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全球化传播中电影的新文化塑造
——以《功夫熊猫》中的融合文化为例

【摘要】

随着《功夫熊猫》的上映,国内学者对于电影所带来的文化现象展开了激烈的讨论。本文通过分析美国电影的文化表达,电影的消费观念和全球化背景下的媒介文化传播与特征,探讨在电影中两种具有明显差异性的文化走向平衡与配合,使得电影所营造出的一种浅层化,拼接的亦东亦西的“新”融合性文化,并探讨全球化媒介文化是否存在对于民族传统文化的威胁。

【关键词】
功夫熊猫 媒介文化 全球化 浅层化 文化拼接

《功夫熊猫》一登陆中国就曾遭到艺术家赵半狄的抵制,如今《熊猫2》的抵制队伍中还出现了北大教授孔庆东、北京电影学院动画学院院长孙立军的身影,理由是好莱坞电影用中国的符号在中国掘金并进行文化侵略。然而,《功夫熊猫2》依然继续前一部的票房佳绩。虽然这部动画片突出好莱坞电影一贯主张的美国个人主义价值观,但作为一个媒介文化产品,其在中国的传播影响力和传播效果都是值得称赞和肯定的。 由《功夫熊猫》被抵制现象和最终票房的成功,不禁让人联想到电影所带来的媒介文化全球化。我认为,大众媒介和消费经济介入文化传播之中,使电影所营造的文化不单纯只是中国文化,或者单纯的美国文化。在全球化的趋势下,在商品经济的背景下,具有明显差异性的两种文化在电影中走向平衡与配合,使得电影所营造出的媒介文化在浅层化和混杂化的过程中,形成了一种既非东方、又非西方的、“超国界的、调和着不同国家之间”的“第三种文化”[1]。

一、从美国电影中的文化表达说起 纵观美国好莱坞电影,其中的几个经典的角色比如超人、蜘蛛侠、西部牛仔,无一例外地出现在一个公式化的高效生产模式之中:他们的出生或许高贵或许卑微,但都在自己的努力下成为了拯救大局的英雄。这些围绕人物而展开的电影,主角总是占据不可替代的地位,而旁人多扮演着辅佐或提点的角色,“个人”的地位故事中被夸张性地放大,最后的胜利也归功于主人公的选择和努力。这次,连中国的熊猫也难免落入了这种好莱坞电影的套路之中。 这种“好莱坞”电影套路可以从文化根源和传播介质两方面分析。首先,在文化方面,美国作为一个典型的基督教国家,“新教精神”渗透到美国人生活的方方面面,成为人们日常的道德规范。它认为上帝创造每一个个体都有其意义,每一个生命无论是高贵还是卑微,都极为宝贵。这就是为什么在很多好莱坞灾难片里,拯救地球往往都是意想不到的小人物[2]。另外,由新教精神与资本主义经济体制所融合产生的“个人主义”也是美国文化价值的核心。它强调人是具有独立精神的个体,应该在政权和宗教之外保持一种人格上的独立与自尊,在文化上强调个人独立性、创造性,强调个人自由发展。可以看出,这种电影套路正是美国精神的一种表现,它源于美国的文化并反映美国的价值观。 在传播介质方面,电影作为大众传播媒介之一,是文化的产物也是文化的载体,在美国好莱坞它更是一种商业产品。作为世界经济大国和传媒大国,美国自然不会忽略“电影”这样一个重要的媒介方式,好莱坞的电影作为一种文化商品被销售到本国及其全球市场,电影的商品属性使它的内容意义便于复制和接受理解。在消费电影的同时,观众能够通过电影作品的人物形象和故事情节直接感触到的是一种感性的、直观的力量,理解出的是关于人性的、道德的、伦理的文化内容,甚至是一种普遍认同的文化核心价值观,进而通过电影在目标市场上确立一种大众共同信守的文化秩序。 正因如此,相比于其他国家的电影作品,好莱坞电影在文化价值观表现和商业性这两个方面做得尤为突出。这两点特性成为促进美国电影变革发展的动力,同时也伴随着电影——这一大众媒介所塑造出的文化景象的改变。

二、电影媒介文化的浅层精神消费 媒介文化在通常情况下是以文化工业的加工方式来生产的,而且以市场为中介,以商品的姿态走进人们的生活之中。在大众传媒时代,商品化进入文化意味着艺术术正在成为商品,电影艺术也逐渐走向电影产业。一切都和商品化、大众消费联系在一起,文化艺术完全成为消费社会的一部分。 正因为这种消费性,在全球化的传播背景下,美国电影媒介文化都是受众至上的。它们更加紧扣广大电影消费者的心理结构,强化了文化产品与受众的最浅层次的精神消费欲望贴近,适应并满足受众可能的需要,以弗洛伊德所说的“快乐原则”为旨,并根据其变化来加以修饰、创作。[3]这种文化的表达方式往往是通过简单易懂的故事,矛盾突出情节,它关注观众本身,而不是用深奥的文化理念来说教。以《功夫熊猫2》为例,虽然影片中借用了中国的“太极”和“以静制动”的武术理念,但并没有详细地解释阐述这些中国文化的深刻内涵,相反突出一种调侃风趣的基调,讲述一个简单的正义战胜邪恶的故事。 媒介文化的浅层化一方面使电影符合现代快节奏生活的需要,获得更为广阔的市场;另一方面,也使精英文化与大众文化的界限消失,国家文化之间的区分也与越来越不明显。不得不承认,在市场所用下产生的传媒消费主义文化,往往会出现娱乐化和商业化等浅层的表现,对社会文化造成一定的影响[4]。 然而换个一个角度来说,好莱坞电影在消费主义的驱动下,将世界各地的传统文化整合成适合大众消费的流行文化,打破了异质性传统文化的历史深奥感和地域封闭性,形成一种不同文化背景的人们更易于接受的文化。《功夫熊猫》里中国文化和美国文化的配合,正是既突出本土化特征又突出全球的普泛价值。它通过弱化中国文化的内涵并强调表面符号和形象,来缩小了中西文化之间的差异,达到一种浅层的平衡状态。

三、电影媒介文化的文化拼接重组 在跨文化传播中,媒介再现的各种文化,实际是为本土受众重新建构一套对世界的认知和判断形式。这种认知的重新构建需要文化拼接和重构的过程。正如《功夫熊猫》中的中国剪影,古典建筑甚至是汉语称呼都被剪切下来,拼贴在一个典型的美国式故事上;而美国式的表情和调侃,又被安放在一个中国大熊猫身上。 我认为在媒介文化走向全球化的构建过程中,往往遵循着两条规律:难以被全球受众所理解的特殊文化符号被置换或弱化;本土化的文化因素在形式层面的集中植入。例如,一方面,为适应西方市场的需要,中国的《花木兰》故事中的爱与荣誉,取代了传统的中国核心价值观念如孝道和家族责任。《卧虎藏龙》中等级观念、孝道和中国传统社会的男女界限被淡化,突出了世俗的爱、黄沙漫漫当中的激情。另一方面,《花木兰》里中国的景色和着装,《卧虎藏龙》里的竹林和徽派建筑,这些中国特有的文化元素被加入电影之中,营造出一种形式上的中国风格,拉近电影与本土受众的距离。 从迪士尼的《花木兰》到成龙主演的《功夫梦》等以中国为背景的美国电影来看,明显地通过中国“形”和美国“神”的组合,是中国文化符号与美国文化观念相叠加的崭新的传媒文化产品。这主要是由于美国制片人还未真正理解中国文化的特质,中国的元素不能只停留在表面形式,与影片中的美国精神没有适当地融合。这个阶段的文化拼接和重组应该说是比较生硬的,形与神出现了一定程度上的“脱节”,只属于外显文化融合。 然而,在《功夫熊猫》系列电影中,内隐文化的融合趋势越来越明显。我发现中国文化的内在特质越来越被美国电影所重视。在进行文化拼接重组的过程中,使用中国文化符号时更加注重其深层的含义,由中国形逐渐向中国神转变,在“精神”和观念的层面上尝试寻找中美文化中的共性。比如说,电影中突出了熊猫与鸭子爸爸的家庭情感,“太极”中的以静制动,以及以象征手法表现中国武术灵感的来源:螳螂、蛇、鹤、虎与猴,其中《熊猫2》中功夫与武器的对峙,使中国观众自然地想到了“黄飞鸿”电影中武术与武器的对峙。中国武术所追求的弘扬正义和除恶扬善,恰恰可以融汇于美国精神中个人价值的实现过程,是全球观众共通的心理期待,也是传媒文化全球共融的典型写照。

很多人将美国式的电影媒介文化传播看成“文化”帝国主义的入侵,借中国的外包装,以在潜移默化中试图改变中国受众的价值观念。但如果换个角度思考,是不是也可以说中国文化已经深深地侵入美国了呢?虽然由于各国传播实力的区别,媒介文化的全球化流动存在不对称的现象,但这并不意味着这种全球化融合文化一定会侵害到本土传统文化的地位。 首先需要明确的是,我们在接受大众媒介的信息时,并不是照单全收的,特别是在电影中真正给我们带来快感的更多是故事的叙述结构,我们对于其中的美国价值观会批判性的接受。其次,从赵半狄的抵制事件就可以看出,这种融合性全球媒介文化在一定程度上促使了人们重新认识并认可了本土的传统文化,这与著名的“文化反弹理论”是相符合的。正是身处在全球化媒介文化的环境中,我们周围的民族主义反而被重视,回归传统的呼声愈加高涨。 且不论是否存在文化入侵的问题,在《功夫熊猫》中,中国文化元素已经不再只是一个空壳,更多的是中国文化精神与美国文化精神的融合,这反映出了电影媒介要实现跨文化市场盈利和文化全球传播的需要。 虽然在商品经济的利益驱使下,两方面的文化都出现了浅层化,但是这种融合也打造出了电影媒介所构建出的中西合璧的第三态文化,一个文化的缓冲带,各国既能保持各自文化的精髓又能在差异之中寻找到共性。这也印证了随着媒介发展而出现的历史性文化大转向:从传统意义下的文化即民族性、地域性、历史继承性的文化,向超越民族边界、超越地域封闭,以一种非历史性、全球性、融合开放性的媒介文化转移。

主要参考文献
1、易崇英,国卿. 的价值与构建原则,新闻界, 2009年 03期
2、姜飞. 传播媒介介入跨文化传播过程的路径,新闻研究导刊, 2010年 01期
3、石义彬,周娟. 全球化背景下媒介文化产品的混杂化——以影视节目为例,新闻与传播评论, 2008年 00期
4、陈琦, 严峰. 解读好莱坞电影的文化传播,新闻界, 2010年 03期
5、陈龙. 媒介文化全球化与当代意识形态的涵化,国际新闻界2002年 05期
6、蒋建国. 符号景观、传媒消费主义与媒介文化向度. 新闻与传播研究. 2008年 04期
7、陈林侠. 跨文化背景下电影媒介建构国家形象的重要功能 社会科学 2011年 04期
8、马克·波斯特; 侯晓艳; 章戈浩. 麦克卢汉与媒介的文化理论. 新闻与传播评论, 2010
9、刘文辉. 颠覆与转向——20世纪90年代传媒文化转向观察当代传播, 2010年 02期
10、蒋晓丽. 奇观与全景——传媒文化新论. 中国社会科学出版社. 2010年7月第一版

[1] 迈克·费瑟斯通著. 刘精明译. 消费文化与后现代主义. 译林出版社. 2000: 211.
[2]陈琦, 严峰. 解读好莱坞电影的文化传播,新闻界, 2010:3
[3]陈龙. 媒介文化全球化与当代意识形态的涵化. 国际新闻界 2002:5
[4]蒋建国. 符号景观、传媒消费主义与媒介文化向度. 新闻与传播研究. 2008:04

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