The Rhetoric of Moral Protest: Public Campaigns, Celebrity Endorsement and Political Mobilization
The Rhetoric of Moral Protest: Public Campaigns, Celebrity Endorsement and Political Mobilization
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道德抗议的言辞：公共运动、名人代言和政治动员
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发表时间：
1996
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影响因子：
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通讯作者：
Christian Lahusen
中科院分区：
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作者：
Christian Lahusen
20世纪60年代在民众抗议的史册上保持着标志性的地位。人们对现状的不满与日俱增，而电视新闻媒体本身也尚未成为巧妙的、商品化的新闻管理技术的受害者，这两者的巧合导致了人们对机构脆弱性的更广泛看法，从而加剧了统治阶级的恐惧感。这种恐惧以各种方式表现出来：阿拉巴马州伯明翰的消防水龙；芝加哥和伦敦的警察骚乱；布拉格的坦克；以及与政治和社会秩序有关的文学创作中新兴的学术行业(例如，Crozier等人，1975；亨廷顿，1968)。自那以后，民众抗议在西方明显变得不那么常见了，现在西方最常提到的是政治冷漠和愤世嫉俗。报告文学也变得更加程序化了。最初的新奇和表面上的自发抗议已经让位于更熟悉的人，因此新闻编辑现在在内容和形式的管理艺术方面装备得更好了。在某种程度上，为了应对这种更加艰难的抗议氛围，活动人士越来越依赖名人的代言和其他媒体友好的技巧，包括操纵舆论、使用引人注目的图形设计、伴奏音乐以及遵守个人外表的传统标准。因此，竞选活动本身已经变得专业化--与20世纪60年代的自发和“自下而上的政治”大相径庭：
The 1960s retain an iconic status in the annals of popular protest. The coincidence of rising discontent with the status quo and the new accessibility of televisual news media—itself yet to become the victim of slick, commodifying news management techniques—resulted in the more widespread perception of institutional fragility and consequently the heightened sense of fear on the part of the ruling classes. This fear manifested in a variety of ways: firehoses in Birmingham, Alabama; police riots in Chicago and London; tanks in Prague; and a burgeoning academic industry in the production of literature relating to political and social order (e.g. Crozier et al., 1975; Huntington, 1968). Since then, popular protest has become markedly less common in the West, where reference is now most frequently made to political apathy and cynicism. Reportage has become much more programmed too. The initial novelty and apparent spontaneity of protest has given way to a greater familiarity, and consequently news editors are now better equipped in the arts of management of both content and form. In some measure a response to this more difficult climate of protest, campaigners have relied increasingly upon celebrity endorsement and other mediafriendly techniques involving spin-doctoring, the use of eye-catching graphic designs, accompanying music and conformity to conventional standards of personal appearance. Thus, campaigning itself has become professionalized—a far cry from the spontaneity and ‘politics from below’ of the 1960s: