本文選題：媒體景觀　切入點：城市青年　出處：《南通大學學報(社會科學版)》2017年03期 　論文類型：期刊論文

【摘要】：以美國、香港電影為代表的媒體景觀詮釋了一種關于反叛精神、自由個性、英雄氣概和浪漫情調的摩托車文化。這是消費社會為迎合青少年群體的心理賦予摩托車的象征意義。在世紀之交的三部中國電影《蘇州河》、《北京樂與路》和《任逍遙》里,摩托車既是媒體景觀介入城市日常生活的一個影像符號,也是主人公現(xiàn)實命運的一種折射。他們一方面參照媒體景觀建構和想象自我的生活,另一方面卻面臨全球化所帶來的困境。身處一個轉型時期的城市社會,他們拒絕上一代的生活方式,轉而尋求媒體景觀所制造的消費幻象,卻被更為現(xiàn)代化的城市空間所驅逐。于是他們騎著摩托車四處游蕩,淪為城市社會的不安定因素。這一青年群體及其城市經(jīng)驗所反映的是中國社會在轉型時期的一個過渡現(xiàn)象。
[Abstract]:The media landscape, represented by American and Hong Kong films, interprets a kind of rebellious spirit and free personality. Heroic and romantic motorcycle culture. This is the symbolic meaning given to motorcycles by the consumer society in order to cater to the psychology of young people. In the three Chinese movies at the turn of the century, "Suzhou River", "Beijing Music and Road" and "Ren Xiaoyao", Motorcycles are not only an image symbol for media landscape to intervene in the daily life of the city, but also a reflection of the protagonist's real fate. On the one hand, they refer to the media landscape to construct and imagine their own life. On the other hand, they face the dilemma brought about by globalization. In a transitional urban society, they reject the way of life of the previous generation and instead seek the consumer illusion created by the media landscape. But they are driven out by more modern urban space. They roam around on motorcycles and become unstable elements of urban society. This youth group and its urban experience reflect a transitional phenomenon in Chinese society during the transition period.
【作者單位】： 上海師范大學都市文化研究中心;
【基金】：國家社會科學基金青年項目(16CZW055)
【分類號】：J905
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本文編號：1612877