Roles of Popular Culture Plays in the Present Consumption Seen from “Pleasant Vo
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中图分类号：G11 文献标识：A 文章编号：1009-4202（2010）12-338-02
Abstract The Program “Pleasant Voices of Girls” hosted by Hunan Satellite Television creates a miracle and an epoch. This paper makes a profound analysis from the perspective of popular culture，discussing the influence of the program’s carnivalesque，deconstruction，Lesbianism and cultural globalization on consumption. In his way，it probes a particular and deep problem-roles of popular culture plays in the present consumption seen from “pleasant voices of Girls”.
Key Words program popular culture consumption
1．“Pleasant Voices of Girls” and Its Influence
“Pleasant Voices of Girls” is a popular entertaining program hosted by Hunan TV Station，which has been known throughout China theses two years. All the people─ male and female，young and old，can take part in it. The final candidates have to undergo a series of knockout matches-haixuan，top ten of each competition zone，and ten candidates of the final match. Only when the champion comes out，does the program go to the end.
What attracts people most is its unexpected results，varied forms，interactive passion and everyone’s being the focus. Furthermore，the unutterable emotion also counts a lot in the program，which makes people intoxicate，expect and seem to have a lot to express.
There’s no doubt that “Pleasant Voices of Girls” has become one of the most popular and attractive entertaining programs in recent years.
What on earth is its glamour then? Not only does it bring out reform in culture，but it also brings out new conception of consumption. This article is a tentative try in these two aspects.
2．Production and Consumption
Common sense tells us that the popularity of any given cultural text，whether it be music or television or sport，is dependent upon an integrated relationship between producers and consumers. We learn little about television producers unless we also study television viewers. For ease of analysis，however，pop culture research tends to focus only one dimension. The consumptionist trajectory of Cultural Studies and the productionist trajectory of Production of Culture scholars obscure linkages between the two processes：
The analytic splitting of production from consumption overstates the interpretive control exercised by consumers and understates the power of the culture industries to limit what is made available for interpretation.
To connect production and consumption we borrow the conceptual image of a circuit of culture，which suggests that cultural meaning-making functions less in terms of a “transmission flow” model from producer to consumer “and more like the model of a dialogue. It is an ongoing process.” Cultural meanings are produced at a number of different sites and are circulated through a complex set of reciprocal processes and practices. While production and consumption are key sites for meaning making，other sites serve important intermediary functions.
Production and consumption is indispensable. Advertising，for example，“both articulates with production with consumption，and draw consumption back into the process of production.” Advertising thus constitutes its own moment in the circuit of culture：the moment of circulation. So does entertaining programs. This paper is a typical example analyzing this.
3．The reasons of the program’s becoming consumption
The reasons of the program’s becoming consumption are as follows：
First，all members in this program are basically as capable of dancing，singing，and making music，as they are of speaking a natural language.
Second，performing entertaining programs，like speaking a verbal language，is part of the process of knowing and understanding it. Performance does not require a special set of capabilities，and active listening is essentially a mental rehearsal of performance，in which a person re-invents “the text”. Thus distinctions between creator，performer and listener are the consequences of assigned social roles.
Third，program and programs -making can in principle be assigned almost any social，political or religious meaning and treated like any other social activities，but the symbols that are invoked also involve the body in such a way that they sometimes acquire a force of their own. Performance of entertaining programs can express and evoke sensuous experiences that can be，and often are，related to feelings. Thus entertaining programs，as a category of action，need not always be a reflective epiphenomenon of the social：it can be a primary modeling system of thought，and musical imagination can trigger off action in social fields to which its sensuous code does not directly refer，because of the effects that the bodily experiences may have on consciousness，motivation，commitment and decision-making.
Fourth，although entertaining codes can express and evoke feelings as well as new sound experiences，and human emotions are broadly similar throughout the world，entertaining programs are not a universal language.
“Entertaining programs are a social fact，and discriminating listeners are as necessary as performers for its existence.”All normal human beings are capable of making performance；role distinctions between creator，performer and listener，variations in performers，are consequences of the division labour in society，of the functional interrelationship of groups and of the commitment of individuals to music-making as a social activity.
The nature of the activity，and the ways in which people relate to the organization and perception of tones，the essential symbols of a performing system，are the most interesting and problematic as a social activity.
Although entertaining programs are the result of certain attitudes，certain specific ways of thinking about the world，and only ultimately about the ‘ways’ in which music can be made，the effectiveness of entertaining programs depends on people’s relationship to the organization and perception of the symbols，rather than the non-entertaining attitudes expressed towards them or in company with them.
The emergence of popular entertaining programs，in the sense defined as a phenomenon of industrialized and industrializing societies，is one of the most striking examples of the power of entertaining symbols，and of people’s general entertaining creativity and search for quality in life. Just as it was necessary to define and analyse a new type of entertaining program，and give a name that expresses a pious hope if not an accurate fact，in order to restore entertaining programs consciousness to their central place in human life. Therefore，we need to have a detailed analysis of this program
4．Detailed influence of “Pleasant Voices of Girls”on consumption
（1）Carnivalesque in this program and its influence on consumption
As we all know，the main features of Carnivalesque Poetics are equality，commonality，release and rebellion.
Just like Li Zehou says：“In general，the emotions of Chinese people’s are within the control of the limit of humanity.”4 The state of Chinese people is moderate and tranquil，which is transformed by the program “Superb Voices of Super ladies”. As we all know，in this program，everyone is equal，as male and female，old and young can participate. Furthermore，the judges mustn’t inquire about the background of the candidates. Therefore，commonality is very well reflected by it.
（2）The deconstruction of a series of settled issues
“Typical constructionism makes a clear demarcation between the following items：self and non-self，truth and hypocrisy，sense and madness，meaning and nonsense，focus and edge，surface and depth.” “Superb Voices of Super ladies” is the deconstruction of all these，whose most distinguishing features are anti-authority，anti-convention，anti-reason and anti-tradition.
First，there’s no absolute authority in this program. Second，“Superb Voices of Super ladies” creates new aesthetic rules：on the one hand，the form of the entertaining is now participating，on the other hand，the critical factor that determines whether a candidate is knocked out or not is her comprehensive ability that can attract the audience─ to what extent she might be debated about and she can be focused on.
The next factor worth emphasizing is that “Superb Voices of Super ladies”takes advantage of various medias─ network，television，newspapers，magazines and especially mobile phones.Thus，it creates a kind of commercial atmosphere and makes itself a social mode. More importantly，as every voter might pursue the result，the short messages in fact cultivates the relationship between columns and viewers which might creates watching rate and commercial value.It does good to all the four factors─ TV station，candidates，viewers and telecommunication branches.
（3）The influence of Lesbianism in this program on consumption
The program appears，at first sight，a very trivial thing，and easily understood. Its analysis shows that it is，in reality，a very queer thing. The champion of the 2005 “Superb Voices of Super ladies”，Li Yuchun，who is a girl and very much liked by girls，offers a perfect example of lesbian cultural consumption.
In an effort to articulate the historical and social formation of female subjectivity in the society，feminist investigations of consumer culture have addressed a variety of complex and interrelated issues，including the construction of femininity and desire，the role of consumption in media texts，and the paradox of the woman/commodity relation. Implicit in these investigations，however，has been an underlying concern for the heterosexual woman as consuming subject. Perhaps because，as Jane Gaines notes，“consumer culture thrives on heterosexuality and its institutions by taking its cues from heterosexual norms”6
Theories about consumerism fall prey to the same normalizing tendencies. In any event，analyses of female consumerism join a substantial body of other feminist work that “assumes，but leaves unwritten，a heterosexual context for the subject”7and thus contributes to the continued invisibility of lesbians.
（4）The influence of global cultural in this program on consumption
As we all know，“Superb Voices of Super ladies” borrow a lot from a very popular American entertaining programme “American Idol”and the former’s style，procedure are heavily influenced by the latter，which reflects a global cultural influence on consumption.
We can say that entertaining program is global in character，this being a specific instance of the more general proposition that knowledge and cultural products are global in character or have a global base. People’s collective actions constitute the organization or system.
5．Conclusion
“Superb Voices of Super Ladies” is one of the most beautiful flowers in the field of popular culture in China. After deep analysis of its influence from the above four aspects，we can say that popular culture led by this entertaining program will play a critical and indispensable role in people’s lives. Furthermore，this role will last for a very long time.