視覺的想像社群：論《河殤》中的媒介政體，虛擬公民主體與海洋烏托邦

在現代民族國家的形塑過程中，本尼迪克特．安德森特別推崇印刷文化的想像性力量而忽視了視覺／媒介文化的有效作用。本文將以1988 年中國大陸最火爆的電視政論系列紀錄片《河殤》作為一個視覺超文字的例證，闡釋視覺／媒介文化在激發新的民族認同願望和想像方面的特殊意義。這種新型的「媒介域」不僅標誌著一種認知型知識的範式轉換，而且重塑了一個由媒介／視覺圖像主導的社會—文化想像的公民主體性。本文力圖解碼隱藏在視覺媒介域中的政治無意識弔詭欲望。

關鍵字

視覺的想像共同體；《河殤》；西方中心主義；媒介文化；虛擬公民性

並列摘要

In the process of the formation of modern nation-state, Benedict Anderson privileges the imagining mechanisms of print culture over the visual/media culture, a blind spot this paper seeks to illuminate. To use the most popular television documentary film Heshang (River Elegy) that became viral in mainland China in 1988 as an exemplary televisual hypertext, this paper illustrates the significance of visual/media culture in kindling the popular desire and imagination of a new Post-Mao national identity. This new ＂mediasphere＂ not only marks a paradigmatic shift in cognitive knowledge from the print culture to a new era of visual culture, but also reshapes the citizenship subjectivity of a social-cultural imaginary dominated by media/visual images. The paper also attempts to decode the slippery political unconscious desire embedded in this ＂visually imagined mediapshere.＂

並列關鍵字

visually imagined communities ； River Elegy ； Occidentalism ； media culture ； virtual citizenship

參考文獻

Tang, Xiaobing(1996).Global Space and the Nationalist Discourse of Modernity: The Historical Thinking of Liang Qichao.Stanford:Stanford University Press.

Amin, Samir(2009).Eurocentrism: Modernity, Religion, and Democracy. A Critique of Eurocentrism and Culturalism.New York:Monthly Review Press.