A Study Of The Communicaiton Of Credif Culture In Chinese Films And TV Plays In The New Period

The focuses of this article lies in the cultural communication of films and television plays. The specific object of study is the communication of credit culture in films and television plays in the new period.The current social lack of credit has become a problem that no discipline can ignore. On the surface, the lack of credit is because a credit system of binding is not strong. The society lacks the specification and implementation of credit system. But from a deeper level, it is because of the lack of credit awareness, lack of credit culture. Moreover, in the modern social transition period, credit culture changed from traditional ethical credit to modern contract credit, so the credit culture system need to be improve and perfect.British scholar John Thompson proposed a "modern culture media" point of view. He saw the development of mass media as a development of the field of culture. He believed culture is a symbolic form on a structured background, a meaning character embodied by mass communication. Because of the visual, ideographic nature and the world-wide spread of films and TV plays as symbols, as well as the industrial development, Films and TV plays play an important role in the reconstruction and dissemination of culture. The realization of the communication function of TV plays, as already proved by empirical research by communication academia, has become an indisputable fact. Therefore, from a certain extent, the credit culture can be characterized by television plays as written in the real world image credit culture. Films and television plays can spread of credit culture in the real society which influence can not be ignored.The greatest contribution of communication systems theory lies in its methodology. It epitomizes Aristotle’s famous phrase "the whole is more than the sum of its isolated parts", focusing on holistic and systematic features of things. Lasswell in The Structure and Function of Social Communication proposed the famous 5W--communication subject (who), communication content (says what), communication channels (in which channel), communication objects (to whom), communication effects (with what effect), which constitutes a 5W propagation process. Correspondingly Lasswell proposed the dissemination research:control analysis, content analysis, media analysis, audience analysis, results analysis, which covers five main areas of communication studies. Therefore, the thesis studies the communication of credit culture in films and TV plays in the new period as a system of meaning communication, the five elements in a communication as the creators, video works, film and television media, the audience, the effect as well as the relationship among the five elements. It also put this communication system into a larger social system so as to inspect, attempting to explore the Propagation law of credit culture in the current macro-social environment, in order to achieve better communication effects.The chapters of the thesis are as follows:The first chapter studies the construction of meaning, that is, The image representation of credit culture in the films and television plays. This chapter mainly analyzes three problems. The first problem is the schematization embodiment of credit culture in the films and television plays. The author believes that the film and television works as "graphics" in the real world spread credit culture in several different ways:shaping personality full of characters, shaping spiritual statues of the time to set off real characters. Through the works of narrative discourse, to describe the real problems in credit disorder and cultural reflection, reflecting social reality. Through specific subjects and types of work, to directly reflect the credit problems of a certain industry area, realizing the function of calling the audience. The second problem is the structural analysis of credit narration in films and television dramas in the new period. Film and television play works use promises or contracts as clues in a "promise (contract)-execute (keeping promises)--accomplishment" (realize a promise) three-phase mode of credit narration. The third problem is the restrictive factors in the construction of images. Films and television plays of credit culture are restricted by commercial aesthetics and image poetics, thus often existing in the form of "stealth".The second chapter researches the presentation of the meaning, which uses text analysis approach to study 30 years of credit culture in films and television plays in the new period. The thesis takes film narrative structure of credit as the outline, to study the typical ethical films and merchants films as the research sample, looking for how these contents spread credit cultural, arousing the audiences’interest in the reading and how to trace for and reflect on roots of credit culture, trying to seek the way of credit reconstruction. Through textual analysis, the thesis tries to conclude the communication of credit culture in the films and television plays in the new period.The third chapter researches the giving of meaning, namely, under the research framework and the perspective of ecological environment, looking at mutual restriction relations of each link in the films and television play production process, and the whole film and television industry as part of the social structure, the mutual influence and mutual restriction with other parts, especially exploring the factors effecting the spread of the films and television plays, so as to discover what effort needs to be made in the giving of meaning, constructing benign environment for credit culture communication. The relevant suggestions are also given in this paper.The fourth chapter studies the acceptance of meaning, emphasizing how to better enhance the acceptance effect of credit culture. The first section of this chapter analyses the credit cultural communication in the films and television plays. The second section spread a depth interview to audiences, it is concluded that different audience has different effect level, then exploring the reason. The third section focus on the practice level guidance value:The audience contact meaning, combine life world, and apply to social practice, turning from mass to audience and to public, thus forming public opinion, communication completed. It conforms with Habermas in the realization from mass media to "public sphere" half a century ago.The fifth chapter studies the sublimation of meaning, taking enlightenment from communicative action theory of Habermas’s for the reconstruction of credit culture. The first section discusses the theory of communicative action and the credit view of intercourse, the second section discusses the communicative action theory and the mode of communication, the third section discusses the formation of public discourse space of credit culture.Finally, the conclusion is a summary of the value and significance of this article, and reflects upon research omissions.At present there is not a professional study on the credit culture in films and television plays. The author collected many literatures, as a broad sense definition of credit culture, made the outline of credit culture in new period of films and TV plays, thus exploring the construction of credit culture communication mode in the film and television play. Therefore, this paper’s research possesses some theoretical significance and pertinence, and has some practical value.