天安门形象的多重话语分析:基于纪录片的考察

A Multiple-discourse Analysis of the Image of The Gate of Heavenly Peace in Documentaries

在官方话语体系中,以天安门广场为中心的阅兵和节日庆典本身是证明新中国合法性和先进性的纪念仪式,能够实现传播爱国主义和社会主义理想的政治功能,同时,也是中国形象自我塑造的形式。随着中国当代纪录片话语方式和价值诉求的不断变化,单一主体性的天安门形象发生了变动和分化,天安门形象的内涵和意义在不同纪录片中获得了更新和重新阐释的机会。作为官方意识形态隐喻的天安门,是权力符号和政治象征,很多关于中国的域外纪录片都会拍摄天安门,这一中国象征物的镜头,往往并不遵循官方权力话语的美学方式。本文试图考察官方、民间和西方多重话语空间中的天安门形象的生产过程以及传播状况,并分析不同的权力话语对天安门形象不断争夺与重构的过程。

In the system of official discourse,the parade and festival celebration centered on the Gate of Heavenly Peace themselves are memorial ceremonies for New China＇s legitimacy and progressiveness that exert the political function of disseminating patriotism and socialist ideals. Besides,they are one of the means for China to shape the self-image. With the changes in modes of discourse and value demands of contemporary Chinese documentaries,some variation and differentiation have occurred in the image of the Gate of Heavenly Peace whose connotations and significance got renewed and reinterpreted in different documentaries. As the ideological metaphor officially,the Gate of Heavenly Peace stands for power and politics. Many overseas documentaries about China would take its shooting as the emblem of China but not all conform to the aesthetic mode of the official power discourse. This paper attempts to investigate the creation and dissemination of the image of the Gate of Heavenly Peace in multiple discourses,such as,the official,the civilian and the Western and discusses the contention and reconstruction of the image of the Gate of Heavenly Peace from different power discourses.