【摘要】：當(dāng)歷史的車輪走過21世紀(jì)的第一個十年,隨著都市中“剩男”、“剩女”的大量出現(xiàn),婚戀問題成為青年群體及其父母心頭一塊沉重的石頭,以《非誠勿擾》等為代表的相親交友節(jié)目捕捉到時代變動的脈搏終成為大眾文化的主流,中國人的婚戀和相親活動也隨著相親節(jié)目的火爆,而從個人隱而不宣的私密活動變成全社會參與討論的熱點話題。作為收視率極高的媒介消費(fèi)景觀,《非誠勿擾》是一個復(fù)雜多義的大眾文化文本,一方面它緊跟社會現(xiàn)實變動,迅速地生產(chǎn)著時代話題,將深度表達(dá)和文化意義賦予娛樂,讓年輕人“想說就說”,并傳遞自由自在的民主精神,它使傳統(tǒng)的婚戀觀和道德觀迅速地被解構(gòu);而另一方面,拜金和享樂主義的價值觀、高高在上的中產(chǎn)階級價值觀和婚戀觀也赤裸裸地展現(xiàn)在觀眾面前。本文將相親節(jié)目《非誠勿擾》視為一個獨(dú)立的文本結(jié)構(gòu),用莫里斯、羅蘭·巴特等人的符號學(xué)理論來分析《非誠勿擾》的文本結(jié)構(gòu)和意義指涉,同時運(yùn)用法蘭克福學(xué)派的大眾文化批判理論、斯圖亞特·霍爾、菲斯克的文化研究理論等來分析《非誠勿擾》的生產(chǎn)運(yùn)作、受眾的多種闡釋方式等內(nèi)容。最后得出結(jié)論,《非誠勿擾》的深度模式是有值得肯定的一面,從節(jié)目的形式到內(nèi)容都較同類節(jié)目有優(yōu)勢;另一方面也有局限,相親節(jié)目要減少做秀成分,要表達(dá)真情實感,在傳遞正能量的同時真正為大多數(shù)單身青年的終身大事出一份力,只有這樣,才能長久地立于不敗之地。
[Abstract]:As the wheels of history passed through the first decade of the 21st century, with the emergence of a large number of "leftover men" and "leftovers women" in the city, the problem of marriage and love became a heavy stone in the hearts of young people and their parents. Blind dating programs, such as "if you are the one", capture the pulse of the changing times and eventually become the mainstream of popular culture. Chinese marriage and matchmaking activities also become popular with the popularity of blind dating programs. Instead of private activities, private activities become a hot topic for the whole society to participate in the discussion. As a media consumption landscape with very high ratings, "if you are the one" is a complex and polysemous mass cultural text. On the one hand, it follows the changes in social reality, rapidly produces the topic of the times, and endows entertainment with deep expression and cultural significance. Let young people "say what they want" and pass on the liberal spirit of democracy, which rapidly deconstructs the traditional values of love and marriage and morality, while, on the other hand, worshipping the values of money and hedonism, High-rise middle-class values and views of love and marriage are also naked in front of the audience. This paper regards the dating program "if you are the one" as an independent text structure, and uses the semiotics theory of Maurice, Roland Bart and others to analyze the text structure and meaning of "if you are the one". At the same time, the author uses Frankfurt School's critical theory of popular culture, Stuart Hall and Fiske's theory of cultural research to analyze the production and operation of "if you are the one" and the various means of interpretation of the audience, etc. Finally, it is concluded that the depth model of "if you are the one" has a positive side. From the form of the program to the content of the program, it has an advantage over similar programs. On the other hand, there are also limitations. The matchmaking program should reduce the elements of the show and express its true feelings. While delivering positive energy, it really contributes to the life of most single young people. Only in this way can they remain invincible for a long time.
【學(xué)位授予單位】：哈爾濱師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：G222

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本文編號：2146937