The Research About Anchoring And Hosting Language On Radio And Television In The Context Of Consumer Culture

Broadcasting language is the product of modern electronic media. It serves as both the guidance in mass communication and an exemplar of aesthetic perception. As a communicational tool, broadcasting language is also a linguistic behaviour of mass media considering communication and interaction with its audiences as one of its purposes. Broadcasting language is by no means a static, unchanging form of expression. It has its own dynamics in the development. The content and form of broadcasting language is based upon the development of certain society and is influenced by the political, economic and cultural factors within the society. Currently, the electronic media exemplified by broadcasting and television is in an'industrialized'stage. With the ongoing trend of globalization, the globalized'consumerism'has permeated into every corner of the media industry in China. As the major means for electronic media to disseminate information, broadcasting language is caught in this inescapable situation of media consumerism. The key words, culture, aesthetics, market, commodity and such are interrelated and it is hard to delineate one from anther. Central to the conception of'media consumerism'is that the mass media have presumed market and commercialization as its basic and intrinsic dynamics, treating audiences as'god-like'consumers, producing'attractive programmes'to cater the'consumer-audience'. Some scholars have put the notion into extreme, stating that there is no point existing if something is not commercially consumable. Based on the aforementioned notions, we can argue that broadcasting language is itself a commodity of mass culture. Undoubtedly, the decisive characteristic of commodity is its purpose to exchange. Thus, we can come to the conclusion that to exchange is also the purpose of the production and creation of broadcasting language.The community characteristic of broadcasting language is inescapably determined by the overall media consumerism in which it exists. Only if we put it into this consumerism milieu, can we create, produce a product which is in line with the major social force, and thus acquire optimal media effect. In an era when cultural'high land'is constantly losing its altitude to popular culture, broadcasting should be adjusted to suit the popular in order to maintain and further pursuit its power.'Fine art in popular life'has urged audible linguistic production to change. Traditional production of broadcasting language has its fame of being highly self-disciplined; it follows the rule that'fine art has its base in popular life, but is definitely refined'. Broadcasting language shares the similar'fine art'stance. Nonetheless, under the great impact of consumerism, even the immanent conception needs updating. With the technological advancement, the high requirement of anchor's natural voice is gradually diminishing. Meanwhile, the need for a unique, characteristic audible language is increasing. In the age when survival depends on differentiality, multiplicity and differentiality compel the revolution of broadcasting language.The mono-voice model has been gradually discarded. Instead, the content of the language itself, the unique personality, even the charisma that manifested in the flow of language are considered being of greater value. The author would argue that though it is still widely held that there is crevasse between classical culture and popular culture, the existing discourse is endeavoring to bridge them, and it is more for the benefit of broadcasting language production to confront the challenge sooner than later.