The Study Of Contemporary Chinese Television Spectacle Phenomenon

In the1960’s, Guy Debord wave proposed the theory of "landscape view society" todescribe the capitalist countries after world war ii constructed in accordance with theprinciple of landscape" of a consumer society. And contemporary cultural studies scholarDouglas kellner is borrowed from wave theory, puts forward the concept of "mediaspectacle", it can reflect the basic values of contemporary society is defined as the mediaculture phenomenon, and analyzes the cultural reality of American society. Splendorculture rapid development and quickly spread and permeated every field of social andcultural phenomenon is complicated and its various wonders, so far as to say that the mediaspectacle has become the main characteristic of our times. According to according to theirstudy as the main theory, and based on the current development of Chinese TV culture,television spectacle phenomenon as the research object.In the cultural studies of theoretical guidance and analysis framework, this paperbased on the history of contemporary Chinese society itself soil and realistic context,production and consumption of contemporary Chinese television spectacle, care andrealistic culture criticism.Contemporary Chinese TV spectacle has its specific context, namely, ongoing,wrapped with globalization complex factors such as social transformation. Of presentsocial transformation characteristics of comprehensiveness, transitional, progressive makesChina’s TV culture becomes a more full of contradictions, mutation than western countries,conflict, ambiguity of cultural space, which makes TV has a complex culture.In this paper, research on the phenomenon of contemporary Chinese TV spectacle thatfollowed "TV media spectacle wonders text production-production-the audienceconsumption and interpretation of the text" and the framework of clues. First of all, thispaper discusses the TV media and other kinds of power relations between the socialsystems of operation strategy and the wonders of the production, the collusion and struggle, controlling and controlled, manipulation and attachment, rules and submission, inductionand cater to, pressure and tension, etc. Some are visible, but it is not visible to affectwonders, in the form of production; Secondly, on the television spectacle text semiotics inthe sense of parsing, think the spectacle is not only an economic phenomenon, but also acultural phenomenon, the wonders of the production is a kind of symbolic meaningconstruction, the construction of its strategy is embodied in three aspects. By massconsumption, in the end, the television spectacle text reading, there are compromises, thisattachment and have a negotiation, also have resistance, but whatever the situation, thepublic is no longer a passive receiver, and become active consumers and producers ofmultiple meaning, consumer spectacle, unscramble wonders, for mass production ofwonders tell the important path of self and identity.Contemporary Chinese television spectacle of production and consumption is a senseof struggle, whether it is television media production process of wonders and wonders ofmeaning or mass consumption and the interpretation of the spectacle, the whole spectaclecultural field is the stage of conflict between various interest groups, is social control andindividual resistance to left field. In a word, television spectacle is a contradiction of thecomplex is full of struggle, can not only provide ideological control method and strength,can also provide public resistance and resistance resources and strategy, become apluralistic discourse writing field.