Performative Politics and International Media

TDR news Pub Date : 1997-01-24 DOI:10.2307/1146656
W. Sun
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引用次数: 2

Abstract

In the fall issue of 1990, TDR published a reader's letter, "No Secret Politics in the U.S.?" from Anthony T. Speranza. Speranza argued, "the opposition you make between the situation in China and the 'power of the media' and government openness in 'the West' misses the mark badly. [...Y]ou contribute to what might be called 'the myth of transparency' in the journalistic monitoring of our government" (1990:15). Although this was a misreading of the Comment's point, which did refer to Western politicians' insincere display with the power of the media at their service, Speranza's term, "the myth of transparency," is extremely pertinent. Unlike the Comment written seven years ago, which focused on the obvious problems of secretive politics, this one addresses the hidden danger of performative politics in the name of democracy, especially as it appears in the international media, which are now connecting more and more countries with TV satellites but not necessarily with true understanding. During the prodemocracy movement in 1989, the Chinese students and their supporters demanded openness and transparency of politics. They equated openness with more media coverage because media was strictly controlled by the government, whereas most Americans had long given up this naive belief of the pre-media age. To the idealistic Chinese, live media coverage, which was rare in China except for sports games, must be true and authentic, something like the picture of the Vietnamese monk immolating himself in front of a crowd in 1963-on the eve of the media age. That image shocked the world with its absolutely authentic truth and sparked organized demonstrations in the U.S. and China against the Vietnam War. To Thic Quang Duc, the martyred Buddhist monk, deception in front of the TV camera was a completely alien concept. Unfortunately, the lesson the world learned from Thic Quang Duc about the power of television just as quickly taught politicians to exploit the media with all kinds of disingenuous acts, creating what Speranza calls "the myth of transparency." Like an effective new medicine, the media has made
表演政治与国际媒体
在1990年的秋季刊上,TDR发表了一封读者来信,安东尼·t·斯佩兰扎写的《美国没有秘密政治?》Speranza认为,“你把中国的情况与‘媒体的力量’和‘西方’的政府开放对立起来,这是大错特错的。[…在对我们政府的新闻监督中,你对所谓的‘透明神话’做出了贡献”(1990:15)。尽管这是对评论观点的误读,评论确实指的是西方政客在为媒体服务的情况下虚伪的表现,但Speranza的术语“透明度的神话”非常贴切。与七年前的评论不同,那篇评论关注的是秘密政治的明显问题,而这篇评论则以民主的名义解决了表演政治的潜在危险,特别是当它出现在国际媒体上时,这些媒体现在用电视卫星连接越来越多的国家,但不一定是真正的理解。在1989年的民主运动中,中国学生及其支持者要求政治公开和透明。他们把开放等同于更多的媒体报道,因为媒体受到政府的严格控制,而大多数美国人早就放弃了这种对前媒体时代的天真信念。对于理想主义的中国人来说,除了体育比赛之外,在中国很少有现场媒体报道,但这必须是真实可信的,就像1963年媒体时代前夕,越南僧侣在人群面前自焚的画面一样。这张照片以绝对真实的事实震惊了世界,并在美国和中国引发了反对越南战争的有组织示威。对于殉道的僧人提光德(thichang Duc)来说,在电视镜头前欺骗是一个完全陌生的概念。不幸的是,世界从崔光德身上学到的关于电视力量的教训,很快教会了政客们用各种虚伪的行为来利用媒体,创造了斯佩兰扎所说的“透明神话”。就像一种有效的新药,媒体制造了
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