父母的话:而刘伟能够抓住属于他的 “5分钟”成名,则完全靠的是自身的天赋和努力。如今达人秀令他成名,并获得了一份到 美国赌城拉斯维加斯表演3个月的合约,还将担任蔡依琳演唱会的嘉宾。然而用脚弹琴毕竟 存在技巧的局限,第一次看人们也许会感到震撼,然而次数一多,难免有“杂耍”的感受 ∥/再来看刘伟的成功与保罗和苏珊大妈不同。后两者虽然同样有不幸的人生际遇,让人们 为他们掬一把同情的泪水,但是让他们在这个舞台上立足的,却仍然靠的是专业素质,更何 况即使苏珊大妈已经名满全球,最终还是输给了街舞组合Dⅳ versity,原因无它,就在于后者 的艺术技能更加高超。∥/而反观中国达人秀的舞台,“理智和情感”正好对调了过来。这里 不是才艺展示的舞台,而更像一间开放的心理倾诉室:曾经的千万富翁哀叹自己的失去;丈 夫为久病的妻子“斑衣戏彩”;因为外形的缺陷而没有机会展现自己的歌者:而刘伟更为极 致:“要么赶紧去死,要么精彩地活着”。参赛者的不幸和励志,不仅让电视机前的观众泪水 涟涟,更是模糊了评委的双眼。在最后八强选手中,只有街舞组合“音皇舞帝”和RAP歌 手寿君超是没有任何“同情分”的外力相助,靠的是真正的才艺,然而他们都只止步前五。 ∥从这一点来看,中国人缺的不仅是娱乐精神,更缺乏胡适早在上个世纪就提倡的“ fair play 的精神。好声音、好的舞蹈、好的创意在达人秀的舞台上只不过是陪衬,“背后的故事”才 是台前的亮点,博取着观众的同情心和短信。∥可以说,《达人秀》在西方的逻辑是钦佩强 者:他有天份,他努力了,他成功了,我们为他喝彩;在中国的逻辑却是同情弱者:他真惨、 他真感人、我们支持他。许多人把在现实生活中不舍得、或不敢施舍的同情心向电视机尽情 挥洒,却忘了因此造成的对其他选手的种种不公。∥ 从世界电视的发展历史来看,电视发轫之初,无不以娱乐节目为本。我国以往的电视教化色 彩过浓,久而久之,大众逐渐产生厌烦情绪。当前电视节目又掀起娱乐狂欢浪潮,在某种程 度上责任丧失,显得庸俗、低劣而暴力。在社会文化的转型期,传媒作为文化的生产者与传 播者,应该承担起一定的历史使命与社会责任。电视娱乐节目如果一味强调“教化”职责, 有失偏颇:但如果为娱乐而娱乐,一味迎合当下人们的狂欢精神,也不可取。对电视节 目娱乐狂欢的批评:1简单迎合观众的快感需求,造成节目格调低俗当下电视节目 对收视率顶礼膜拜,想尽办法吸引观众眼球。媒体无论是在内容的选择上还是在表现形式上, 都渐渐走上了满足“原始兴趣”的道路。性感美女频频出镜,一些媒体关注的多数是有着强 烈本能冲击力的新闻,这种趋势在社会新闻中表现得尤为明显。采用这种方式选择和加工的 信息,一般的受众是难以抗拒其强烈的故事性和冲击力的,这种受众心理也反映了社会对低 俗化现象的认可。2助长了社会的浮躁情绪和急功近利之风娱乐的电视节目尤其是 “选秀”节目,调动全民狂欢,给普通人制造了一个“乌托邦”的美梦,产生“一夜成名 的幻想。“超级女声”在开办初期,就曾引发过许多中学生逃课报名的情形。而这些选秀明 星真正比拼的是人气与选票,这让人生价值观尚未成型的年轻人很容易误入歧途,以为成功 并不需要艰辛的付出。不少娱乐节目的言论尺度也越来越大胆,节目主持人的语言非常媚俗 嘉宾和评委也成为一个重要的看点。3混淆梦境与现实,颠倒正常的生活秩序,给个人
去。”// 在英国或美国，不管是“Britain's got talent”或“American Idol”，不管是最终夺冠 的保罗，或者是惜败的苏珊大妈，比赛尘埃落定之时，不管是冠军还是观众，最先想到的， 应该是这些有才华的普通人的命运就此可以改变了吧。如同在温哥华冬奥会上，速滑运动员 周洋在压冠后接受媒体采访时脱口而出：“可以让我爸我妈生活得更好一点。”// 然而在中 国，这句再普通不过的真情流露却会引发中国体育总局副局长于再清的不满，在中国的两会 上予以“她需要先感谢国家和领导，而非只想到父母和自己生活的改善”的责难――刘伟受 到评委们的道德逼捐和名导的语重心长，几无二致。// 如果说在中国的举国体育体制下， 周洋是国家用纳税人的钱来培养的，确实应该不只感谢父母的话；而刘伟能够抓住属于他的 “5 分钟”成名，则完全靠的是自身的天赋和努力。如今达人秀令他成名，并获得了一份到 美国赌城拉斯维加斯表演 3 个月的合约，还将担任蔡依琳演唱会的嘉宾。然而用脚弹琴毕竟 存在技巧的局限，第一次看人们也许会感到震撼，然而次数一多，难免有“杂耍”的感受。 // 再来看刘伟的成功与保罗和苏珊大妈不同。后两者虽然同样有不幸的人生际遇，让人们 为他们掬一把同情的泪水，但是让他们在这个舞台上立足的，却仍然靠的是专业素质，更何 况即使苏珊大妈已经名满全球，最终还是输给了街舞组合 Diversity，原因无它，就在于后者 的艺术技能更加高超。// 而反观中国达人秀的舞台，“理智和情感”正好对调了过来。这里 不是才艺展示的舞台，而更像一间开放的心理倾诉室：曾经的千万富翁哀叹自己的失去；丈 夫为久病的妻子“斑衣戏彩”；因为外形的缺陷而没有机会展现自己的歌者；而刘伟更为极 致：“要么赶紧去死，要么精彩地活着”。参赛者的不幸和励志，不仅让电视机前的观众泪水 涟涟，更是模糊了评委的双眼。在最后八强选手中，只有街舞组合“音皇舞帝”和 RAP 歌 手寿君超是没有任何“同情分”的外力相助，靠的是真正的才艺，然而他们都只止步前五。 // 从这一点来看，中国人缺的不仅是娱乐精神，更缺乏胡适早在上个世纪就提倡的“fair play” 的精神。好声音、好的舞蹈、好的创意在达人秀的舞台上只不过是陪衬，“背后的故事”才 是台前的亮点，博取着观众的同情心和短信。// 可以说，《达人秀》在西方的逻辑是钦佩强 者：他有天份，他努力了，他成功了，我们为他喝彩；在中国的逻辑却是同情弱者：他真惨、 他真感人、我们支持他。许多人把在现实生活中不舍得、或不敢施舍的同情心向电视机尽情 挥洒，却忘了因此造成的对其他选手的种种不公。// 从世界电视的发展历史来看，电视发轫之初，无不以娱乐节目为本。我国以往的电视教化色 彩过浓，久而久之，大众逐渐产生厌烦情绪。当前电视节目又掀起娱乐狂欢浪潮，在某种程 度上责任丧失，显得庸俗、低劣而暴力。在社会文化的转型期，传媒作为文化的生产者与传 播者，应该承担起一定的历史使命与社会责任。电视娱乐节目如果一味强调“教化”职责， 有失偏颇；但如果为娱乐而娱乐，一味迎合当下人们的狂欢精神，也不可取。 对电视节 目娱乐狂欢的批评: 1.简单迎合观众的快感需求，造成节目格调低俗 当下电视节目 对收视率顶礼膜拜，想尽办法吸引观众眼球。媒体无论是在内容的选择上还是在表现形式上， 都渐渐走上了满足“原始兴趣”的道路。性感美女频频出镜，一些媒体关注的多数是有着强 烈本能冲击力的新闻，这种趋势在社会新闻中表现得尤为明显。采用这种方式选择和加工的 信息，一般的受众是难以抗拒其强烈的故事性和冲击力的，这种受众心理也反映了社会对低 俗化现象的认可。 2.助长了社会的浮躁情绪和急功近利之风 娱乐的电视节目尤其是 “选秀”节目，调动全民狂欢，给普通人制造了一个“乌托邦”的美梦，产生“一夜成名” 的幻想。“超级女声”在开办初期，就曾引发过许多中学生逃课报名的情形。而这些选秀明 星真正比拼的是人气与选票，这让人生价值观尚未成型的年轻人很容易误入歧途，以为成功 并不需要艰辛的付出。不少娱乐节目的言论尺度也越来越大胆，节目主持人的语言非常媚俗， 嘉宾和评委也成为一个重要的看点。 3.混淆梦境与现实，颠倒正常的生活秩序，给个人
和社会形成新的压力在娱乐狂欢之下,媒体精心打造出乌托邦的胜景。有的选手在选秀 中获得了很好的名次,就据此以为人生会有很大的改变,但是当他们发现生活依然如故时, 心里就会有巨大的落差。更有不少参与者在选秀结束之后无法回归正常的生活状态,一个选 秀不成,再去参加其他的选秀节目。娱乐本应该是以不干预现实生活的方式去释放情感、平 衡心态的,可它一旦唤起人们狂热的欲望,让人混淆梦想和现实,是非常危险的。还有的节 目干脆以表演来代替真实,忽悠大众。当娱乐超过一定限度的时候,就成了对人的讽刺和嘲 弄,节目的生存也必将受到挑战。理性还是感性?“教化”还是“狂欢”?毋庸 置疑,电视节目的娱乐狂欢营造岀一种破除了等级观念的虚拟场合,塑造着新的娱乐休闲的 概念。但娱乐如果仅仅停留在肤浅的层面,而缺乏人文精神的思想和智慧,将被大众所抛弃 教化”还是“狂欢”并不是一个二选一的问题,问题是我们能否在其中找到一种平衡,在 平衡中培育健全的多元价值体系。1狂欢而不失理性在巴赫金的狂欢哲学里,狂欢 节是通过亲昵接触、插科打诨、俯就和粗鄙这一系列狂欢式的特殊范畴和形式,体现了几千 年来全体民众关于平等和自由的世界感受。这种平等自由精神的背后是一种对人的价值的尊 重。因为在等级制中人是不被尊重的,是不自由的,过的是充满痛苦和恐惧的生活。在有些 人看来,这些插科打诨、嬉笑和打闹,是情感的宣泄和放纵,充满不着实际的轻浮和浪漫 缺乏一种深刻的理性精神。其实不然,狂欢节正是通过具体感性的形式,让人们深切地体验 到充满理性的狂欢精神,感受到更替和更新的精神,感受到事物的相对性和双重性。只 是在如今,很多泛娱乐化的电视节目缺失了理性精神,只是一味地遵循弗洛伊德的快感原则。 媒体充当了一种“麻醉剂”,弱化着人们的理性思考能力和道德约束能力。大众有一种窥私 的欲望和猎奇的心理,这种心理既来自于感官刺激的生理需要,也来自于认知世界的精神需 要。如果仅仅关注的是物质层面,而离开了精神品格的支持,就会带来负面的影响。“犀利 哥”是弱势群体中的一员,他早该得到救助,却流浪了十多年,如今备受关注却是因为潮流 文化的挖掘,这不能不说是一种讽剌。但媒体的报道自始至终都带有娱乐恶搞的色彩,并借 助这一事件的炒作赚到了不少眼球,而少有社会反思和文化批判。公众在媒体的纵容之下狂 欢而丧失理性,将可怜之人的痛转化为大众之乐。这种乐只是一种精神的吗啡,过多过滥就 会对大众身心造成伤害。2在中庸之乐中培育多元文化价值观娱乐是人的精神需求 之一,但人的精神需求又存在多样化。泛娱乐化的电视节目往往利用人类最基本的本能兴趣, 通过其强烈的游戏性、宣泄性,以单纯的娱乐满足去吸引大众,以平民化的文化趣味作为唯 的文化趣味。大众多样化的文化需求便被电视所迎合的“最低的文化需求”所填补。这样, 电视节目在市场操纵之下便成为新的霸权文化,以大众的名义施行一种娱乐的一元化专制。 媒体有很强的舆论放大作用,经由媒体宣扬的观点往往对社会价值观的形成有很强的塑造 性。 随着电视相亲类节目走红的马诺、“凤姐”等人是继“芙蓉姐姐”之后的又一个审丑经 典。假如马诺这样的“拜金女”形象和“凤姐”这样的雷人形象出现在小说、电影、电视剧 里,可能并不能引起如此的关注。这是因为文学作品是假的,而“真人秀”节目却是“真” 的。她们以一种大胆的、犀利的、语不惊人死不休的方式让人记住,媒体明知是哗众取宠, 却加以配合;大众明知是闹剧,却乐此不疲。电视娱乐的过分膨胀冲击着主流文化价值观, 形成另一种娱乐霸权。其实,中国古代对娱乐早就有智慧的见解。《中庸》上说:“喜怒 哀乐之未发,谓之中:发而皆中节,谓之和。中也者,天下之大本也;和也者,天下之达道 也。致中和,天地位焉,万物育焉。”这是儒家文化对原始中庸思想的理性总结。在现实的 电视娱乐中,不应该排斥精英文化,不管浅层的娱乐如何升级,理性快乐和知性快乐才是传 媒娱乐所追求的终极目的。只有在中庸之乐中才能有效建构起中国电视多元文化价值观 电视娛乐节目热播原因探析近年来,各种娱乐节目相继火爆,已经成为各地电视台竞相创制的 主流节目。思考娱乐节目火爆的原因,我们发现,这与近年来社会流行文化的变迁和发展有着直接的
和社会形成新的压力 在娱乐狂欢之下，媒体精心打造出乌托邦的胜景。有的选手在选秀 中获得了很好的名次，就据此以为人生会有很大的改变，但是当他们发现生活依然如故时， 心里就会有巨大的落差。更有不少参与者在选秀结束之后无法回归正常的生活状态，一个选 秀不成，再去参加其他的选秀节目。娱乐本应该是以不干预现实生活的方式去释放情感、平 衡心态的，可它一旦唤起人们狂热的欲望，让人混淆梦想和现实，是非常危险的。还有的节 目干脆以表演来代替真实，忽悠大众。当娱乐超过一定限度的时候，就成了对人的讽刺和嘲 弄，节目的生存也必将受到挑战。 理性还是感性？“教化”还是“狂欢”？ 毋庸 置疑，电视节目的娱乐狂欢营造出一种破除了等级观念的虚拟场合，塑造着新的娱乐休闲的 概念。但娱乐如果仅仅停留在肤浅的层面，而缺乏人文精神的思想和智慧，将被大众所抛弃。 “教化”还是“狂欢”并不是一个二选一的问题，问题是我们能否在其中找到一种平衡，在 平衡中培育健全的多元价值体系。 1.狂欢而不失理性 在巴赫金的狂欢哲学里，狂欢 节是通过亲昵接触、插科打诨、俯就和粗鄙这一系列狂欢式的特殊范畴和形式，体现了几千 年来全体民众关于平等和自由的世界感受。这种平等自由精神的背后是一种对人的价值的尊 重。因为在等级制中人是不被尊重的，是不自由的，过的是充满痛苦和恐惧的生活。在有些 人看来，这些插科打诨、嬉笑和打闹，是情感的宣泄和放纵，充满不着实际的轻浮和浪漫， 缺乏一种深刻的理性精神。其实不然，狂欢节正是通过具体感性的形式，让人们深切地体验 到充满理性的狂欢精神，感受到更替和更新的精神，感受到事物的相对性和双重性。 只 是在如今，很多泛娱乐化的电视节目缺失了理性精神，只是一味地遵循弗洛伊德的快感原则。 媒体充当了一种“麻醉剂”，弱化着人们的理性思考能力和道德约束能力。大众有一种窥私 的欲望和猎奇的心理，这种心理既来自于感官刺激的生理需要，也来自于认知世界的精神需 要。如果仅仅关注的是物质层面，而离开了精神品格的支持，就会带来负面的影响。“犀利 哥”是弱势群体中的一员，他早该得到救助，却流浪了十多年，如今备受关注却是因为潮流 文化的挖掘，这不能不说是一种讽刺。但媒体的报道自始至终都带有娱乐恶搞的色彩，并借 助这一事件的炒作赚到了不少眼球，而少有社会反思和文化批判。公众在媒体的纵容之下狂 欢而丧失理性，将可怜之人的痛转化为大众之乐。这种乐只是一种精神的吗啡，过多过滥就 会对大众身心造成伤害。 2.在中庸之乐中培育多元文化价值观 娱乐是人的精神需求 之一，但人的精神需求又存在多样化。泛娱乐化的电视节目往往利用人类最基本的本能兴趣， 通过其强烈的游戏性、宣泄性，以单纯的娱乐满足去吸引大众，以平民化的文化趣味作为唯 一的文化趣味。大众多样化的文化需求便被电视所迎合的“最低的文化需求”所填补。这样， 电视节目在市场操纵之下便成为新的霸权文化，以大众的名义施行一种娱乐的一元化专制。 媒体有很强的舆论放大作用，经由媒体宣扬的观点往往对社会价值观的形成有很强的塑造 性。随着电视相亲类节目走红的马诺、“凤姐”等人是继“芙蓉姐姐”之后的又一个审丑经 典。假如马诺这样的“拜金女”形象和“凤姐”这样的雷人形象出现在小说、电影、电视剧 里，可能并不能引起如此的关注。这是因为文学作品是假的，而“真人秀”节目却是“真” 的。她们以一种大胆的、犀利的、语不惊人死不休的方式让人记住，媒体明知是哗众取宠， 却加以配合；大众明知是闹剧，却乐此不疲。电视娱乐的过分膨胀冲击着主流文化价值观， 形成另一种娱乐霸权。 其实，中国古代对娱乐早就有智慧的见解。《中庸》上说：“喜怒 哀乐之未发，谓之中；发而皆中节，谓之和。中也者，天下之大本也；和也者，天下之达道 也。致中和，天地位焉，万物育焉。”这是儒家文化对原始中庸思想的理性总结。在现实的 电视娱乐中，不应该排斥精英文化，不管浅层的娱乐如何升级，理性快乐和知性快乐才是传 媒娱乐所追求的终极目的。只有在中庸之乐中才能有效建构起中国电视多元文化价值观。 电视娱乐节目热播原因探析 近年来，各种娱乐节目相继火爆，已经成为各地电视台竞相创制的 主流节目。思考娱乐节目火爆的原因，我们发现，这与近年来社会流行文化的变迁和发展有着直接的
关系,体现了社会民众审美观和价值追求的转变 第一,平民化、草根化崇拜的显现。无论是“芙 蓉姐姐”、“犀利哥″还是“凤姐”,这些人物符号的流行和传播都直接体现了广大民众对“平民偶像”的 崇拜,同时对于精英文化等“宏大叙事”也渐行渐远。这些没有过多包装和修饰的“平民偶像”有着与平 民相似的背景、相貌、学识等因素,民众容易产生强烈的亲切感和较高的认同度。第二,娱乐 化倾向的凸现。随着生活、工作压力的日益增大,社会对于娱乐休闲的需求显著增强。民众逐渐远离 精英文化、公共话题,转而获取趣味性、娱乐性强的信息,在消费这些娱乐产品的时候,获得精神的 宣泄和情感的释放。媒体也在此时迎合了受众“娱乐至上”的需求,制造了大量的娱乐节目,满足不同 类型受众的多样化娱乐需求。 第三,拜金主义的泛滥。在当下中国的社会转型过程中,经济发 展带给民众一种“焦虑”的情绪,这种焦虑很大一部分来源于财富分配不均后出现的一种“相对剥夺 感”,社会对于金钱的崇拜异常剧烈,伴随产生的是一系列传统道德的解构、人类情感的贬值。如今, 电视娱乐节目中也同样充斥着拜金、浮华,通过给观众构建出一个虚拟的浮华世界,从而满足了一部 分民众的感官的虚荣。在《非诚勿扰》“拜金女”马诺事件中,女主角“宁在宝马中哭泣”的言论是浮华 世界最好的注脚。电视娱乐节目的审美追求康德曾经把人的愉快归纳为两类:一是经由感 官或者鉴赏获得的“感性的愉快”,二是通过概念或者理念表现出来的“智性的愉快”。而目前的电视娱 乐节目多注重文化消费层面上的游戏、娱乐、炫耀和欢愉,旨在逃避现实生活和调节世俗,而作为审 美层次上的“智性的愉快”却往往被忽略。挖掘隐私、讽刺人物外形、突出感观刺激等大行其道,成为 电视娱乐节目的惯用伎俩,大大颠覆了传统的审美价值,走向了传统审美的对立面。 电视娱乐 节目出现审美缺失的原因是复杂的,既有深刻的社会背景,也有电视台自身的问题。一方面,商业逻 辑制约着媒介运作和媒介伦理,电视台的商业运营性质在讨伐声中备受责难。另一方面,电视受众的 审美和价值追求发生变化。作为文化消费者的观众,手拿遥控器投票的商业化运作性质使得电视节目 将受众的口味和兴趣放在第一位,因此,受众的审美追求和价值诉求在很大程度上影响了电视娱乐节 目的走向和底线。审美,作为一种体验,是人在心理上超越了异化的存在状态。审美是满足人 们对美的高级需求,而不是对本能的低级满足。仅仅把审美对象当作一种本身无需道德判断的东西 就失去了审美的基础。②笔者认为,电视娱乐节目的审美追求应当涵盖以下几个方面:第一, 电视娱乐节目需要有正确的审美观,媒介不能盲目地迎合受众偏激的需求,更不能让不健康的审美价 值观通过媒介向大众传播,造成不良影响。电视娱乐节目的根本目标还是应该放在满足广大电视观众 文化需求,提升社会大众的文化品位的层面上。电视娱乐节目能够给观众们一种精神美的享受 第二,电视娱乐节目的主题要贯彻三贴近的原则。电视娱乐节目的兴起,真实地反映了受众力图摆脱 传统类电视节目中精英文化“宏大叙事”的模式和框架的意图。“芙蓉姐姐”、“犀利哥”、“凤姐”等人物 符号的流行和传播在一定程度上是因为其主流话语渠道的偏差,没有传统精英分子的学识、财富等等, 没有过多的包装和修饰,反而给人一种相对真实的感觉,也更容易引发受众的关注度 电视 乐节目需要做到在世俗化与低俗化之间寻找到平衡点,真实再现普通民众的“原生态”生活,在柴米油 盐的感性生存体验中展示人的悲欢离合、酸甜苦辣的人生境遇,从中挖掘出值得回味的戏剧性、趣味 性和娱乐性。但是同时也要避免过度世俗化所引发的低俗化的隐忧,在应有的思想深度和品质格调上 疏于要求而丧失其在整个社会背景下的意义真实。 第三,电视娱乐节目技术环节方面,注重舞 台设计、灯光配置、音乐效果、画面切换、节奏把握等等。审美最基本的也是最直观的就是视觉美, 个节目的场景设计对于一个节目的成功与否非常重要,华丽但又朴实的场景布局加上高科技手段的 装饰,给人们一种新颖的美,而在节目各个环节的安排上也要环环相扣,将内容紧密整齐地连贯起来。 电视娱乐节目的价值定位目前,青年人是娱乐节目的主要受众群,观看节目的过程也是对青年 人的价值观、婚恋观进行再塑造的过程,因此娱乐节目的价值定位有着较为重要的社会影响。选择“娱 乐至上”的纯粹娱乐价值还是选择寓教于娱乐之中的价值,决定了电视娱乐节目的品位和层次。就媒 体的“教育引导”功能来看,我们的选择当然是明确的,寓教于乐的形式最符合社会文化健康发展的需 要。“从根本上说,娱乐节目的教育功能是那种能够影响人的思想感情、伦理观念、精神品格的人生 境界的力量,是那种能够净化人的灵魂、激励人的意志、陶冶人的情操、培养人的素质,从而实现改
关系，体现了社会民众审美观和价值追求的转变。 第一，平民化、草根化崇拜的显现。无论是“芙 蓉姐姐”、“犀利哥”还是“凤姐”，这些人物符号的流行和传播都直接体现了广大民众对“平民偶像”的 崇拜，同时对于精英文化等“宏大叙事”也渐行渐远。这些没有过多包装和修饰的“平民偶像”有着与平 民相似的背景、相貌、学识等因素，民众容易产生强烈的亲切感和较高的认同度。 第二，娱乐 化倾向的凸现。随着生活、工作压力的日益增大，社会对于娱乐休闲的需求显著增强。民众逐渐远离 精英文化、公共话题，转而获取趣味性、娱乐性强的信息，在消费这些娱乐产品的时候，获得精神的 宣泄和情感的释放。媒体也在此时迎合了受众“娱乐至上”的需求，制造了大量的娱乐节目，满足不同 类型受众的多样化娱乐需求。 第三，拜金主义的泛滥。在当下中国的社会转型过程中，经济发 展带给民众一种“焦虑”的情绪，这种焦虑很大一部分来源于财富分配不均后出现的一种“相对剥夺 感”，社会对于金钱的崇拜异常剧烈，伴随产生的是一系列传统道德的解构、人类情感的贬值。如今， 电视娱乐节目中也同样充斥着拜金、浮华，通过给观众构建出一个虚拟的浮华世界，从而满足了一部 分民众的感官的虚荣。在《非诚勿扰》“拜金女”马诺事件中，女主角“宁在宝马中哭泣”的言论是浮华 世界最好的注脚。 电视娱乐节目的审美追求 康德曾经把人的愉快归纳为两类：一是经由感 官或者鉴赏获得的“感性的愉快”，二是通过概念或者理念表现出来的“智性的愉快”。而目前的电视娱 乐节目多注重文化消费层面上的游戏、娱乐、炫耀和欢愉，旨在逃避现实生活和调节世俗，而作为审 美层次上的“智性的愉快”却往往被忽略。挖掘隐私、讽刺人物外形、突出感观刺激等大行其道，成为 电视娱乐节目的惯用伎俩，大大颠覆了传统的审美价值，走向了传统审美的对立面。 电视娱乐 节目出现审美缺失的原因是复杂的，既有深刻的社会背景，也有电视台自身的问题。一方面，商业逻 辑制约着媒介运作和媒介伦理，电视台的商业运营性质在讨伐声中备受责难。另一方面，电视受众的 审美和价值追求发生变化。作为文化消费者的观众，手拿遥控器投票的商业化运作性质使得电视节目 将受众的口味和兴趣放在第一位，因此，受众的审美追求和价值诉求在很大程度上影响了电视娱乐节 目的走向和底线。 审美，作为一种体验，是人在心理上超越了异化的存在状态。审美是满足人 们对美的高级需求，而不是对本能的低级满足。仅仅把审美对象当作一种本身无需道德判断的东西， 就失去了审美的基础。②笔者认为，电视娱乐节目的审美追求应当涵盖以下几个方面： 第一， 电视娱乐节目需要有正确的审美观，媒介不能盲目地迎合受众偏激的需求，更不能让不健康的审美价 值观通过媒介向大众传播，造成不良影响。电视娱乐节目的根本目标还是应该放在满足广大电视观众 文化需求，提升社会大众的文化品位的层面上。电视娱乐节目能够给观众们一种精神美的享受。 第二，电视娱乐节目的主题要贯彻三贴近的原则。电视娱乐节目的兴起，真实地反映了受众力图摆脱 传统类电视节目中精英文化“宏大叙事”的模式和框架的意图。“芙蓉姐姐”、“犀利哥”、“凤姐”等人物 符号的流行和传播在一定程度上是因为其主流话语渠道的偏差，没有传统精英分子的学识、财富等等， 没有过多的包装和修饰，反而给人一种相对真实的感觉，也更容易引发受众的关注度。 电视娱 乐节目需要做到在世俗化与低俗化之间寻找到平衡点，真实再现普通民众的“原生态”生活，在柴米油 盐的感性生存体验中展示人的悲欢离合、酸甜苦辣的人生境遇，从中挖掘出值得回味的戏剧性、趣味 性和娱乐性。但是同时也要避免过度世俗化所引发的低俗化的隐忧，在应有的思想深度和品质格调上 疏于要求而丧失其在整个社会背景下的意义真实。 第三，电视娱乐节目技术环节方面，注重舞 台设计、灯光配置、音乐效果、画面切换、节奏把握等等。审美最基本的也是最直观的就是视觉美， 一个节目的场景设计对于一个节目的成功与否非常重要，华丽但又朴实的场景布局加上高科技手段的 装饰，给人们一种新颖的美，而在节目各个环节的安排上也要环环相扣，将内容紧密整齐地连贯起来。 电视娱乐节目的价值定位 目前，青年人是娱乐节目的主要受众群，观看节目的过程也是对青年 人的价值观、婚恋观进行再塑造的过程，因此娱乐节目的价值定位有着较为重要的社会影响。选择“娱 乐至上”的纯粹娱乐价值还是选择寓教于娱乐之中的价值，决定了电视娱乐节目的品位和层次。就媒 体的“教育引导”功能来看，我们的选择当然是明确的，寓教于乐的形式最符合社会文化健康发展的需 要。“从根本上说，娱乐节目的教育功能是那种能够影响人的思想感情、伦理观念、精神品格的人生 境界的力量，是那种能够净化人的灵魂、激励人的意志、陶冶人的情操、培养人的素质，从而实现改
造世界重铸自我的功能。”③笔者认为,电视娱乐节目在策划制作过程中应当努力达到以下几方面要 求 第一,倡导健康向上的价值观。这种价值观应当立足于民族优秀文化传统、道德传统,弘 扬时代先进理念,表现出一种催人上进、奋发努力的精神气质,能够体现社会主义核心价值 第 注重社会效益的实现。媒体有自身的社会责任,这种责任要求媒体在实现自身经济价值的同时 为丰富社会文化、加强精神文明建设、塑造民族性等方面做出应有的贡献。电视娱乐节目也是如此, 娱乐不是目的,只是手段,电视娱乐节目的根本目标还是应该放在发扬传统文化,提升社会大众的文 化品位的层面上,满足广大电视观众文化需求。第三,不断进行节目内容与形式的创新、超越 由于诸多历史与现实原因,我国的电视媒体原创能力不强,引进吸收电视强国的节目形态和创意是有 效解决我国电视节目形态老化问题的好办法。④但我们同样要强调自主创新,即使引进节目,也要注 意本土化的完善和创新,不能全盘照抄。在节目发展起来后,也应当不断创新,加入新的内容,不能 直走老路。另外,主持人要追求个性风格多样化,时刻给观众新鲜感 观众在观看娱乐节目 时,心情一般都是轻松愉悦的,很多信息就在潜移默化中影响着观众。所以娱乐节目给自身一个健康 的价值定位的基础上,担负起社会责任,才能在寓教于乐中营造良好的娱乐氛围,提高全社会的欣赏 品位 (作者单位为南京大学新闻传播学院)
造世界重铸自我的功能。”③笔者认为，电视娱乐节目在策划制作过程中应当努力达到以下几方面要 求： 第一，倡导健康向上的价值观。这种价值观应当立足于民族优秀文化传统、道德传统，弘 扬时代先进理念，表现出一种催人上进、奋发努力的精神气质，能够体现社会主义核心价值。 第 二，注重社会效益的实现。媒体有自身的社会责任，这种责任要求媒体在实现自身经济价值的同时， 为丰富社会文化、加强精神文明建设、塑造民族性等方面做出应有的贡献。电视娱乐节目也是如此， 娱乐不是目的，只是手段，电视娱乐节目的根本目标还是应该放在发扬传统文化，提升社会大众的文 化品位的层面上，满足广大电视观众文化需求。 第三，不断进行节目内容与形式的创新、超越。 由于诸多历史与现实原因，我国的电视媒体原创能力不强，引进吸收电视强国的节目形态和创意是有 效解决我国电视节目形态老化问题的好办法。④但我们同样要强调自主创新，即使引进节目，也要注 意本土化的完善和创新，不能全盘照抄。在节目发展起来后，也应当不断创新，加入新的内容，不能 一直走老路。另外，主持人要追求个性风格多样化，时刻给观众新鲜感。 观众在观看娱乐节目 时，心情一般都是轻松愉悦的，很多信息就在潜移默化中影响着观众。所以娱乐节目给自身一个健康 的价值定位的基础上，担负起社会责任，才能在寓教于乐中营造良好的娱乐氛围，提高全社会的欣赏 品位。 （作者单位为南京大学新闻传播学院）