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основу системы ценностей, ее абсолют. Так, стимул забота в 90 % случаев имеет реакции, не связанные с индустрией красоты: о близких (18), мама (10), о детях (13), о здоровье (8), о ребенке (7), любовь (6), матери (5), ласка (4), внимание (3), бережная (2), о маме (2), о семье (2), родителей (2), о потомстве (2), нежность (2), ухаживания (2), доброта (2), первая, трогательная, искренняя, о друге, теплота, о человеке, жена, беременность, о старших, нежная, бабушка, нежность, обязанность, о младенце, радость, организация, от любящих тебя людей, о ком-то, о родных, льва о своих детенышах, заботливые родители, о любимых, о семье. Подобным образом проявили себя стимулы восстановление, защита, укрепление.
Итак, мы рассмотрели проблему ценностного и антиценностного потенциала рекламного текста на лексико-фразеологическом материале женских журналов.
В результате анализа слов-стимулов и ассоциативных полей мы выявили специфику гендерных особенностей рекламы, которая сегодня активно воздействует на потребителя, пытается достоверно отразить изменения в национальном сознании и в обществе, связанные с возросшей ролью женщины-матери, женщины-работника, хранительницы очага и самостоятельной личности, следящей за своим здоровьем, внешним видом, новинками моды, автоиндустрии.
Экспериментальная работа, связанная с выявлением ценностного потенциала рекламы в женских журналах, показала, что рекламный
текст в целом несет положительный заряд эмоций, позитивно воздействует на потребителя, имея достаточно высокий ценностный потенциал. Образы современниц, существующие в национальном сознании и проявленные в языковом сознании, исследованном нами сквозь призму рекламного дискурса, многогранны, разнообразны и положительны, в чем видится немалая заслуга создателей женского рекламного продукта. Думается, что этот факт, наряду с другими, оказывает влияние на положение женского глянцевого журнала (и его интернет-версий), который существует на правах друга. точнее, подружки, с которой можно приятно провести время, обменяться полезной информацией, насладиться общением.
Список литературы
1. Большой психологический словарь / под ред. Б. Г. Мещерякова, В. П. Зинченко. СПб., 2006. 672 с.
2. Васильев, Г. А. Основы рекламы : учеб. пособие. М., 2006. 719 с.
3. Кацюба, Л. Б. Отражение паремиологиче-ской антиценностной пропозиции «Алчность / Жадность» в русском языковом сознании // Жизнь языка в культуре и социуме-3 : материалы конф. М., 2012. С. 82-84.
4. Новейший философский словарь / сост. А. А. Грицанов. Мн., 1998. 896 с.
5. Тюрина, С. Ю. О понятиях «рекламный дискурс и рекламный текст» // Вестн. Иванов. гос. энергетич. ун-та. 2009. № 1. С. 75-77.
Вестник Челябинского государственного университета. 2013. № 21 (312).
Филология. Искусствоведение. Вып. 80. С. 283-287.
E. D. Kolesnikova
AUDIOVISUAL CULTURE AS A SOURCE OF MEDIA CRITICIZM. THE US EXPERIENCE
Рассматривается аудиовизуальная культура как источник критики медиа в рамках медиаобра-зовательных практик. Кинематограф становится особой сферой, которая, не являясь напрямую медийной - целью кинематографа не является непосредственное и объективное информирование, тем не менее несет и функцию средства массовой коммуникации. Отмечается визуальный характер медиаобразования США, во многом потому, что страна является лидером в области медийной культуры.
Ключевые слова: медиаобразование, кинематограф, аудиовизуальная культура, медиакритика, массовые коммуникации.
In the recent years the expression “media education” is no longer conceived as a hardly known foreign term. More specialists in the media sphere are aware of this term and are working on the theoretical and practical bases for this discipline in Russia. We can surely say, that media education is a product of contemporary society. It’s logical that today’s trends in humanitarian science are strongly connected with the constantly changing sources of knowledge. We can see that traditional schemes of education in many cases are not relevant to the aim of studying media. In the frames of journalistic education several times there were attempts to use along with texts visual and sound information. This is the reason why audiovisual culture became on of such a study. It is helpful not only in the process of theoretical understanding of media phenomenon, but in the practical way - it allows to see the typical schemes and maybe non-traditional realizations. And of course as any cultural product holds the seal of the author, audiovisual works keep the subjective point of view of the author and often represent critical evaluation of mass media. Media educational theorists observe media criticism as a component of pedagogical practice, which aims to educate and develop the students on the examples of mass media in order to form the culture of communication with them as well as developing creative, communicative abilities and critical thinking, self-analyzing, evaluative and interpretative skills in order to work with media texts; develop ability to operate different forms of self expression with the help of media technic [5. P. 38]. The works of media critics are devoted to different aspects of media practice and help people get to know the mechanism and social importance of media market functioning, as well as with the rules and terms of professional journalism and other creative specialists who are involved in producing of the media content [3. P. 40].
In our article we would like to focus on the audiovisual culture of the US on its cinematographic aspect. Why we consider American media educational experience important? The boundaries in the modern world are more and more formal nowadays. We are used to the term “globalization”, when human experience is no longer divided on national and international but absorb both. Nevertheless, that word “globalization” is often used in the meaning of “Americanization”. Actually, it would be a hard task to find the example of the mass culture or lifestyle type that would be as influential all around the world as American one. From this point of view the experience of Ameri-
can media education gives us valuable example of real interaction of civil society and mass media.
There are numbers of articles about American media education experience, including those in Russian. We would like to concentrate on the audiovisual aspect of media education in the US and more precisely the role of visual practices in critical evaluation of the role and functioning of mass media.
Of course audiovisual culture is not the easiest way to approach the knowledge about contemporary mass media, because it’s usually subjective due to the figure of the author, but on the other hand including such practices in the educational process can be a way to reach the completeness in developing personality on which media education is aimed. We shouldn’t forget that visual practices could be more obvious and vivid for the recipient, according to L. Wittgenstein, those things that are impossible to say sometimes can be shown. The ability to read the hidden message in the context of audiovisual work is a trait that can characterize a highly developed personality, culturally aware and critically thinking. The writer and culture theoretic Raymond Williams in his program article “Culture is ordinary” is stressing the fact that education is the only way to defend oneself from the mechanical new age, but the education that is equally based on mental and sensual aspects, “competent to understand what is happening and to maintain the finest individual values” [8. P. 96]. We can see the actuality of our topic here - complete development of society is impossible without understanding and attention to cultural live it leads. We are working with double-talk of audiovisual culture as an important addition to formal methods in media education, which can become a realization of quite popular nowadays edutainment - education via entertainment.
Thus, cultural sphere becomes an additional source of informing, which deconstructs the usual image of the media (or supports it), without putting it on the first place.
The term “audiovisual culture” is quite wide and in this article we would narrow it to the visual, screen oriented culture, by which we mean the messages delivered to the audience by the means of audiovisual instruments. Here we primarily mean cinematography. The Russian director and documentary film theorist DzigaVertovin the beginning of the XX century wrote, that cinema is a way of communication to which the person is not ready yet due to his/hers psychical and cultural limits [1. P. 12]. Today cinema is one of the
most understandable and wide spread forms of art. The philosopher and art theorist Walter Benjamin wrote about the shock effect of the film which captures the viewer by the raw of changing pictures and doesn’t give the opportunity to fully and carefully rethink what you’ve just seen [2. P. 257]. But film is usually is operated by cliches, works with the mass conscience stereotypes which the viewer doesn’t need to analyze, but only consume affectively. Russian film theorist Oleg Aronson compares the film with the effect of becoming other person, which characterizes the film as the art for the masses [1. P. 31].
But cinema can’t be characterized as a pure art: historically it is situated between the art and media worlds. Especially, if we are talking about electronic media. They defeated the consumer society easily and revolutionized it. Marshall McLuhan characterized media as an illusion world of fantasy, which can seriously influence the people’s life. And in the end of media development (the future of electronic media) the researcher forecast the full amputation of human conscience [4. P. 8]. Feeling the potential danger of media as well as their real influence on the society, cinema becomes independent (or dependent) analyst of media situation in the world and helps to realize the schemes and mechanics controlling the informational world, which a necessary to the journalist as well as to the civilian to feel comfortable in a world where the information rules.
Cinema arouses the certain dependence, to be more precise - informational dependence and influence on the feelings of the viewer. That’s why cinematography becomes a unique sphere, which is not totally media but it, functions as a channel of mass media. By the cinematography the new mythological reality is created. Concerning the media education in the US in the context of visual culture we can’t avoid it’s visual character mostly because the country is a leader in the media cultural sphere. And here we should focus on the Hollywood system, which created so many myths. The Hollywood became the fabric of myths oriented on the mass viewer and his expectations calculating the effect before releasing the film. From the media educational point of view Hollywood products represent the position of official media. It’s main traits: context influence, genre cliches on the script and montage levels. These aspects make it difficult to analyze the work of an artist, rethinking the reality and give us an example of neatly working industry aiming to produce more to the sake of people’s entertainment. The script and the heroes are
determined by ideology this is made to aim the traditional American myth about individual success, self-made people and social mobility [6. P. 37]. As Max Horkheimer and Theodor Adorno imply the final goal of such a production is the “triumph of involved capital which is the reason for the film existence accept the theme and the crew”. In Hollywood movie it’s important to be absorbed by the masses, the awake of collective unconscious and viewer passive acceptance, which helps him to “swallow” the standards of narrative and follow the directors thought without doubts. This sort of visual product usually representsslight irony towards contemporary media or appreciates their adequacy and snow-white reputation.
In the context of American visual culture we shouldn’t avoid the period of censorship. When to be provocative was impossible. This influenced on the cinematography of the later years. Censorship restrictions brought up the generation of angry artists who considered the restrictions anti constitutional and they became the founders of new radical movement the cinema avant-garde in the US. We focused on this movement, this opposition art -video art. We see the video art as well as an art house cinema represented (and still represent) the most critical point of view on the contemporary informational society and reveals manipulative and didactic character of contemporary media.
This brunch in visual culture is interesting for us in the frames of media education potential. Of course, during the history of the movement it evolved in different trends but we can focus on two main: radical realistic and abstract-magical. In the context of media we are more interested in the first one. American cinematographers who referred to themselves as “new independent” used cinema as an instrument to fight the capitalistic society, which made fools of the people and didn’t leave a choice to them. The individual choice, formal choice was cultivated in each and every thing. Many directors of that time were mainly political activists, they pulled out the political ideas to make them more popular among the general public. For this purpose they packed new content in the well-known form of TV culture. From the 50s television becomes influential in all spheres of everyday life [7. P. 57]. New opium for people - the TV set - looks more like an instrument of social control, not like a new form of family leisure. Radical directors claim racial segregation, poverty, war in Vietnam, focusing their cameras on civil resistance actions, the scenes of humiliation of Afro-Americans, huge queues of unemployed people after the Great Depression.
Nevertheless to mention, that cinema was always an integral part of general educational system of the US. In 1926 Amateur Cinema League, after the war different kinds of cinema educational programs are launched for the former soldiers. They aim to make the adaptation to the after-war life easier. Special courses are created for students and cinematography schools for adults and all interested. This lead to the forming of institutions like cinema and photo league in New York, which was founded by the workers and engineers, left-wing journalists and critics. About hundred people were involved in the league from Detroit, Los Angeles, Chicago, and San Francisco. The main genre was the chronicle, or - spontaneous reports from workers meetings, police actions against the masses and the queues of unemployed. In the 50s ideologists of avant-garde cinema were lecturing and organizing seminars, which aimed to make the protest movies be seen by the masses. Very active participation in this process took Maya Deren.
To the end of the 60s and beginning of the 70s when the movements for civil rights and against the war in Vietnam were active some attempts were made to connect the art and the life itself through the constant fight with militarism, racism, social inequality. New dissident media, documentary cinema groups like “Newsreel” and “Winter collective” started to appear. Their collective, made specially without concrete author films were shown at plants and labour exchanges, in public libraries, schools and colleges. They ruin the hierarchy of official TV reports. This was guerilla filmmaking - cinematography of a constant fight.
The methods of mass communication in postwar society played much more important role for masses than industrialization. That’s why new left-wing activists chiefly relied on the organization of a widespread web of alternative media. This communicational web must be objective in representation of the new “subjects of history”, deconstruct those racial and gender, social stereotypes that were typical for the traditional cultural industry and were consumed by the mass audience [6. P. 14].
It’s remarkable that the golden age of avant-garde in USA was in 50-60s in the time of the hippie culture. The so-called new journalism forms as an independent style and it influenced on the narrative technics of avant-garde cinematographers. Especially meaningful were the works of Truman Capote, Lionel Rogosin, Hunter S. Thompson.
We should mention that new journalism techniques by Hunter S. Thompson are highly popu-
lar nowadays, but with the mass cinematography. Not long ago the premiere of “Rum diary” took place. These films show the ability of new journalism technique become a cinematographically re-thought. As the directors used the journalistic schemes in their works, so did advanced media published the information about underground cinema movements in such journal as Close up, Film Art, Experimental Cinema.
The main technique of avant-garde directors was based on the use of TV and newspapers media images, that everybody could recognized, montage paradoxes that helped to reveal the real manipulatory context of the media message. For example, the work “Science friction” by Stan Vanderbeek is the political satire on the theme of a cold war. You witness the powerful wave of magazine and newspaper commercials - American mass media was all about advertisement in late 50s - is by itself the reason for sharp satire. But on the other hand, the collage technique of recombination of the images creates from this flow satirical metaphor, which does laugh at the cold war with its arms race, the dependence of contemporary society from the technology and mass communication.
Experiments of Cindy Sherman were revealing the influential mechanisms of mass media. She created series of photo albums in which she tried standard cliche images which mass culture: femme fatal, housewife, careful mommy, and deceived wife. Or the work of Dara Birnbaum “Superwoman”, which works with the speculative image form comics about ideal woman for the whole America: superwoman can coupe with everything and still she is ideal - the whole-life dream and role model for young American women. In the “Report” by Bruce Conner where frames of President Kennedy chronic is commented by the reporter after some time the picture disappears and we can see only flickering screen and listen to the monotonous talk which is now the only way to learn about the events happened after the shot. This video shows the importance of an image, it arouse the syndrome of voyeur in a viewer.
The cinema of avant-garde played an important role in the history of American culture. This visual art brunch and its creators Jonas Mekas, Stan Vanderbeek, Stan Brakhage and more others were fighting against the social myths created and flourished under the governmental or corporation support and form its own allegorical language based on the deconstruction of TV language. Due to the radical cinematography we can recreate in details the picture of the world by the official media as
well as we can see the social minorities represent their activity and their positions, including the culture.
Список литературы
1. Аронсон, О. Коммуникативный образ. Кино. Литература. Философия. М., 2007. 1231 с.
2. Арсланов, В. Г. Западное искусствознание XX века. М., 2005. 257 с.
3. Короченский, А. П. Медиакритика и медиаобразование // Высш. образование в России. 2004. № 8.
4. Маклюэн, М. Понимание медиа. М., 2003. 258 с.
5. Федоров, А. В. Медиаобразование: история, теория и методика. Ростов-н/Д., 2001. 38 с.
6. Хренов, А. Маги и радикалы: век американского авангарда. М., 2011. 137 с.
7. Grieb, M. Transformations of the (silver) screen: Film after new media. University of Florida, 2003.57 p.
8. Williams, R. Culture is Ordinary. Resourses of Hope: Culture, Society, Socializm. L., 1989.
Вестник Челябинского государственного университета. 2013. № 21 (312).
Филология. Искусствоведение. Вып. 80. С. 287-292.
А. И. Кондратенко
ДЕЯТЕЛЬНОСТЬ СМИ КАК ФАКТОР АРТИКУЛЯЦИИ ОБЩЕСТВЕННЫХ ИНТЕРЕСОВ И СОХРАНЕНИЯ СОЦИАЛЬНО-ПОЛИТИЧЕСКОГО КОНСЕНСУСА
Ставится проблема деятельности СМИ как фактора артикуляции общественных интересов и сохранения социально-политического консенсуса, а также рассмотрена проблема регуляции деятельности СМИ как в теоретическом, так и в практическом плане. Тема актуальна в связи с вступлением в силу Закона РФ «О защите детей от информации, причиняющей вред их здоровью и развитию» и других законодательных актов, касающихся информационной безопасности.
Ключевые слова: артикуляция, консенсус, медиабезопасность, журналистика, массовая информация, регулирование.
Информационные каналы, усиливающие или, напротив, ослабляющие социальную динамику, играют ключевую роль среди предпосылок обеспечения общественной стабильности. СМИ в период возросшей потребности в публичном выражении позиций, концепций, вариантов развития оказывают влияние на формирование политической культуры, выполняют социальные и политические заказы, лоббируют интересы различных социальных структур. Что не менее важно, СМИ являются одним из ключевых факторов артикуляции общественных интересов (под артикуляцией интересов мы понимаем процесс, посредством которого индивидуумы и группы предъявляют требования лицам, принимающим политические решения). СМИ комплексно воздействуют на формирование и эволюцию ценностей, причем основа комплексного характера заложена потребностью человека в знаниях о мире,
множественностью каналов поступления информации, устойчивой периодичностью, разнообразием, множественностью форм, творческой интерпретацией передаваемого содержания.
В политическом процессе реформирования российского общества СМИ стали одним из важнейших общественно-политических институтов. СМИ выступают в качестве выразителей общественного мнения и одновременно формируют это мнение. С помощью электронных и печатных СМИ создается информационная картина мира, совпадающая с той социальной реальностью, которая сконструирована в обществе (или отличающаяся от нее). Данное обстоятельство актуализирует проблему определения приоритетов информационной политики с учетом восприятия прессы обществом и определением того, как ее деятельность сказывается на сознании и поведении людей.
