美国艺术家的主要优势或许在于他们的本国观众群。作家托德·吉特林(Todd Gitlin)多年前就曾指出:“美国文化在走出国门以前,就已经预先接受过本国多元化的观众群检验——美国国内文化市场庞大,观众口味多种多样,并有将完全不同的元素排列组合、融合成一锅好莱坞式大杂烩的传统。
But you could as easily say “dumbing down as “melting down. Culturally speaking, the diverse US audience giveth and it taketh away. An American artist who wants to appeal to a variety of US cultural communities does so not by mastering the cultures of others but by stripping away those elements of his own that might require explanation. US society is indeed diverse, but for that very reason American popular culture is homogenous. It deals in universals: it’s wonderful to fall in love, it’s sad to grow old. This kind of US culture is accessible to all, but it is hostile to more elaborate cultures. That is why people abroad resent it even as they buy it.
但“融合化也容易被说成“通俗化。从文化角度来说,美国观众群体的多元化特质既有好处也有坏处。一名美国艺术家如果想要迎合美国多个文化群体的喜好,那么就要舍弃自己所属文化中可能令人不解的元素,而不是去掌握其他群体的文化。美国社会确实非常多元化,但正是由于这个原因,美国的流行文化才呈现出高度同质化的特点。美国流行文化围绕的是普世价值:陷入爱河是美妙的,年华老去是令人伤感的。这样的美国文化能够为所有人接受,但对于其他更为复杂的文化来说则是种威胁。正因如此,一些海外观众即便在购买美国文化作品的同时,也对其心存反感。
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