{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"447ac7ca-331b-4629-b3f6-ca8ae9df773e","title":"消费社会","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787305133039","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"447ac7ca-331b-4629-b3f6-ca8ae9df773e","id":"447ac7ca-331b-4629-b3f6-ca8ae9df773e","uuid":"447ac7ca-331b-4629-b3f6-ca8ae9df773e","title":"消费社会","normalized_title":"消费社会","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787305133039","isbns":["9787305133039"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":246,"navigation_url":"https://workshop.closeclaw.top/ai/book/447ac7ca-331b-4629-b3f6-ca8ae9df773e","title_url":"https://workshop.closeclaw.top/ai/title/%E6%B6%88%E8%B4%B9%E7%A4%BE%E4%BC%9A","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/447ac7ca-331b-4629-b3f6-ca8ae9df773e/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/447ac7ca-331b-4629-b3f6-ca8ae9df773e/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/447ac7ca-331b-4629-b3f6-ca8ae9df773e","page_url":"https://workshop.closeclaw.top/api/ai/books/447ac7ca-331b-4629-b3f6-ca8ae9df773e/page","search_url":"https://workshop.closeclaw.top/api/ai/books/447ac7ca-331b-4629-b3f6-ca8ae9df773e/search"},"page":{"printed_page":115,"pdf_page":156,"physical_index":156,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"1a5e6a9cbc92f1cb32a2a8d4b3078d511143ec91d1241b4a3eaa6b4b10437096"},"chapter":"第三章 大众传媒、性与休闲","content":"假如把符号看做能指和所指的连接，就可以界定两种类型的混同。在孩子身上，在“原始人”身上，能指可以为了所指而消失(如有些孩子会以为自己的影像是一种活生生的存在，或有些非洲电视观众们会暗自纳闷刚刚从荧屏上消失的人跑到哪里去了)。相反，在以其自身为中心的画面中，或在以编码规则为中心的信息中，能指变成了其自身的所指，其中两者的循环混同是偏重于能指的，即取消所指和能指的反复叙事。这便是在大众传媒层次上界定了消费、系统化消费效应的东西。这并不是通过画面的中介走向世界，而是画面通过世界的转向而回归于自身(即在所指不在场后面的自我指定的能指)。\n\n我们便从以所指为中心的信息—过渡性信息——过渡到了一种以能指为中心的信息。以电视的情况为例，从由画面所指的事件过渡到了这种画面消费(确切地说，就是作为与那些事件不同的东西，作为戏剧性的物质，布莱希特会说是“烹饪的”，在吸收的过程中就已经耗竭了，而绝不会去参照除此之外的东西)。不同之处还在于这一意义上，即它既不让人看到也不让人理解具有各自特性(历史的、社会的、文化的)的事件，而是在根据同样的编码规则对它们进行了重新诠释之后便不加区别地将它们播发出来，这一编码规则既是一种意识形态结构也是一种技术结构在电视的情况中，这就是大众文化意识形态的编码规则(道德、社会和政治价值体系)和造成了某种推论类型的剪辑模式、媒介自身的连接模式，那种推论类型将充满了多种变化信息的内容中性化了，并代之以其自身对意义的命令性约束。媒介的这种深刻推论与画面的明显话语相反，要由观众不自觉地进行解读。\n\n第三章大众传媒、性与休闲\n\n115","previous_page":114,"next_page":116}