讀解電視-英文

內(nèi)容概要

本書精選西方電視研究領(lǐng)域的20篇經(jīng)典之作，從文化研究的視角全方位深入解剖電視作為大眾傳媒的本質(zhì)和特點，不僅涵蓋電視研究的理論，而且展示電視研究的方法，內(nèi)容涉及：1．組織電視廣播的產(chǎn)業(yè)與企業(yè)；2實現(xiàn)電視廣播的文本；3．接收電視的觀眾；4．管理電視的機(jī)構(gòu)；5影響電視傳播的技術(shù)手段。本書為每篇選文提供了導(dǎo)讀、注釋、思考題和參考書目，為讀者提供了最大程度的方便。

作者簡介

　　宋云峰，祖籍山東省濟(jì)南市。20世紀(jì)80年代就讀于北京外國語大學(xué)，1985年獲英語語言文學(xué)學(xué)士學(xué)位，1987年獲國際文化交流專業(yè)學(xué)士學(xué)位，并留校任教至今。1991年，于英國華威大學(xué)獲現(xiàn)代英國研究碩士學(xué)位。1998年，作為歐盟研究訪問學(xué)者赴英國愛丁堡大學(xué)從事歐洲一體化進(jìn)程研究。2007-2008年，作為美國富布賴特電影研究高級訪問學(xué)者在內(nèi)華達(dá)大學(xué)拉斯維加斯分校從事英美電影比較研究。主要教授英語、跨文化交際、社會學(xué)和電影研究等課程。著述有《西蒙高級英語語法》（譯著，外語教學(xué)與研究出版社，1998）、《電影英語一本通》（編著，北京外語音像出版社，2001）、《現(xiàn)代大學(xué)英語·高級寫作》（編寫，外語教學(xué)與研究出版社，2006）、《英語國家社會與文化入門·上》（編寫，高等教育出版社，2005年第二版，2011年第三版）等。1998年至今擔(dān)任《英語學(xué)習(xí)》期刊中“銀屏演繹”、“電影故事”和“影視文化筆記”等固定欄目特約撰稿人。　　　　尼克·佩里，教授，主要研究媒體社會學(xué)。1985-1986年任澳大利亞與新西蘭社會學(xué)學(xué)會（Sociological Association of Australia and New Zealand）主席，1999年起任教于奧克蘭大學(xué)藝術(shù)學(xué)院電影、電視與媒體系，2003-2004年任該系主任。專著有《符號的領(lǐng)域：電視、廣告及其它新西蘭符號》（ The Dominion of Signs： Television， Advertising and Other New Zealand Fiction，1994）、《超現(xiàn)實與全球文化》（Hyperreality and Global Culture，Routledge，1998），合著有《利益分割：新西蘭、政府和社會關(guān)系研究》（Controlling Interests： Business， The State and Society in New Zealand， 1992）、《新西蘭的電視：民族的程序化》（Television in New Zealand：Programming the Nation，2004），并為《英國社會學(xué)期刊》（British Journal of Sociology）、《社會學(xué)評論》（Sociological Review）、《社會學(xué)》（Sociology）、《澳大利亞與新西蘭社會學(xué)學(xué)刊》（Australian and New Zealand Journal of Sociology）等學(xué)術(shù)期刊撰寫論文50余篇。

書籍目錄

Unit 1 : Domestic Location
Text I Television and Family
Text II Television in the Family
Unit 2 : Medium Characteristics
Text III Broadcast TV as Cultural Form
Text IV Remediation: Understanding New Media
Unit 3 : Cultural Form
Text V Programming as Sequence or Flow
Text VI Television / Sound
Unit 4 : Cultural Economy
Text VII The Political Economy of the Television (Super) Text
Text VIII Inside the Prime Time
Unit 5 : Genre / Format
Text IX Genre Study and Television
Text X Producing (Post-)Trendy Japanese TV Dramas
Unit 6 : Intertextuality
Text XI Bardic Television
Text XII Television as a Cultural Forum
Unit 7 : National Broadcasting Systems
Text XIII Public Service Versus the Market
Text XIV "Democracy as Defeat": The Impotence of Arguments for
Public Service Broadcasting
Unit 8 : Going Global
Text XV Adapting US Transnational Television Channels to a Complex
World:From Cultural Imperialism to Localization to
Hybridization
Text XVI The De-Centering of Cultural Imperialism: Television and
Globalization in the Latin World
Unit 9 : Encoding / Decoding
Text XVII Decoding and Recoding Audiences
Text XVIII Dallas as an Educational Game
Unit 10: Audiences
Text XIX Living Room Wars: Rethinking Media Audiences for a
Postmodern World
Text XX A Typology of Television Use
Glossary

章節(jié)摘錄

　　We are， in short， discussing television viewing in the context of domestic life. To expect that we could treat the individual viewer making programmed choices as if he or she were the rational consumer in a free and perfect market is surely the height of absurdity when we are talking of people who live in families. For most people， viewing takes place within the context of what Sean Cubit has called "the politics of the living room" where， as he puts it， "if the camera pulls us in， the family pulls us out"， and where the people you live with are likely to disrupt， if not shatter， your communication with t e "box in the corner".zLet us consider the problem from another angle. Herman Bausinger' s research provides the following account of what " switching on the television" can mean - and it clearly doesn't necessarily mean that one wants to watch the television： "Early in the evening we watch very little TV. Only when my husband is in a real rage. He comes home， hardly says anything and switches on the TV. "3 As Bausinger notes， in this case “pushing the button doesn't signify 'I would like to watch this'， but rather 'I would like to see and hear nothing' or 'I don't want to talk to anybody'. " Conversely， he notes， later the opposite case where "the father goes to his room， whiles the mother sit-down next to her eldest son and watches the sports review with him. It does not interest her， but it is an attempt at making contact. "4Bausinger also helpfully provides us with a number of points to bear in mind in relation to domestic media consumption：（1） To make a meaningful study of the use of the media， it is necessary to take different media into consideration， the media ensemble which everyone deals with today…The recipient integrates the content of different media （2） As a rule the media are not used completely， nor with full concentration. The degree of attention depends on the time of the day， or moods， the media message competes with other messages. （3） The media are an integral part of that way the everyday is conducted（for example， the newspaper as a necessary constituent part of "breakfast" ） and（media） decisions are constantly crossed through and influenced by non media conditions and decisions.（4） It is not a question of an isolated， individual process， but of a collective process. Even when reading a newspaper one is not truly alone， it takes place in the context of the family， friends and colleagues.　　As Thomas Lendl of and Paul Tray t argue，6 many media scholars have tended to view television viewing as somehow "supplanting family functions"， rather than investigating how media resources are adapted to families' econornic and cultural （ or psychological） needs. This can involve quite elementary considerations- such as， for instance， the use of television to create personal space in a restricted physical environment. As Lind of and Truant note， “in higher， density families. TV viewing may function as a way of avoiding conflicts or lessening tensions in lieu of spatial privacy. "These authors also note that much research has concentrated on "questions of why， to the exclusion of what and how. Scholars have attempted to describe causes and consequences of televiewing without an adequate understanding of what it is and how it gets done".　　……

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