党的意识形态视听叙事的介质生成、历史逻辑与实践机理

Abstract
Figure/Table
References
Related Citation (15)

Download: PDF (544 KB) HTML (1 KB)
Export: BibTeX | EndNote (RIS)

Abstract Audiovisual narration is an important way to achieve widespread dissemination and effective identification of ideology. Compared to written discourse, audiovisual media has stronger narrative advantages and dissemination efficiency and is an important carrier of the Party’s ideology. The audio-visual narrative of the CPC’s ideology refers to the process of using the narrative advantages of audio-visual media to effectively spread the party’s ideology and build the Chinese discourse and narrative system. As typical media for the audio-visual narrative of the Party’s ideology, party newspapers, art magazines, folk songs and operas, slogans and murals, and film and television images have played an important role in the century-long dissemination practice of the Party’s ideology. In terms of practical mechanism, audio-visual narrative media needs to go through the logical path of “subject empowerment-symbol operation-daily consumption-internalization identification”, gradually realizing the ideological identification of the Party. Based on the advanced analysis of “media generation--historical logic-practical mechanism”, it can be recognized that systematic and abstract ideologies can be subtly integrated into people’s daily lives through perceptual and concrete audio-visual media, and achieve ideological identity through repeated operations. The audio-visual narrative of the Party’s ideology in the new era should focus on two aspects: positive construction and reverse resistance, promoting and achieving the tangible, sensory, and effective dissemination of mainstream ideology through visible, audible, and tactile symbolic forms.

Key words： CPC ideology audiovisual culture narrative logic effective dissemination

Received: 03 July 2023

PACS:	D261.5
	D64

	Service

	E-mail this article
	Add to my bookshelf
	Add to citation manager
	E-mail Alert
	RSS
	Articles by authors
	LUO Hong-jie

Cite this article:

LUO Hong-jie. The Media Generation, Historical Logic, and Practical Mechanism of the Audiovisual Narrative of the CPC’s Ideology[J]. , 2023, 40(5): 117-125.

URL:

https://xb.szu.edu.cn/EN/ OR https://xb.szu.edu.cn/EN/Y2023/V40/I5/117

[1] 习近平. 习近平著作选读[M].北京:外文出版社,2023. 147.
[2] (美)丹尼尔·贝尔.资本主义文化矛盾[M].赵一凡等译.北京:生活·读书·新知三联书店,1989.156.
[3] 罗红杰. 论意识形态感性叙事及其正向建构[J].思想教育研究,2022,(12):88-94.
[4] (英)雷蒙德·威廉斯.关键词:文化与社会的词汇[M].刘建基译.北京:生活·读书·新知三联书店,2005.104.
[5] 周宪. 视觉文化的转向[M].北京:北京大学出版社,2008. 7.
[6] 罗红杰. 意识形态具象化:意识形态叙事实践的诠释与建构[J].大连理工大学学报(社会科学版),2021,(2):9-15.
[7] 毛泽东选集(第四卷)[M]毛泽东选集(第四卷)[M].北京:人民出版社,1991.1318.
[8] 马国亮.良友忆旧:一家画报与一个时代[M].北京:生活·读书·新知三联书店,2003.3.
[9] 郑紫苑. 马克思主义文艺理论在中央苏区戏剧中的实践研究[M].北京:中国社会科学出版社,2016.79.
[10] 尚守庆. 红色标语——中央苏区标语口号收藏集锦[M].北京:解放军出版社,2018.59.
[11] 中共中央文件选集(第5册)[M]中共中央文件选集(第5册)[M].北京:中央党校出版社,1990.523.
[12] 毛泽东.宣传报告[N].政治周报,1926-01-08(001).
[13] 毛泽东年谱(一九四九—一九七六)(第二卷)[M]毛泽东年谱(一九四九—一九七六)(第二卷)[M].北京:人民出版社,2013.339.
[14] 苏咏喜. 契合与认同:建国初期戏曲改革与国家意识形态建构[J].深圳大学学报(人文社会科学版),2017,34(4):12-17.
[15] 中共中央文献研究室.建国以来重要文献选编(第二册)[M].北京:中央文献出版社,1992.250.
[16] 邓小平文选(第2卷)[M]邓小平文选(第2卷)[M].北京:人民出版社,1994.255.
[17] 习近平. 决胜全面建成小康社会夺取新时代中国特色社会主义伟大胜利——在中国共产党第十九次全国代表大会上的报告[M].北京:人民出版社,2017.42.
[18] 习近平. 高举中国特色社会主义伟大旗帜为全面建设社会主义现代化国家而团结奋斗——在中国共产党第二十次全国代表大会上的报告[M].北京:人民出版社,2022.44.
[19] 马克思恩格斯选集(第1卷)[M].北京:人民出版社,2012. 179.
[20] (英)约翰·B.汤普森.意识形态与现代文化[M].高铦等译.南京:译林出版社,2019.63.
[21] 赖怡芳,张国启.社会主义意识形态象征形式的逻辑内涵及其价值化过程[J].福建师范大学学报(哲学社会科学版),2021,(5):10-20+166.
[22] 周宪. 视觉建构、视觉表征与视觉性——视觉文化三个核心概念的考察[J].文学评论,2017,(3):17-24.