Part-3 Broadcast Presenting in English-“Arts&；Entertaining”
本章内容提要
对外英语广播“综艺类”节目主持人在受众面前的展示，是完全不体现人们熟知的新闻从业人员的职业状态的。但是，其实质仍是遵循了这一职业群体的工作原理。了解在这一位置上的职业角色定位，对“场面协调者”的解释的深刻理解是至关重要的。
对外英语广播“综艺类”节目主持人的独特掌控方法和效果，不是以其个体才艺的展示为出发点的。然而，令受众不能忽视又形成难以忘怀的效应，又完全不是主持人个人创作的结果。这就归结到了处于这一位置的从业者遵从的职业心理态势——Journalistic Performance（新闻式展现）。
对外英语广播“综艺类”节目主持艺术实训部分，不仅是告知这一群体是如何被启发和锻造的，更是揭示了培养和训练其所秉持的教育理念和具体实践方法。
对外英语广播“综艺类”节目主持人的受训感受，是对这一职业位置形成的职业标准的深刻体验的总结，更是对今天“新新闻生态”里的职业人素质形成的新视角感受的概括。
【第三章对外英语广播“综艺类”节目的主持艺术】
由于通过“对外英语广播”传送的节目，是以广播电视为载体的“媒体声像产品”形式进入“国际媒体传播网”的，所以，这些产品在面对异域受众的时候，就成为他们心目中的、传播源制造的“文化产品”了。
事实上，在“媒介与文化研究”领域里，进行的对全球形势下媒体传播特点与实质的聚焦，也就是归结到了对文化通过广播电视为载体变形后形成的国际化传播的体现了。因为研究者们意识到：这种跨越国界的、有声有色的全方位传播文化产品的效应，就引发了文化身份建构的结果。而这种建构具有的“文化渗透力”和“文化交融度”，使广播电视文化产品具有的易接受性的特质完全得到凸显。这也就使越来越多的研究者发出疑问：今天的“全球化文化”，究竟是某一强势国家的文化之全方位的覆盖？还是各种各样现存文化的共荣共生？这类问题的被提出，就引起了一系列的对有关“隐形式文化侵略”、“软性文化帝国主义”、“强弱文化间对抗”的思考。
这样的状况，使得“对外英语广播”具有的跨越国界的“文化产品”的输出作用越来越显得引人注目。世界各国都意识到了这一文化传播方式的有效性、直接性、广泛性及多彩性。所以，受众手中的遥控器可以控制越来越多的卫星频道，也惊呼名目繁多的频道名称及它们承担的类别纷繁的传送内容。细化了的频道内容，使得原本是某一具体的“文化体”，被以其具有的一个个独特元素所划分，成为一个个独立频道传送的内容的母体，不断被演绎为“五彩缤纷”的声像化节目作品。而当这些节目被冠以“作品”两个字后，就从形态到内容的编排上，与第一章和第二章里探讨的“硬新闻”、“软新闻”的形式和内容有了完全的不同特点和风格。在此，笔者罗列一些在当今国际媒体传播网里拥有相当收视率的“综艺类”节目。
1)Docusoap：A television programme about the lives of real people，presented as entertainment.A genre of reality television in the style of a documentary in which an apparent plot is constructed by intention or editing in order to make programmes in this genre resemble soap operas.[http：//www.allwords.com/word-docusoap.html]
2）Reality television：It is a genre of television programming that presents purportedly uned dramatic or humorous situations，documents actual events，and usually features ordinary people instead of professional actors.Although the genre has existed in some form or another since the early years of television，the term reality television is most commonly used to describe programs of this genre produced since 2000.Documentaries and nonfictional programming such as news and sports shows are usually not classified as reality shows.
The genre covers a wide range of programming formats，from game or quiz shows which resemble the frantic，often demeaning shows produced in Japan in the 1980s and 1990s(such as Gaki no tsukai)，to surveillance-or voyeurism-focused productions such as Big Brother.
Reality television frequently portrays a modified and highly influenced form of reality，utilizing sensationalism to attract viewers to generate advertising profits.Participants are often placed in exotic locations or abnormal situations，and are sometimes coached，to act in certain ed ways by off-screen“story editors”or“segment producers，”with the portrayal of events and speech manipulated and contrived to create an illusion of reality through editing and other post-production techniques.[http：//en.wikipedia.org/wiki/Reality-television]
3)Infotainment：It is“information-based media content or programming that also includes entertainment content in an effort to enhance popularity with audiences and consumers.”It is a neologistic portmanteau of information and entertainment，referring to a type of media which provides a combination of information and entertainment.According to many dictionaries infotainment is always television，and the term is“mainly disapproving.”However，many self-described infotainment websites exist which provide a variety of functions and services.
The label“infotainment”is emblematic of concern and criticism that journalism is devolving from a medium which conveys serious information about issues that affect the public interest，into a form of entertainment which happens to have fresh“facts”in the mix.The criteria by which reporters and editors judge news value-whether something is worth putting on the front page，the bottom of the hour，or is worth commenting on at all-are integral parts of this debate.Some blame the media for this perceived phenomenon，for failing to live up to ideals of civic journalistic responsibility.Others blame the commercial nature of many media organizations，the need for higher ratings，combined with a preference among the public for feel-good content and“unimportant”topics(like celebrity gossip or sports).In her critique of infotainment News Flash，Bonnie Anderson cited the CNN lead story of February 2，2004.It was the accidental exposure of Janet Jackson's breast on national TV.The follow up story was about a ricin chemical attack on the U.S.Senate majority leader.