跨越真實與擬仿的藩籬——解讀“2100全民亂講”之後現代模仿意涵

近年來，放眼時下電視文化，充斥著真實與再現的相互矛盾、崩裂，使得意羲徹底瓦解。而談話性筋目作為一個電視新聞的延伸物，從其積極攻掠媒體管道，試圖深化對立、塑造黨籍衝突的不良景況端看，非但無法贏得大眾共鳴，反使疲態漸生。然而自新興模仿性談話節目「2100全民亂講」開播以來，源自於後現代的種種模仿元素卻不時挑動著閱聽人神經，包含其意欲顛覆或又緩和傅統談話節目的原始意涵，從而引發對媒體、文化與個人諸多不明關系的掙扎與困惑。於此，有鑑於模仿文化已漸次深入媒體核心，甚且漫延開來進入生活中公、私場域，成為一股不可遏抑之趨勢。於是本研究將首先針對談話性節目的功能與由來談起，揭櫫閱聽人封傅統談話節目漸感厭煩的原因，而後援引後現代學著理瑜顴點作為檢視新與談話節目「2100全民亂講」的策略，試圖為近起談話節目所造成之諸多問題提供理解，以便在反思之餘，提出一個或猶可能的另類觀點。

關鍵字

2100全民亂講；後現代諧擬；超真實；談話性節目；擬像

並列摘要

For quite some time in Taiwan society, making sense of our society via the television fare has become increasingly difficult, if not impossible. The loss of connection between social reality and its supposed representation has been most acutely felt on current-affairs talk-shows. Apparently practicing some form of participatory journalism, these programs, presumed to facilitate public debate on issues of general concerns, served only to flame up political confrontations and social division. As public dissatisfaction gradually reflected itself via audience ratings, the once hot “genre” seemed to lose its charm on screen. Ever since All People Blab at 2l00 was put on air, however, we have witnessed a renewal of the talk-show genre supported again by sufficient audience attention. In the program, we found newer elements were introduced elements that were simultaneously subversive and compliant to the genre’s general journalistic implications via postmodern pastiche and simulation. Thus, the program stands as a confusing phenomenon for us to grasp the relationship between television, society and its viewership in Taiwan today. The success of All People Blab at 2100 marks a trend of postmodern pastiche on television, making the medium all the more boundary-blurring than ever. It is therefore the purpose of this essay to explore this trend through a case study of the program. It first deals with the origin and function of current-affair talk-shows, so as to explain why traditional talk shows started to lose their hits. Then drawing on postmodern theory, it examines the programming strategies of All People Blab at 2100. Finally, it attempts some alternative observation, hoping to clarify the confusing media phenomenon of talk shows, which is unique of Taiwan.