神圣的复归?——电子木鱼的文化阐释与“叙魅”逻辑  

Sacredness Restoration?The Cultural Interpretation and Narrative Enchantment Logic of the Electronic Wooden Fish

作　　者：林仲轩 吕梓剑 LIN Zhong-xuan;LV Zi-jian

机构地区：[1]暨南大学新闻与传播学院,广东广州510632

出　　处：《未来传播》2024年第3期59-69,133,共12页Future Communication

摘　　要：鉴于“求神拜佛”现象在青年圈层的风靡,文章以“电子木鱼”为例,依托“释魅循环”的理论视角,通过半结构式访谈,对电子木鱼的实践动机、文化意义及其魅化路径展开解读。文章经研究发现,作为传统木鱼的数字化身,电子木鱼寄托着人们朝圣祈愿、净化罪恶、疗养身心的功效,这彰显了一定的返魅迹象。然而,其仍旧是商业催生的消费产品,存有信仰工具化、娱乐化和商业化的叙魅基因。鉴于此,基于将“自我”指称“神灵”的借代考量,文章提出“借魅”的概念,以概括电子木鱼展露的介于祛魅和返魅之间的魅化现象。同时,文章还尝试修正“释魅循环”的理论模型,认为祛魅到再魅的过程并不体现为一种“闭环”。经由赋魅或借魅,它也许是一种波浪式的前进,也可能会在交替中被逐渐抹杀。In the application scenarios of the all-media era,the status of film as the leading art media has been chal⁃lenged,and some“derivations”have emerged in the relationship between film,the audience,and the interaction between the two.From the perspective of film creation,this is manifested in the shrinkage of themes,content,genres,and formal construction;the reduction of thought,emotion,and inspiration;and the weakening of individ⁃ual stylistic characteristics.In terms of the film audience,it is shown in the increasingly diversified viewing de⁃mands,the“Generation Z”beginning to shift their affections,and the growing separation of the middle-aged and older audience.To eliminate these alienations,on the one hand,film creation needs to judge the situation and make a move,exerting efforts from the supply side.On the other hand,the film audience needs to keep pace with the times and self-improve,perfecting from the demand side.Through bidirectional efforts to clear the channels and practical adjustments,a close and friendly,mutually beneficial,and win-win relationship can be re-established.

关 键 词：电子木鱼 祛魅 返魅 释魅循环 

分 类 号：G122[文化科学]