从视觉中心主义到审美资本主义——以抖音为例的短视频文化解读  

From Visuocentrism to Aesthetic Capitalism--Interpretation of Short Video Culture based on Tiktok

作　　者：陈响园[1] 杨文军 CHEN Xiang-yuan;YANG Wen-jun(School of Liberal Arts,Lanzhou University,Lanzhou Gansu 730020,China;Tianshui Normal University,Tianshui Gansu 741001,China)

机构地区：[1]兰州大学文学院,甘肃兰州730020 [2]天水师范学院,甘肃天水741001

出　　处：《内蒙古社会科学》2024年第1期184-190,共7页Inner Mongolia Social Sciences

基　　金：天水师范学院创新能力提升项目“乡村振兴背景下新媒体文化生态与西部农村地区教育脱贫攻坚关系研究”(编号:CXT2019-43);天水师范学院高级别项目“新时代中国影视文化发展生态研究”(编号:GJB2021-17)。

摘　　要：以短视频为代表的图像文化已进入到人们生活的各个领域,图像无处不在。短视频成为我们生活中“物”的一种类型,视觉文化不只是沟通和反映我们的生活世界,也是在创造世界。从短视频对当今社会全方位的影响程度看,它充分体现了“视觉中心主义”或“视界政体”特征。短视频系统构建了“全景敞视视界”体系,以统计学的方法形成了“全景敞视监狱”式的监视模式,并以“投其所好”的推送方式实现对观看者的无形规训;人们的窥视本能与短视频的“审美诱惑”相结合,以审美的名义实现资本利益的获取,实为一种审美资本主义。Image culture represented by short video has entered every level of people's life,and images are everywhere.Short videos have become a type of things in our life.Visual culture is not only communicating and reflecting our living world,but creating the world.In terms of the all-round influence of short video on today's society,it fully embodies the characteristics of visuocentrism or scopic regime.In the short video system,the panoramic view horizon system is constructed,and the panopticon surveillance mode is formed by means of statistics,and the invisible discipline of viewers is realized by the way of pushing what they like.The combination of people's peep instinct and the aesthetic temptation of short video,realizing the acquisition of capital benefits in the name of aesthetics,is actually a kind of aesthetic capitalism.

关 键 词：短视频文化 视觉中心主义 窥视快感 审美资本主义 

分 类 号：G206.3[文化科学—传播学] G122