从“中国达人秀”解读当下中国媒介文化特征

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摘要

中国电视选秀节目兴起于 2004 年，自开播伊始它就获得了相当不错的收视

率，并因此被广泛“克隆”，在全国各地的电视上迅速繁衍了众多的类似版本，

短短不到十年间，选秀节目在中国经历了从兴起、繁荣、回落、曲折发展过程。

《中国达人秀》作为当下中国最知名、最成功的选秀类真人秀节目之一，可

谓是近些年来本土该类节目的代表之作。《中国达人秀》的成功不仅限他的于高

收视率，更是在社会上打造出过硬的民众口碑，并且在引进国外节目的基础上根

据中国社会特点对其加以扬弃，使其更符合中国受众的口味，很大程度上激发了

国内观众的兴趣和好奇心，成为本土化选秀节目的一个标杆和里程碑。

本文结合当代选秀节目的发展，从媒介文化研究的视角出发，应用传播学、

文化学、社会学以及文艺学相关理论，以《中国达人秀》为例，研究其传播方式。

通过具体分析其节目特点、叙事方式、议程设置等，透视其所蕴含的文化内涵，

进而揭示中国当代媒介文化的特征。本文第一章阐述了本文的研究方法及其意

义。第二章对《中国达人秀》进行受众分析。第三、四章分析了《中国达人秀》

的议程设置，并与美国该类进行比较分析。最后一章揭示中国媒介文化现状尤其

是在“限娱令”颁布的大背景下，根据《中国达人秀》的成功为中国媒介文化甚

至社会和谐文化的构建提出建议。

关键词：中国达人秀议程设置媒介文化文化商品

ABSTRACT

The TV-shows emerged in the 2004. From begins，it has obtained the quite good

view ratio．Therefore, it was cloned widespread, and became one of the most popular

program．tide．After less than ten years，the entertainment program experienced great

changes from rise and collapse.

“China's Got Talent”, one of the most popular and successful TV show, not only

successes in view ratio but also good public praise and reputation. Besides, it

develops and transforms the foreign program to cater to the preference of Chinese

audience which triggered the curiosity of Chinese audience.

According to the development of TV show program, this article try to study the

communication style of “China's Got Talent” through communication study, culture

study and sociology from the angle of media culture study. Furthermore, this article

also reveal the fortune characteristic of media culture of China at the present. In the

first part, elaborate the research method and significance. In the part second, study the

program “China's Got Talent” by audience analysis. In the third and forth parts, analyze

the method of agenda-setting of the “China's Got Talent” and take a comparative

analysis on “China's Got Talent” and the program of same kind in US. In the last part,

reveal the present state of media culture in China. Moreover, give the suggestion to

build a better media culture and even the harmonious society.

Key Word：China's Got Talent, agenda setting, media culture,

culture product

中文摘要

ABSTRACT

第一章绪论„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„ 1

§1.1 课题来源„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„ 1

§1.2 研究思路„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„2

§1.3 本文所采用的研究方法„„„„„„„„„„„„„„„„„„„„„„„„„„2

第二章选秀节目的起源和发展„„„„„„„„„„„„„„„„„„„„„„„„„ 3

§2.1 选秀节目的起源„„„„„„„„„„„„„„„„„„„„„„„„„„„„„ 3

§2.2 选秀节目在中国的发展„„„„„„„„„„„„„„„„„„„„„„„„„„3

§2.3 国内外研究现状„„„„„„„„„„„„„„„„„„„„„„„„„„„„„ 5

第三章霍尔模式下的达人秀受众研究„„„„„„„„„„„„„„„„„„„„„ 6

§3.1 支配式解读„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„7

§3.1.1 受众群定位广泛„„„„„„„„„„„„„„„„„„„„„„„„„„„ 8

§3.1.2 节目内容回归主流价值观„„„„„„„„„„„„„„„„„„„„„ 11

§3.1.3 媒介整合„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„12

§3.2 对抗式解读„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„12

§3.2.1 达人秀还是“感人秀”„„„„„„„„„„„„„„„„„„„„„„ 13

§3.2.2 广告插播频繁„„„„„„„„„„„„„„„„„„„„„„„„„„„ 13

§3.3 协商式解读„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„13

第四章达人秀的议程设置及其对当代媒介文化的影响„„„„„„„„„„„„„15

§4.1 达人秀的议程设置 „„„„„„„„„„„„„„„„„„„„„„„„„„ 15

§4.1.1 平凡人可以享受平等„„„„„„„„„„„„„„„„„„„„„„„„ 16

§4.1.2 平凡人可以实现梦想„„„„„„„„„„„„„„„„„„„„„„„ 16

§4.1.3 平凡人可以“大爱无言” „„„„„„„„„„„„„„„„„„„„„ 17

§4.2 达人秀的对当下媒介文化的影响„„„„„„„„„„„„„„„„„„„„ 19

§4.2.1 展示当代社会的民主性„„„„„„„„„„„„„„„„„„„„„„ 19

§4.2.2 展示当代社会的市民性„„„„„„„„„„„„„„„„„„„„„„ 20

§4.2.3 展示当代社会的和谐性„„„„„„„„„„„„„„„„„„„„„„ 21

第五章中美选秀节目传播模式比较分析„„„„„„„„„„„„„„„„„„„„ 23

§5.1 美国选秀节目的传播模式„„„„„„„„„„„„„„„„„„„„„„„„ 23

§5.1.1 受众中心论的优势„„„„„„„„„„„„„„„„„„„„„„„„„24

§5.1.2 受众中心论的劣势„„„„„„„„„„„„„„„„„„„„„„„„„26

§5.2 《中国达人秀》的传播模式„„„„„„„„„„„„„„„„„„„„„„„29

§5.2.1 《中国达人秀》的传播模式构建分析„„„„„„„„„„„„„„„ 30

§5.2.2 信息反馈和前期受众调研保证收视率„„„„„„„„„„„„„„„ 32

§5.2.3 以人文关怀为桥梁的编码„„„„„„„„„„„„„„„„„„„„„ 33

第六章中国媒介文化现状及其思考„„„„„„„„„„„„„„„„„„„„„„ 35

§6.1 当下中国媒介文化现状„„„„„„„„„„„„„„„„„„„„„„„„„35

§6.1.1 节目内容“俗”化„„„„„„„„„„„„„„„„„„„„„„„„„40

§6.1.2 节目同质化，缺乏本土化创新„„„„„„„„„„„„„„„„„„„41

§6.1.3 人文内涵缺失„„„„„„„„„„„„„„„„„„„„„„„„„„„ 42

§6.2 《中国达人秀》对中国媒介文化传播的启示„„„„„„„„„„„„„„43

§6.2.1 从选秀节目到媒介文化商品„„„„„„„„„„„„„„„„„„„„ 43

§6.2.2 中国媒介文化商品的现状及其对策„„„„„„„„„„„„„„„„ 48

参考文献„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„50

在读期间公开发表的论文和承担科研项目及取得成果„„„„„„„„„„„„„ 52

致谢„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„ 53

第一章绪论

§1.1 课题来源

党的十七大报告指出：“在时代的高起点上推动文化内容形式、体制机制、传

播手段创新，解放和发展文化生产力，是繁荣文化的必由之路。”“要充分发会人民

在文化建设中的主体作用，调动广大文化工作和的积极性，更加自觉、更加主动

的地推动文化大发展大繁荣，在中国特色社会主义的伟大实践中进行文化创造，

让人民共享文化发展成果。”可以说，创新不仅关系中华文化自身的发展，而且关

系到国家的兴盛和民族的未来，是一个国家综合国力不可缺少的一部分。任何社

会都是经济、政治、文化三位一体构成的有机结构。文化历来是综合国力不可分

割的组成部分。文化作为综合国力，是相对于经济力、政治力、军事力而言的，

可称为“文化力”。它是指一个国家文化发展和文化积累所形成的现实力量，既包括

这个国家文化的实力和现实水平，又包括它对经济、政治和社会生活等各方面的

作用力、影响力和辐射力。文化促进综合国力，是推动综合国力增强的重要力量。

文化不仅构成和显示综合国力，而且促进其他国力，以其对经济、政治、军事、

外交的巨大能动作用，推动它们的发展，为增强综合国力提供精神动力和智力支

持。文化设施是文化活动的载体，任何文化活动只有借助一定的载体，才能真正

的发挥作用。媒介，尤其是电视媒介作为当下文化的一个重要载体，以其受众之

广，接触频率之高，成为中国媒介文化间这种不可或缺的组成部分。而选秀节目，

作为倍受媒介追捧的节目形式，很好的反映了媒介文化的发展。

《中国达人秀》作为目前国内最知名、最成功的选秀类真人秀节目之一，是

近年来本土选秀节目领域的代表之作。《中国达人秀》自 2010 年7月25 日开始每

周日晚在东方卫视播出，节目组已经设立了上海、深圳、北京、武汉、天津、

成都六大赛区，以及西安、沈阳、昆明、广州、重庆五大超级加油站。最高

收视率达 5.7%，居全国第一，远远超过了同时期播出的其他选秀类节目。2010

年7月25 日《中国达人秀》首播便以 8%的收视率一举成为同时段上海地区收视

冠军，而在全国其他 26 个城市的同时段收视率也达到 1.37%，排名第二，根据央

视索福瑞收视率报告，此前一周的《快乐男生》10 进8比赛的全国收视率为 0.83%，

而与此同时的《花儿朵朵》全国总决赛 10 进8的比赛收视率更为惨淡，只有 0.09%，

两者收视率之和尚不及《中国达人秀》首期的收视率。

如上文所述，《中国达人秀》的成功不仅限他的于高收视率，更是在社会上打

造出一块独有的品牌，并且在引进国外节目的基础上根据中国社会特点对其加以

扬弃，使其更符合中国受众的口味，大大激发了国内观众的兴趣和好奇心，成为

从“中国达人秀”解读当下中国媒介文化特征

本土化选秀节目的一个标杆，一个里程碑，一个媒介文化现象。除了《中国达人

秀》的节目本身的成功以外，该片通过“选秀”的方式有效的传播传统以及主流文化

的现象更值得关注，它的成功在一定层面上反映着中国媒介文化的现状，尤其是

在市场经济背景下，中国社会正发生这一系类微妙的变化，传媒消费主义文化过

度、商业化娱乐化影响着整个社会文化构建。本文将通过分析《中国达人秀》的

产生背景以及叙事模式和议程设置，揭示当下中国媒介文化的特点以及发展方向。

§1.2 研究思路

《中国达人秀》的成功为我们进行分析和审视当今中国电视节目乃至媒介文

化的发展现状提供了一个活生生的现实范例，他改变了人们对荧屏选秀泊来物的

认知，娱乐但饱含人文关怀，现代但弘扬传统文化，通俗但不低俗，其受众不光

囊括了青少年观众，也将中老年人纳入其受众范围。本文结合当代选秀节目的发

展，从媒介文化研究的视角出发，应用传播学、文化学、社会学以及文艺学相关

理论，以《中国达人秀》为例，通过具体分析其节目特点、叙事方式、议程设置

等，透视其所蕴含的文化内涵，进而揭示中国当代媒介为文化的特征。文章最终

定位于通过揭示当下中国媒介文化特征，反思在社会转型的大背景下媒介文化的

发展及其社会功能，进而探究先进的媒介文化应结合民族性与现代型、传统性与

创新性、共性与个性，为中国媒介文化甚至社会和谐文化的构建提出建议。

§1.3 本文所采用的研究方法：

1 文献调查法。本文自构思、开始写作，新一季的《中国达人秀》又将上

映。笔者坚持观看并及时追踪了这部电视节目，并查询了大量相关的文献资料，

掌握了研究成果，为本文的研究神话提供了依据。

2 内容分析法。通过对每一集的《中国达人秀》以及关注度高的选手进行

客观系统的分析，对其所传达的文化内容进行归纳。

3 问卷调查法。通过问卷设计和问卷调查的方式，抽取有效问卷进行数据

分析，为本文的观点提供支撑。

4 焦点访谈法。就某些关注度高的选手以及话题，访谈《中国达人秀》的

观众，对其进行深度剖析，为文章提供论据支持。

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摘要：

摘要中国电视选秀节目兴起于2004年，自开播伊始它就获得了相当不错的收视率，并因此被广泛“克隆”，在全国各地的电视上迅速繁衍了众多的类似版本，短短不到十年间，选秀节目在中国经历了从兴起、繁荣、回落、曲折发展过程。《中国达人秀》作为当下中国最知名、最成功的选秀类真人秀节目之一，可谓是近些年来本土该类节目的代表之作。《中国达人秀》的成功不仅限他的于高收视率，更是在社会上打造出过硬的民众口碑，并且在引进国外节目的基础上根据中国社会特点对其加以扬弃，使其更符合中国受众的口味，很大程度上激发了国内观众的兴趣和好奇心，成为本土化选秀节目的一个标杆和里程碑。本文结合当代选秀节目的发展，从媒介文化研究的视角出...

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