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| July 2012 |
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21 |
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| 專輯論文Special Issue Articles |
| 本地與同代：上海的城市屏幕文化 |
| Shanghai’s Public Screen Culture: Local and Coeval |
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(2550)
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| 作者 |
裴開瑞 (Chris BERRY) |
| Author |
Chris BERRY |
| 關鍵詞 |
屏幕、上海、公共文化、全球化、走字 |
| Keywords |
screens, Shanghai, public culture, globalization, walking words |
| 摘要 |
過去十多年以來，尺寸各異的電動影像屏幕大量出現在世界各地的公共空間。基本上，同樣的屏幕技術可以運用到任何一個地方。那麼，不同地方採用此技術時，是否有獨特的本地模式？還是千城一面？本文探討上海的城市屏幕文化，作者認為本地特性會通過多種方式呈現。首先，屏幕所在的地點及功能不同，應用的模式也會因地而異，比如裝置於交通中心上海火車南站的屏幕，其首要功能便是通過空間來疏導人流；上海科技館的屏幕則用於構造遊客對展覽的體驗；而五角場商業中心的屏幕不僅用於播放商品廣告，還作為「魅惑之光影景觀」(lightscape of enchantment)，以吸引遊客。在每一個案，場地所獨有的環境以及經常造訪的群體共同創造了本地特性。其次，在上海，大量的電報紙條式走字屏幕與文本屏幕星羅棋布，分佈在通向商店、住宅小區甚至是公車站的入口處，然而在倫敦或開羅，這樣的屏幕則較為罕見。電子屏幕的普及與源遠流長的漢字文化有關，當時的人使用漢字以標示外與內之間、幾乎不能辨識的空間。這種做法可以追溯到封建時代，而中共建政以來，新興的黑板文化也於此流行。這種文化可算是繼承一個系譜，但是改用電子文本屏幕也是中國市場經濟興起後，文化改革的一大部分，而這種轉變也和嚮往向上的文化相關 。總的來說，本文提出本地特性的兩種形式，與其說是將西方或大都會的一套搬過來，而呈現了全球在地化的演變(glocal adaptation)，不如說是在這個急遽全球化的時代，同代人共同於各地共同發展採用新媒體的模式。 |
| Abstract |
Electronic moving image screens of varying sizes have proliferated in public space all over the world during the past decade and more. The same technology is potentially available to be installed anywhere. So, are there any local patterns to the uptake of this technology, or are they just part of the generic city? This essay explores public screen culture in Shanghai to argue that local specificity does manifest itself in a variety of ways. First, different patterns emerge according to the type of place in which the screens are installed and the singularity of the site itself. For example, the primary function of screens in transport hubs such as the Shanghai South Railway Station is to direct flows of people through the space; screens in the Shanghai Science and Technology Museum mediate the visitor’s experience of the exhibits; and in the Wujiaochang retail hub they not only advertise products and stores but also act as part of a “lightscape” of enchantment that helps to attract visitors. In each case, the individual circumstances of the site and those who frequent it create further local specificity. Second, Shanghai is also marked by very heavy usage of tickertape-style “walking word” (走字) screens and other text-based electronicscreens at the entrances to shops, residential quarters (小區), and even buses. Such screens are relatively rare in London or Cairo. This prevalence can be related to a much longer culture of using characters (字) as a way of marking liminal spaces between inside and outside. Such practices go back to the dynastic era but, in the People’s Republic, they also include the more recent blackboard culture. While these antecedents create a genealogy, the changeover to electronic text-based screens is also part of a larger cultural transformation with the emergence of the market economy in the People’s Republic and an associated aspirational culture. Taken as a whole, the essay concludes by arguing that these two types of local specificity open up the question of whether they manifest not so much “glocal” adaptation of an established Western or metropolitan usage but rather coeval development of the usage of new media under conditions of rapid global uptake.
本文引用格式
裴開瑞(2012)。〈本地與同代：上海的城市屏幕文化〉。《傳播與社會學刊》，第21 期，頁25–50。
Citation of this article:
Berry, C. (2012). Shanghai’s Public Screen Culture: Local and Coeval. Communication & Society, 21, 25–50.
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