本文選題：中國形象 + 話語權(quán)力�。� 參考：《暨南大學(xué)》2017年博士論文

【摘要】：外國尤其是西方世界,在國際傳播中占有明顯的傳媒優(yōu)勢,這使得西方在國際政治風(fēng)云中占據(jù)主動,左右著公共外交的方向。新中國成立以來,外國人在中國大陸拍攝了一系列中國題材的紀(jì)錄片,對中國的方方面面進(jìn)行了展示和評價,對中國形象進(jìn)行了表述,為國際社會了解中國提供了重要的渠道,是外國人建構(gòu)中國形象的重要手段。本研究以1949年新中國成立至1976年文化大革命結(jié)束這一時間段外國人來華拍攝的紀(jì)錄片為研究對象,探討在西方話語空間下的中國形象建構(gòu)問題,分析隱含在其中的話語權(quán)力問題,以及跨文化傳播過程中的影像對話實(shí)踐。本研究主體內(nèi)容分為四部分。第一部分,對建國以來到文化大革命結(jié)束外國在華拍攝的紀(jì)實(shí)影像作了梳理,主要分為三個時段即建國初期(1949-1956年)、十年建設(shè)時期(1956-1966年)、文革期間(1966-1976年)來把握外國人在華拍攝紀(jì)錄片的大致情況,及其生產(chǎn)機(jī)制。第二部分,分析探討了這些外國紀(jì)錄片的中國形象的呈現(xiàn)方式。外國紀(jì)錄片對中國形象的呈現(xiàn)主要是從符號體系、敘事體系以及中國形象形態(tài)三個方面來體現(xiàn)的。第三部分,分析外國紀(jì)錄片對中國形象的建構(gòu)主要是運(yùn)用授權(quán)話語和他者化的話語建構(gòu)方式,意識形態(tài)化和烏托邦化兩種他者化的話語形式糾結(jié)在一起,中國永遠(yuǎn)是作為他者出現(xiàn)在他們的話語體系當(dāng)中。外國紀(jì)錄片中建構(gòu)的中國形象就是一種話語權(quán)力關(guān)系運(yùn)作的結(jié)果。第四部分,指出紀(jì)錄片在跨文化傳播中的重要地位,建國以來至文革結(jié)束,外國紀(jì)錄片在建構(gòu)中國形象方面有許多值得我們反思借鑒之處。研究發(fā)現(xiàn),由于中國國內(nèi)外形勢和政策等原因,導(dǎo)致了在那個時段里外國人來華拍攝的紀(jì)錄片相當(dāng)少,這些為數(shù)不多的紀(jì)錄片的拍攝一般都要進(jìn)行嚴(yán)格的審批,或由中國官方邀請。他們在紀(jì)錄片中是以他者化的話語方式建構(gòu)中國形象,大都是烏托邦化、正面的形象塑造中國,當(dāng)然也有不少意識形態(tài)化的、負(fù)面的形象建構(gòu)。而這正是中國官方話語與西方話語相互爭奪話語權(quán)力的結(jié)果。本研究的創(chuàng)新在于從紀(jì)錄片的視角比較系統(tǒng)地研究中國形象問題,而且是截取了特殊年代(毛澤東時代)的外國在華拍攝的紀(jì)錄片來探討他們眼中的中國形象。
[Abstract]:Foreign countries, especially the Western world, have obvious media advantages in international communication, which makes the West take the initiative in international politics and influence the direction of public diplomacy. Since the founding of New China, foreigners have filmed a series of documentaries on Chinese subjects in mainland China, showing and evaluating all aspects of China, and describing the image of China, thus providing an important channel for the international community to understand China. It is an important means for foreigners to construct Chinese image. This study focuses on the documentary films made by foreigners from the founding of New China in 1949 to the end of the Cultural Revolution in 1976 to explore the construction of China's image in the context of Western discourse space. This paper analyzes the implied discourse power and the practice of video dialogue in the process of cross-cultural communication. The main content of this study is divided into four parts. In the first part, the documentary images taken by foreign countries in China from the founding of the people's Republic of China to the end of the Cultural Revolution are sorted out. It is divided into three periods: the initial period of the founding of the people's Republic of China (1949-1956), the period of ten years' construction (1956-1966), and the period of the Cultural Revolution (1966-1976) to grasp the general situation and production mechanism of the documentary films made by foreigners in China. In the second part, the author analyzes and discusses the presentation of the Chinese image of these foreign documentaries. The presentation of Chinese image by foreign documentaries is mainly reflected in three aspects: symbol system, narrative system and Chinese image form. In the third part, the author analyzes that the construction of Chinese image by foreign documentaries mainly uses authorized discourse and other-oriented discourse construction, ideology and utopialization of the two other discourse forms entangled together. China is always in their discourse system as the other. The Chinese image constructed in foreign documentaries is the result of the operation of a discourse power relationship. The fourth part points out the important position of documentary in cross-cultural communication. Since the founding of the people's Republic of China and the end of the Cultural Revolution, foreign documentaries in the construction of the image of China have a lot of worthy of our reflection and reference. The study found that due to the situation and policies at home and abroad in China, there were relatively few documentaries produced by foreigners in that period of time. The shooting of these few documentaries generally required strict examination and approval. Or invited by the Chinese authorities. In the documentary they construct the Chinese image by the way of other words, mostly Utopialization, the positive image molds China, of course, there are many ideological, negative image construction. This is the result of Chinese official discourse and Western discourse competing for discourse power. The innovation of this study is to systematically study the image of China from the perspective of documentary, and to explore the image of China in their eyes by intercepting foreign documentaries made in China in a special age (Mao Zedong era).
【學(xué)位授予單位】：暨南大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2017
【分類號】：J952
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本文編號：2044713