作者 主题: 【NF】怒视前方p10-p11  (阅读 4217 次)

副标题: 缓慢施工中,虽然我这么菜的水平根本翻译不了这种级别的书,但是我真的好想参加星界fury趴!(?

离线 风炎33

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« 于: 2021-04-05, 周一 00:16:52 »
怒视前方Look Forward in Anger
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The moment people started relaxing by watching
moving pictures, other people started worrying
about it. Was the content obscene? Was it corrupting the youth? Look back in time, and you’ll
see these worries about just about any form of
media or entertainment that enjoyed a rapid
rise in popularity—television, radio, rock ‘n’ roll,
role-playing games, comic books, video games,
the Matrix, simsense, trideo you name it—if some
people like it, some other people think it’s destroying their character.
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And here’s the real trick of it—they’re not entirely wrong. Yeah, a lot of the angles have been overblown or misidentified, but there are certain truths
there, too. Some of them are basic, like watching
a lot of misinformation leads you to being dumb.
Watching propaganda makes you a tool. That sort
of thing. But it gets more nuanced from there.
Some programming can make you feel anti-social
and isolated, while others can make you feel more
positive about your fellow sentient beings. Some
programming can make you yearn for change,
other shows can make you feel complacent.
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Maybe you already knew that, maybe you
didn’t, but I’ll tell you this: The corps already knew
it, and that plays a huge role in shaping the media landscape in which we exist. The Big Ten are at
the root of a ton of the media all of us consume,
and they are using tricks and techniques that have
been perfected over more than a century.
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The very first Academy Award winner for Best
Picture was Wings, a wartime romance that had
production help from the U.S. Army. The Army
brought in planes and pilots to help with the movie. Twenty years later, the United States Department of Defense formed an entertainment liaison
office so that full-time staff could work with movie
and broadcast productions. They played a role in
literally thousands of different productions, offering expertise and access to cool-looking weapons
and vehicles in exchange for a range of benefits.
Sometimes this was about inserting good-looking people in uniform into shows that would show
them off to good advantage. Other times it was
about tweaking lines and scenarios so that the
military would be shown as altruistic heroes. It
worked—the old United States spent decades in a
condition where its citizens would argue passionately about everything and anything, but criticism
of the military was relegated to the fringes of society. If you wanted a prominent position in the government or business, you saluted the military as
heroes and directed any criticism you might have
about them elsewhere.
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The corps walked right alongside the military
in using entertainment to evangelize. Sometimes
they were smooth and successful, like E.T. and Reese’s Pieces. Other times they were clumsy wastes
of money, like the E.T. rip-off Mac and Me and its
graceless McDonald’s references. When they
were bad or just mediocre, they focused on how
to move product quickly. When they were good,
they focused on how to condition minds, how to
tell people the lifestyle they wanted was in reach
if they just made the right purchases. Or, on a larger scale, how the freedom to decide what you
purchase was the best path to a virtuous society,
and how the people who make and sell you these
wonderful things are the true heroes of society.
> Cosmo
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> There’s a reason people keep attempting adaptations of
The Fountainhead, despite the fact that it’s a book about
speechifying architects, which is not the most cinematic
subject. It fits their narrative, where people with the
courage to make a lot of money are the real heroes. And
don’t get me started about adaptations of Atlas Shrugged. > Cosmo
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Now, here’s the point where it’s tempting to
say that the whole point of most of the mediayou watch is to control you, but that’s an unsophisticated way of looking at the world. Back in
the twentieth century, fascist and authoritarian
rulers usually employed the tactic of ruthlessly
controlling the media—centralizing radio, print,
and broadcast media, and ruthlessly shutting
down unlicensed media. Some of those principles
carried over to the twenty-first century, but new
wrinkles emerged. As media choices proliferated, audiences Balkanized and drifted into isolated
bubbles, where they could hear what they wanted to hear. Media sources developed to serve up
what people wanted, and corps learned how to
get the behavior they wanted through tribalism.
Control can be a lot less heavy handed when you
find the charismatic people of a particular tribe
and put them front and center. You don’t have to
dictate to them—they want to share your message.
You just have to give them a platform.
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Well, and maybe some training, which is
where the corps shine these days. There are some
time-honored tricks that work whether you’re doing the news, making a documentary, or telling a
story, and these are the tricks that are passed along
from generation to generation. These include:
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• Find an enemy/scapegoat: Someone, somewhere, is screwing up society, and the
good and decent people of the world need
to unite against them. It helps if there are
easily identifiable markers of this group
(ethnic names, common language, tusks,
skin color, that sort of thing) so that people
can spot them easily—and build up resentment each time they see them. Whatever
you do, make sure people know the enemy
is an economic group similar to them—not
one far above.
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• Keep people comfortable: Cop and detective
shows have been a staple of video storytelling for about as long as the medium has
existed, and there are two critical elements
to its appeal. The first is obvious—the lurid
appeal of crime and affiliated danger. The
second is somewhat subtler—crime dramas
are only truly popular when the crime in
question is solved. The disorder the crime
introduced has to be turned back to order,
and importantly, this is usually done by existing institutional forces, such as police.
Crime dramas often carry the undercurrent
that there are people in authority looking
out for you, and they are capable of healing
societal wounds.
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• Evil doers are bad apples: This is related to
the previous point. You tend to have people making mistakes and causing conflict in
drama, or else you don’t have drama. If you
want to preserve the status quo, people
have to believe bad decisions cause problems, not systems. In this view, criminals
are individuals making bad choices, period. They are not symptoms of the system,
or people who are only outlaws because of
questionable and problematic legal frameworks. These individuals and their choices
are the problem—the only problem.
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> The trick is that there are, of course, bad apples, and
there also are systemic effects on people. Knowing
what is a bad choice and what is a societal effect is not
always simple to determine, which means knowing
how to address it isn’t easy.
> Pistons
如果你牢记这些基本准则,那你就能从你的诋毁者们可能会笃信的那些潜移默化的洗脑中脱身。举个例子,对超企宣传浅显的看法认为,他们只会展示超企做的好事和超企的光辉形象。而以DASH:Star Loner为例,它最近报导了科洛斯莫工业(Colosmo Industries)恶毒的首席执行官阿登•科洛斯莫(Arden Colosmo)。这人被唾骂的理由充分,他对下属的性骚扰,他拿着本来就很丰厚的薪水还要吃各种各样的回扣和二次支付,还有他反复无常的暴怒。他甚至——这一点绝不能被忽视——拒绝资助他行政助理的女儿进行救命的癌症治疗。矩阵上炸了锅,义愤与怒火直指科洛莫工业。
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If you remember these basic guidelines, you can
get away with more subtle propaganda than your
detractors might believe. For example, the crude
view of corporate propaganda is that they can only
show corporations doing good things, or in a good
light. But that ignores existing corporate propa-ganda. Take DASH: Star Loner, which recently featured villainous CEO Arden Colosmo of Colosmo
Industries. He was truly hissable, with his sexual harassment of underlings, his assorted kickback and
double dipping that enhanced his already generous salary, and his occasional murderous rage. He
even—and this cannot be ignored—denied life-saving cancer treatment to his executive assistant’s
daughter. The Matrix was absolutely on fire with
outrage and anger directed Colosmo’s way.
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> And it was overwrought AF. I mean, come on, that line
he delivered to his assistant—“I don’t invest in failing
concerns”? We’re supposed to believe anyone thinks or
talks that way?
> /dev/grrl
> You should attend a DocWagon board meeting some
> Butch
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And it wasn’t just that he was evil—he marshaled his corporation around him for evil ends.
Corporate funds were used to silence witnesses,
bribe government officials, and of course fund
shadowruns. It was everything bad we know corporations can be, and it was right there on a massively popular trid series.
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But here’s the important part. Or parts. First, Colosmo clearly was a bad guy. An aberration. That
was what was so truly offensive about him, that
he was competing with all the other corporations
while violating the rules of ethics that they adhered
to. He had to be brought to heel, and when <spoiler
alert!> he finally was, it was by a combined effort
of Knight Errant and Colosmo’s plucky competitors
at ForTech. No systems were overturned, or even
significantly altered in anyway. The corporate structure, with the Corporate Court sitting at the top as a
beneficent overseer, remains in place. Not just that,
but it was a critical part of bringing the outlier tojustice. This is the critical message at the core of it
all: The system works.
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This is the media world we swim in, one that
desperately wants us to believe that the ills we
face are bugs, not features. Give us time, the corps
ask us, and more importantly, give us information.
Tell us what you know. Tell us who are the outliers, the problem children, the troublemakers. Point
them out to us, and we will make them better.
« 上次编辑: 2022-08-17, 周三 03:52:13 由 风炎33 »