Film and Television

Mark Connelly
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Abstract

The global phenomenon that Christmas has become has been inspired by the twin forces of commercialism and its ubiquitous visual image through film and television, encapsulated by the Hallmark Channel. Although much of the imagery has foregrounded spiritual values over materialist consumerism, cinema and television have done much to promote the season as one of lavish consumption. From its earliest days, cinema picked up on the season as something it could both interpret and use as a tool to draw in audiences, though Santa Claus was a surprisingly late arrival to this media. Hollywood’s adoption of Christmas then created images which have become icons around the globe, and also promoted the celebration of Thanksgiving around the world. Cinema and television have been potent advocates for the alleged father of the modern Christmas, Charles Dickens, with A Christmas Carol having been produced in many versions over the years. In turn, this has helped maintain the image of Christmas as the key family festival, which was then promoted in the overwhelming majority of Christmas film and television productions.
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电影电视
圣诞节之所以成为一种全球现象,是受到商业主义和电影电视中无处不在的视觉形象这两股力量的启发,而贺曼频道(Hallmark Channel)就是其中的缩影。尽管许多节日的意象都强调精神价值,而不是物质消费主义,但电影和电视已经做了很多工作,把圣诞节宣传为一个奢侈消费的季节。从一开始,电影就抓住了这个季节,把它当作既可以解释又可以用来吸引观众的工具,尽管圣诞老人在这个媒体上的出现令人惊讶地晚了。好莱坞对圣诞节的采用创造了全球偶像的形象,也促进了世界各地的感恩节庆祝活动。电影和电视一直是所谓的现代圣诞节之父查尔斯·狄更斯的有力拥护者,多年来,他的《圣诞颂歌》被制作成许多版本。反过来,这有助于保持圣诞节作为重要家庭节日的形象,然后在绝大多数圣诞电影和电视作品中得到宣传。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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