{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"ef817ee5-07cd-4d04-b5aa-20e07a77acc2","title":"审美资本主义：品味的工业化","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787567508804","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"ef817ee5-07cd-4d04-b5aa-20e07a77acc2","id":"ef817ee5-07cd-4d04-b5aa-20e07a77acc2","uuid":"ef817ee5-07cd-4d04-b5aa-20e07a77acc2","title":"审美资本主义：品味的工业化","normalized_title":"审美资本主义品味的工业化","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787567508804","isbns":["9787567508804"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":221,"navigation_url":"https://workshop.closeclaw.top/ai/book/ef817ee5-07cd-4d04-b5aa-20e07a77acc2","title_url":"https://workshop.closeclaw.top/ai/title/%E5%AE%A1%E7%BE%8E%E8%B5%84%E6%9C%AC%E4%B8%BB%E4%B9%89%EF%BC%9A%E5%93%81%E5%91%B3%E7%9A%84%E5%B7%A5%E4%B8%9A%E5%8C%96","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/ef817ee5-07cd-4d04-b5aa-20e07a77acc2/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/ef817ee5-07cd-4d04-b5aa-20e07a77acc2/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/ef817ee5-07cd-4d04-b5aa-20e07a77acc2","page_url":"https://workshop.closeclaw.top/api/ai/books/ef817ee5-07cd-4d04-b5aa-20e07a77acc2/page","search_url":"https://workshop.closeclaw.top/api/ai/books/ef817ee5-07cd-4d04-b5aa-20e07a77acc2/search"},"page":{"printed_page":126,"pdf_page":133,"physical_index":133,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"288df5a86f3ee9ab3e7df6b0b8bb3896bbf127e2bbc1a96d0e29ccbe458394bc"},"chapter":"审美资本主义","content":"1975年,在穆尔维(Laura Mulvey)的论文《虚拟快感与叙事电影》(Virtual Pleasure and the Narrative Cinema)中，在证明好莱坞电影用“男性视角”定义愉悦感之后，她以一种解放的观点呼吁消灭源自大男子主义的电影愉悦感。然而，几年以后，在《女性关注》(The Female Gaze)一文中，嘉曼(Lorraine Gam-man)和玛诗曼(Margaret Marshment)则提出反对穆尔维的观点，要求电影和电视剧应该提供愉悦感的好处，并认为这并不羞耻。大众文化产品是如此之流行，无论如何是不可能置身于这一影响层面之外的。尤其，电视观众从此具备了指派文化生产者生产他们想要的感觉的自由。在这种看法中，无论是精英的还是大众的品味，地位都高于它的对象，并能够随心所欲地弯曲产品的暗示作用力。①文化产品固有的入侵性迫使大众必须扭曲产品以把产品折叠到符合自己的意愿。享乐主义是建立在将损害变成满足感、烦恼变成愉悦感的基础之上的。快乐取决于自我有条理的反应、绕弯和改道、适应和自由调节的计谋，消费者因此成为唯一能够评估什么有益于己的评判者。这是否就等于承认所有的审美品味当能够让人愉悦时就是可嘉的？这个观点甚至否认了文化产业的审美损害性，因为个人无法自由安排的事物是毫无价值的。因为所有工业生产的专家意见立马会被消费者的适应能力所反抗，这个假设便为无限地向市场上投放所有类型产品的可能性提供了依据。\n\n①“广大群众所过的生活并不像他们的文学作品给他们的印象那样穷苦。要准确证明这一观点并不容易，但持续接触大众阶级的生活足以使人意识到这一点。即使现代休闲形式在广大群众中鼓励人们有权认为是有害的一些态度，但肯定的一点是，日常生活的整个面仍然幸免于这些改变。”(霍加特，《穷人的文化》，第378页。)\n\n126","previous_page":125,"next_page":127}