British Cultural Studies and Audience-英国硕士论文代写－r51due

英国essay论文精选范文：“British Cultural Studies and Audience”，这篇论文讨论了英国文化研究学派与受众研究。英国文化研究学派兴起于第二次世界大战后的英国，在新左派观点的影响下，他们从文化、权力、意识形态等角度切入来探讨各类社会现象，尤其是大众文化现象。文化研究产生的特定历史背景以及它在理论上所借鉴的各种学术资源都深深地影响了该学派的传媒研究，具体到受众研究来说，受众的主动性得到了重视，一种全新的受众研究范式开始兴起。

It has been argued that the audience is a construct inspired by its paradigm. Therefore, the research paradigm is different, the role of the audience will be different, and research methods used by the audience will be different. The mainstream of early media research is from the behavioral psychology of the stimulus-response model of the media effect of research, that the media once issued a stimulus signal, the audience will be in the attitude or behavior on the response, dissemination of research task is to find and Measure this audience response. In this research tradition, many are in a passive position, and the research is mainly carried out in the field of social sciences using quantitative methods. In contrast, the British School of Cultural Studies, starting from the text-discourse model, focuses on the establishment of meaning in the process of communication, believing that meaning is produced through consultation between the communicator and the audience through the text. Thus, it establishes the audience's initiative in communication activities and examines two aspects of how the audience interprets the text and how the audience accepts the text in the context of everyday life. At the same time, it also pioneered the ethnomethodological approach to media research, thus effectively promoting the audience research. In this way, with the distinctive humanities of the British cultural research school opened up a new path of audience research, at the same time it also constitutes a focus on the United States as the representative of the effect of the traditional audience a useful complement to the study.

British cultural studies emerged in the United Kingdom after the Second World War. Under the influence of the New Left, they explored various social phenomena, especially mass culture, from the perspective of culture, power and ideology. As the main carrier of popular culture, the media has also become an important field of cultural studies. The specific historical background of cultural studies and the various academic resources that it borrowed in theory have deeply influenced the media research of this school. For audience research, the audience's initiative has been paid attention to, Audience research paradigm began to rise.

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After the Second World War, the development of capitalist industry contributed to the establishment of the welfare state, easing the pre-war increasingly intensified class contradictions. At the same time, the popularization of American culture characterized by popularity and recreation is becoming more and more popular in Europe and the United States by virtue of modern media technology. Some people think that the living conditions and ideology of the working class are not very different from those of the middle class, An era of economic prosperity, cultural harmony began to come. British cultural studies school is in such a social background. Their representatives are mostly working-class background, they want to help the working class to understand their true situation, and not be created by cultural and political illusion deceived. Therefore, they try to prove that the value system and social structure of the working class have not disappeared with the coming of the welfare state and the popularity of popular culture through the study of the internal culture of the working class. They also affirm the initiative of the working class in the consumption of cultural products, affirming that they will make their own cultural choice, the starting point is the later emphasis on the initiative of the audience source. In addition, the audience's research of this school also benefited from the semiotic method and Gramsci's theory of cultural hegemony, which is always favored by cultural studies. The representative of Hall's "Encoding / Decoding" shows the integration of various factors, It marks the school of breakthrough in the field of audience research, and the early effects of media theory and the Frankfurt School of Cultural Industry theory has a clear distinction.

First, the new research model has introduced a semiological approach. One of the most exciting aspects of semiotics for media studies is the one that can be applied to visual forms - film, television, photography, and advertising pictures - to provide a comprehensive approach to the study of modern meaning production Program, and this approach cannot provide the traditional branch of linguistics. In Hall's article, a message is no longer seen as a package or a ball can be thrown by the sender to the recipient. The message is now encoded by the program producer and decoded by the audience. Such an idea means that the message sent and the message received are not necessarily the same, and that different audiences may have different decoding of the program. Thus, the effect of the message is no longer based on the behavioral stimulus-response pattern, but depends on the audience's interpretation process. Thus, Hall confirmed the audience in the communication process of the status, they are not the kind of effect that the atomic group of individuals. In addition, according to the principle of semiotics, any message is polysemous, its meaning or interpretation can always produce more than one, and therefore cannot be reduced to a "final" or "real" meaning. In this way, Hall pointed out that the text has a certain openness, the potential way of reading more than one message, and made the audience can have three interpretation of the position: domination - hegemony position, the position of consultation and confrontation. The latter two positions also make the cultural studies open the door to the audience initiative research.

Second, for Hall, the model is part of a broader discussion of Marxism itself, which marks a shift from the pluralistic determinism of the mainstream ideology to the more complex views advanced by the Gramscian hegemonic model. The previous Marxist theory of traditional ideology, as quoted by the Frankfurt School, suggests that ideology forces are almost irresistible to construct subjects in a manner appropriate to the interests of the ruling class. So they believe that in the media as the main venue of the cultural industry manipulation, the suppression of ideology directly into the public consciousness, people become "cultural puppet", is a "face-lift poisoning the people of opium" victims By. The School of Cultural Studies revised the Frankfurt School's theory of cultural industry, criticized their cultural pessimism and paid sufficient attention to the audience's interpretive activities. From the beginning of Hall, the cultural studies began to get rid of the influence of Althusser's structuralism, and no longer believed that the text structure would dominate the reception of audience messages. Instead, they absorbed Gramsci's hegemonic theory that there was a constant contradiction between the ideology and the social experience of the ruled, where the intersection was an ideological struggle. In this way, the text is no longer a completely closed structure, the audience is no longer blind obedience to the mainstream of the negative object of production system, but the ongoing struggle to give themselves a positive positioning of the main body.

After Hall's three modes of interpretation, the new paradigm of audience research and the rapid rise of the expansion. In the 1980s, Morley published "The National Audience" and "Family Television", applying Hall's audience-reading model to empirical research, while Ian Ang, Radwey, and Fisk were Soap opera "Dallas" audience, readers of romantic novels and mass culture consumers.

From these new audience research we can see that the audience's initiative is its most basic theoretical point of view. All of the above-mentioned studies have been directed against the one-sided one-sided ideology of cybernetics, hoping to prove that there is a creative space for negotiation and resistance in the receiving activities of the audience. Especially Fiske, he not only put forward the concept of "semantic struggle" and "cultural democracy", that the audience is the real meaning of producers, and he also borrowed Bart's point of view - works only be read when the text - that the text is simply an uncertain existence, that "we can develop a semiotic ethnography, where there is no text, no audience, only the manufacture and distribution of meaning and pleasure of the process.

In addition, this new paradigm has a number of other characteristics, from which we can distinguish it from another important theory of communication theory and gratification that emphasizes audience initiative.

First of all, it is from the perspective of social meaning to understand the phenomenon of communication, that the audience access to the media after participation in the construction of meaning; and use and satisfaction theory that the media use of the audience is a result of functional selection, from the functional point of view Understanding of communication phenomena.

Secondly, it argues that reading is the struggle between the dominant ideology and the alternative and rebellious meaning of the audience, not the random activity of the audience. The purpose of the study is to understand the real situation of the power game between media producer and consumer. The use and satisfaction theory suggests that "the audience uses the media rather than the media, which helps to generate a sense of identity and information gathering, as well as meet the needs of leisure and social interaction". In this way, it overestimates the audience's initiative, the openness of the message and the number of media available to choose from, and does not recognize the existence of a dominant ideology.

Third, it draws on sociology, the individual as a part of the social structure is composed of many sub-groups and subcultures of the complex types of these factors and interpretation of the specific circumstances of activities will affect people's decoding methods. The use and satisfaction of the theory from the individual psychological needs, starting from the psychological level to explain people's use of media and information.

The new paradigm of audience research in the specific operation can be carried out from the following two aspects: one is the audience as text readers of the text analysis, the second is the audience in the context of daily life acceptance analysis.

To sum up, cultural studies, as a result of academic trends in specific historical backgrounds, have always been concerned with the practice of power in various cultural phenomena, building the audience into proactive text decoders and media users , And put it in the social context to study, to achieve the empiricist audience breakthrough. Despite the social context, scholars have many controversies, because it is a cover too many factors, whether based on certain social variables to carry out research, or for micro-daily life of the ethnography Analysis, but also cannot fully grasp the audience to accept the complex process of acceptance; but the cultural studies provided by the research paradigm does allow us to see the audience and social and cultural interaction of different landscapes, it also laid a unique position in the audience research.

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