电影传播的全球化

Q1 Arts and Humanities
M. Zhabskiy, K. Tarasov
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引用次数: 0

摘要

本文从文化多样性的角度考察了国际电影传播的全球化及其美国化形式。全球化进程被理解为市场形态历史继承的结果:从美国电影的自由竞争到寡头垄断,再到国家和国际垄断。在政治专政时期,全球化的道路是由西方世界的“贵妇人”法国开辟的。1908年,法国电影在美国的市场份额达到了70%,美国对此发起了坚决的挑战。法国人丧失了对美国乃至本国市场的统治地位,考虑的是三个因素——制度、地缘政治和创造性。对于美国电影的软实力,法国政府的回应是为本国电影的展览提供配额刺激,除其他外,通过提供国家外部和内部安全的必要性,通过对习俗和民族传统的守护来激励它。其他一些国家也把配额作为削弱美国软实力的一种手段:大国出于经济考虑;小一点的,为了文化。美国电影产业的全球化威力,既体现在其风格发展主线的理性选择和电影人的高超技艺上,也体现在管理和营销行为者的专业精神上,体现在大资本的投入上,体现在政府对美国“文化霸权”的支持上。在寡头垄断时期(1909 - 1929)出现的主要电影公司在某种协议的条件下相互竞争。1930-1946年,大型电影公司为国内市场建立了一种国家垄断制度,其竞争手段是成本极高的投资,远远超出了小型电影公司的能力。在世界市场上,选举的竞争方式使美国电影业在20世纪40年代下半叶获得了国际垄断者的地位。1945年成立的电影出口协会(Motion Picture Export Association)在这一过程中发挥了重要作用:这是一种“外交服务”,在美国政府的许可和支持下运作。美国电影工业从其全球垄断者的地位出发,不仅努力在跨文化电影传播中占据主导地位,而且在这种地位下,作为流行地缘政治的一种手段,通过游说和输出资本和商品来控制它。各国电影院产品的跨国流通和电影文化的多样性在很大程度上成为全球化进程的牺牲品。在大量事实研究的基础上,对电影跨文化传播失衡的现状进行了再现。在社会功能方面,当电影的进口主要取代其在某个国家的生产时,社会在很大程度上被剥夺了再现其文化的机会,因此,它的身份与描绘自己的形象和掌握它的手段被剥夺了。世界各国电影画面的制作及其融入交际过程成为提供文化多样性的主题任务。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Globalization of Cinematographic Communication
The article examines the globalization – in its Americanization format – of the international cinematic communication within the perspective of the cultural diversity issue. The globalization process is comprehended as a result of the historical succession of market formations: from free competition in American cinema to an oligopoly and on to a national and an international monopoly. During the period of polipoly, the trail for globalization was blazed by the grande dame of the cinématographe: France. The United States, where in 1908 the market share of French films equaled 70%, mounted a resolute challenge. Under consideration are three factors – institutional, geopolitical, and creative – of the loss by the French of their domination over the American and, then, their own market. To the soft power of American cinema, the French state responded with the quota stimulation for the exhibition of national films, motivating it, among other things, by the necessity of providing for the external and internal security of the state, by the guardianship of customs and national traditions. To the quotas as a means of mitigating the soft power of the United States did recourse some other countries too: larger ones, for economic considerations; smaller ones, for cultural. The globalizational might of the American film industry is explained through the rational choice of the main line for its stylistic development and the filmmakers’ masterfulness, as well as through the professionalism of managemental and marketing actors, investment from big capital, and through support from government in its push for the «cultural hegemony» of the United States. The major studios that emerged during the period of oligopoly (1909– 1929) competed with one another on the terms of a certain accord. With the means of competing by supercostly investments, far beyond the capabilities of smaller studios, the majors established for the domestic market a regime of national monopoly (1930–1946). On the world market the elected method of competition enabled the American film industry, in the second half of the 1940s, to gain the position of the international monopolist. An important role in the process was played by Motion Picture Export Association, established in 1945: a sort of «a diplomatic service» that functioned with permission from and under the support of the U.S. government. From its position of the global monopolist the American film industry strives not only to dominate in the intercultural cinematic communication, but, in this status and as a means of the popular geopolitics, to control it through lobbying and by exporting capital and goods. The transborder circulation of products by various national cinemas and cultural diversity of cinematography have largely fallen prey the globalization process. On the basis of vast factual research is recreated the state of the art for the imbalance in the intercultural film communication. When, in a social­functional respect, the importing of films mainly supplants their production in a certain country, the socium, by a large magnitude, is deprived of the chance to reproduce its culture and, accordingly, its identity with the means of depicting its own image and of mastering it. The making of national cinematic picture of the world and its integration into the communicative process becomes a topical task of providing for cultural diversity.
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来源期刊
Mezhdunarodnye Protsessy
Mezhdunarodnye Protsessy Arts and Humanities-History
CiteScore
0.60
自引率
0.00%
发文量
9
审稿时长
34 weeks
期刊介绍: “International Trends” (“Mezhdunarodnye protsessy”) was established in 2002 as the first Russian TIR journal. As of the early 2010s, it holds a strong position among the top three Russian thematic academic journals (according to the Russian Science Citation Index). The Journal’s key mission is a theoretical comprehension of the world as a whole, of international tendencies and the planetary political environment, and of the world-integrity our country finds herself in and develops with.
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