摘要
以哈里特·霍金斯的“创造型艺术地理”理论为视角,对海外“国潮快闪”的国际传播范式进行理论考察可知,它创造出了“艺术地理”实践范式。此类实践建构出青年亚文化、传统文化和民族与国家共构的“认同空间”。它通过对突发介入的形式的挪用、将偶发性连接转化为计划性连接、唤起传统文化想象的表演,将西方“快闪”的“创造性破坏”转化为“破坏性创造”,从而创造出生成“合法性认同”的空间。另一方面,此类活动也在社交平台上制造了基于数字地理经验的空间化认同。数字化的“国潮快闪”以“地理图景族”的传播方式,引导网上的西方受众尤其是青年群体打破歧见,进而逐渐认同中国的国家形象与主张。
From the perspective of Harriet Hawkins’s“Creative Art Geography”,a theoretical study of the inter⁃national communication paradigm of overseas“China⁃chic flash mob”shows that,compared with political news,overseas“China⁃chic flash mob”has created a practical paradigm of“art geography”.This type of practice con⁃structs“identity space”where youth subculture,traditional culture,and nation⁃state coexist.It transforms the“creative destruction”of Western“flash mob”into“destructive creation”by diverting the form of sudden inter⁃vention,transforming occasional connections into planned connections,and evoking traditional cultural imagina⁃tion,thereby creating a space for generating“legitimate identification”.On the other hand,such activities have also created a spatial identity based on digital geographic experience on social platforms.The digital“China⁃chic flash mob”,by means of“geographical picture clan”,guides the western audiences on the internet,especially the youth groups,to break the ethnic and political differences,and recently gradually recognizes China’s national image and policy ideas.
出处
《艺术传播研究》
2023年第4期117-128,共12页
Journal of Art Communication
基金
国家社科基金艺术学青年项目“网络空间中艺术传播的‘社区化’现象研究”(编号:18CH208)的阶段性成果。
关键词
快闪
艺术地理
认同
空间
国际传播
flash mob
art geography
identification
space
international communication
