{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"09704571-8786-4559-8834-09ba7e197fc0","title":"信息社会理论（第三版）","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787301189559","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"09704571-8786-4559-8834-09ba7e197fc0","id":"09704571-8786-4559-8834-09ba7e197fc0","uuid":"09704571-8786-4559-8834-09ba7e197fc0","title":"信息社会理论（第三版）","normalized_title":"信息社会理论第三版","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787301189559","isbns":["9787301189559","0415406331"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":409,"navigation_url":"https://workshop.closeclaw.top/ai/book/09704571-8786-4559-8834-09ba7e197fc0","title_url":"https://workshop.closeclaw.top/ai/title/%E4%BF%A1%E6%81%AF%E7%A4%BE%E4%BC%9A%E7%90%86%E8%AE%BA%EF%BC%88%E7%AC%AC%E4%B8%89%E7%89%88%EF%BC%89","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/09704571-8786-4559-8834-09ba7e197fc0/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/09704571-8786-4559-8834-09ba7e197fc0/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/09704571-8786-4559-8834-09ba7e197fc0","page_url":"https://workshop.closeclaw.top/api/ai/books/09704571-8786-4559-8834-09ba7e197fc0/page","search_url":"https://workshop.closeclaw.top/api/ai/books/09704571-8786-4559-8834-09ba7e197fc0/search"},"page":{"printed_page":93,"pdf_page":109,"physical_index":109,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"dcf5983cda77663d1d77dbf0fdb248405873b48e16f0d305b1daeaf70e53f5ec"},"chapter":"第四章调节学派理论","content":"全球化传播\n\n横跨地球的传播网络是全球化的另一个层面，它与其他特征紧密联系在全球化的过程中。全球化传播明显涉及科技的层面，像卫星系统、无线电通讯设备等等，本书后面有涉猎。但现在笔者集中讨论之前章节谈到的现象，也就是“符号环境”(symbolic environment)的构建。“符号环境”覆盖着全世界，并在很大程度上由跨国的媒体组织操纵。\n\n“符号环境”对社会和文化产生了许多重要的影响，但在此笔者仅仅强调它所带来的信息宰制，也就是让人们产生一致的想象。例如，美国拍摄的电影，无论在世界的哪个地方放映，都肯定座无虚席，无论何时，世界电影票房的前20位肯定都是美国生产的电影，如《泰坦尼克号》(Titanic,1997)、《指环王：王者归来》(The Lord of theRings,2003)、《哈利·波特与魔法石》(Harry Potter and the Sor-cerer's Stone,2001)、《星球大战 i》(Star War i,1999)和《侏罗纪公园》(Jurassic Park,2003)等票房最高的电影，紧接着还有《阿甘正传》(Forrest Gump,1994)、《黑超特警组》(Men in Black,1997)、《阿拉丁》(Aladdin,1992)和《圣战奇兵》(Indiana Jones and the LastCrusade，1989)。每一部电影的总票房都超过5亿美元，而《泰坦尼克号》甚至高达20亿美元。在德国、英国、意大利、法国、西班牙、澳大利亚和美国，准确来说是在任何有电影院的地方，这些电影都是票房成绩的领军人物。尽管观众可能会产生各种各样的反应和意向，但他们都共享着同一个符号环境，看着同一部电影。同样的情况也适用于电视节目、新闻媒介或者时尚产业。笔者并不是要过分夸大此类现象，因为国内主流媒体依然具有十分重要的作用(Tunstall.\n\n第四章 调节学派理论\n\n93","previous_page":92,"next_page":94}