快乐工业:文化工业视角下国内脱口秀的文化生产机制

Happy Industry:Cultural Production Mechanism of Chinese Talk Shows from the Perspective of Culture Industry

不少互联网媒体习惯将2021年称作“中国脱口秀爆发元年”。以目前国内存在“快乐工业表征”的脱口秀文化为研究对象,以阿多诺文化工业的理论作为基础,本研究揭示了作为国内年轻态喜剧代表的脱口秀背后模式化的语言生产机制;作为被“快乐工业”裹挟的观众,其失语的状态让他们在享受着脱口秀演员对自己生活的二次阐释,以及笑声带来的瞬时快感的同时,失去了部分的思考力与想象力;为遵循脱口秀的喜剧生产逻辑,脱口秀演员需突出“丑”与“苦”的悲剧情怀,通过不断的精神磨砺使之转化为他者的快乐,从而博得观众的同理心与微妙的优越感。国内脱口秀是一种具有操纵性、机械性、商业性的生产“笑”的文化工业。

The year of 2021 is known as“the first year of talk show outburst in China”by Internet media. This paper takes the current Chinese talk show culture,which is characterized by“happy industry”,as the research object,uses Adorno’s cultural industry theory as the theoretical foundation and reveals the stereotyped language production mechanism behind Chinese talk show which is a representative of comedy of the young. As the audience bound by the“happy industry”,they enjoy the second interpretation of their life by talk show actors and the instant pleasure brought by laughter when they are in the state of aphasia,at the same time,lose part of their thinking power and imagination. To follow the comedy production logic of talk show,talk show actors need to highlight the tragic feelings of“ugliness”and“bitterness”and transform their own pain into the happiness of others through constant spiritual grind so as to win the audience’s empathy and subtle sense of superiority. Chinese talk shows are organized into a cultural industrial production chain about“laughter”which embodies manipulative,mechanical and commercial force.