法国广播听众的社会学研究及其对文化产业理论的影响

From liberalization to fragmentation:a sociology of French radio audiences since the 1990s and the consequences for cultural industries theory

法国专业收视调查公司Médiamétrie的调查数据表明电台听众的结构既不是按照电台构成严格的分化(虽然我们确实观察到了专一性听众的存在),也不是在所有电台中呈水平状。广播听众既不是"广泛大众",也不是"普通大众",而是彼此分化又相互关联的。从理论方面来看,我们得出的结论要求摒弃"广泛大众"这一概念,正如这一概念是没有统计学证据的,转而接受"主要侧写"这一理念,摒弃"共同点"而转向分裂观。对广播听众所做的分析因此构成一个可靠的点,支撑对有细微差别的文化产业理论的背离,因为文化产业"大众"的概念化和文化产业指定的"大规模生产场域"更具普遍性的概念化。这突出表明产业内所有人员的公共目标要实现概念化是非常困难的,并介绍了一个从分裂观和生产者的角度来说更加准确的理论。这个理论可以将不同类的小组,生产不同产品的实践群体的共同点和相互作用考虑在内。

The Mediametrie survey data demonstrate that the structuration of the rad audience universe appears neither as a strict fragmentation by station （although exclusive listeners do exist, as noted）, nor as a horizontal practice across all stations. The radio audience is neither a ＂ general we have public＂ nor an ＂average public＂, but a series of fragmented and intersecting audiences. In terms of theory, the conclusion leads us to abandon as statistically unproved in relation to radio practice the concept of a ＂general public＂ favour of that of the ＂dominant profile＂, and the concept of a ＂eomon denominator＂ in favour of one of fragmentation. An analysis of the radio audience thus constitutes a solid point of departure for a nuanced theory of the cultural industries, for the conceptualization of the cultural industries ＂public and the more general conceptualization of a＂ field of large - scale production designated by the cultural industries. It shows in particular the difficulty of conceptualizing a common goal for all actors in the industries. It introduces a theory which is more accurate in terms of fragmentation and of how producers take account of this, a theory capable of taking into account the types of groupings, commonalities and interaction between all the groups of practitioners producing very different goods.