Scripted Affects, Branded Selves: Television, Subjectivity, and Capitalism in 1990s Japan
Scripted Affects, Branded Selves: Television, Subjectivity, and Capitalism in 1990s Japan
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脚本化的影响、品牌化的自我：20 世纪 90 年代日本的电视、主体性和资本主义
DOI：
10.1215/9780822393238
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发表时间：
2010
期刊：
影响因子：
--
通讯作者：
Gabriella Lukacs
中科院分区：
文献类型：
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作者：
Gabriella Lukacs
在《剧本情感，品牌自我》一书中，加布里埃拉·卢卡奇分析了一部名为“时尚剧”的新黄金时段连续剧的发展，这是日本电视业对市场分裂的巧妙回应。就像HBO热播的《欲望都市》一样，时尚电视剧的特点是富有的年轻人享受以消费者为导向的生活方式，同时管理他们不守规矩的爱情生活。卢卡奇将电视制作的政治经济分析与接受研究相结合，认为这部新潮的电视剧标志着日本电视业从提供故事驱动的娱乐到制作以生活方式为导向的节目的转变。她解释说，新的电视节目对消费者趋势的关注并不是媒体衰落的标志，而是一种精明的策略，以吸引那些越来越需要比大规模生产的节目更个性化的娱乐节目的观众。毕竟，20世纪80年代末，时尚剧的制作人意识到，品味和生活方式是身份认同的来源，可以被操纵来满足大众和利基需求，而不是传统的营销标准，如世代或性别。卢卡奇认为，通过利用生活方式概念的语义流动性，商业电视网络能够将观众团结成新的情感联盟，这反过来又帮助他们埋葬了长期经济衰退后阶级关系变化的焦虑。
In Scripted Affects, Branded Selves , Gabriella Lukacs analyzes the development of a new primetime serial called “trendy drama” as the Japanese television industry’s ingenious response to market fragmentation. Much like the HBO hit Sex and the City , trendy dramas feature well-heeled young sophisticates enjoying consumer-oriented lifestyles while managing their unruly love lives. Integrating a political-economic analysis of television production with reception research, Lukacs suggests that the trendy drama marked a shift in the Japanese television industry from offering story-driven entertainment to producing lifestyle-oriented programming. She interprets the new televisual preoccupation with consumer trends not as a sign of the medium’s downfall, but as a savvy strategy to appeal to viewers who increasingly demand entertainment that feels more personal than mass-produced fare. After all, what the producers of trendy dramas realized in the late 1980s was that taste and lifestyle were sources of identification that could be manipulated to satisfy mass and niche demands more easily than could conventional marketing criteria such as generation or gender. Lukacs argues that by capitalizing on the semantic fluidity of the notion of lifestyle, commercial television networks were capable of uniting viewers into new affective alliances that, in turn, helped them bury anxieties over changing class relations in the wake of the prolonged economic recession.