反陳腐性：【康熙來了】的類型、明星史與觀視身分

Abstract

類型這項概念應解讀成是一個爭取詮釋權的過程，透過將【康熙來了】（2004-, 中天綜合台）安置在綜藝節目、談話性節目、綜藝談話性節目的系譜來觀看，論述在一個類型定義彼此相互混淆，卻又亟需釐清的過程裡流動。而該節目的興起歷史被小S與蔡康永這兩位台灣社會備受爭議的公眾人物／明星的明星史給脈絡化。 由於｢亦莊亦諧｣這項論述是｢綜藝節目｣這項類型與其他次類型之間所難以拿捏的文本特質，【康熙來了】說明類型無法將之獨立進行闡述，整體演藝圈／文化工業在｢綜藝節目｣所遭受的道德撻伐，也一同說明了該類型的產製在｢搞笑｣與｢知性｣的難以兼具。而這種希望創造雙贏局面的慾望是受到了道德的迫使。圍繞該節目的感覺結構同時以深度模式將｢年輕世代｣此一【康熙來了】幻想的觀視身分範疇建構成媒體批評中的陳腐客體，低估小S與蔡康永在笑聲中隱藏的反諷、諧擬、假仙等政治姿態。

The unsteadiness of genre should be conceptualized as a discursive process which involves the negotiation of interpretation power. By geneogically situating KangXi Lai Le (2004-, CtiTV) among the genres of varity show, talk show and variety-talk show to watch, the discourse circulates in a confusing and indistinctive process of genre’s definition. The history of star of Dee Hsu and Kevin Tsai, the two debatable celebrities/public figures in the Taiwan, contextualize the emergence of this programme. Since the genre of variety show and other sub-genres are inaccessible to the characteristics of ‘holding the seriousness and facetiousness simutaneously’, the moral reproaches against the production of ‘variety show’ in showbiz/culture industry have epitomized this unreachablen claim. Morality gives the pressure on the embrace of fun and gravity. By exerting the ‘depth mode’, the structure of feeling that surrounds this programme construcs their imagined spectatorships, the young people, as a banal ‘object’ in the media criticism. It underestimates the politics and positions of irony, mimic and camp which are implicit in the laughters of Dee Hsu and Kevin Tsai.