抵抗的力量來自何處：試論戴維‧莫利的「積極受眾論」

Abstract

「積極受眾論」是伯明罕學派對電視研究的一大貢獻，而從廣義的大眾文化研究看，它也是對法蘭克福學派文化工業論的一個重大突破。現今，積極受眾論已成為英國文化研究的基本庫存，以及當代傳播學研究的基本定理。但是對於「受眾」何以是「積極的」這一積極受眾論最核心、最關鍵的問題，在其主要闡發者莫利那裡，很難找到哲學上的論證。因而嚴格說來，一個積極的受眾論就仍然有待完成。本文主要從對莫利的人種誌研究和有關理論闡說的細讀中，批判了其間所存在的在話語層面尋找積極受眾的不徹底的路子，而推演出一個社會本體論的「受眾」概念，它假定，受眾是因其作為社會本體的存在而具備為「抵抗」所突顯的積極反應的能力的;或者，更可以不無馬克思或佛洛伊德意味地說，受眾的「物質性存在」才是其積極或抵抗的最終解釋。

The “active audience” is a great contribution made by the Birmingham school to televisual studies, and broadly speaking, i.e., from the viewpoint of popular culture studies, it also significantly breaks the doctrine “cultural industry” held by the Frankfort School. The “active audience” has nowadays been reserved as one of the primary stocks of British Cultural Studies, and regarded as a fundamental theorem in modern communication studies. Be it as it may, a kernel question of how this audience is active has not been given any philosophical argumentation in the work of David Morley which has founded the active model of audiences, though. Therefore, a full-fledged “active audience” is still to be expected. Having closely looked at Morley’s ethnographic researches into audiences and in particular his theoretical interpretation of his researches, this article negated any possible way of finding the “active audience” at the level of discourses, and finally, inferred a socio-ontological concept of the audience. This concept assumes that the audience has, because of its socio-ontological existence, active responses that are rendered eminent by the resistance. With a ring of Max and Freud, the material existence of the audience serves as the final explanation to its activeness and resistance.