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The cognitive and affective framing processes in the Tsoi Yuen resistance movement in Hong Kong.

本研究針對三個重要層面(論述、鬥爭和情感的過程)進行探索,討論社會運動中反對勢力框架的建構和發展。本文將先探討社會運動如何在論述層面上建構框架,令運動框架取得認受性並挑戰主流霸權論述;是次研究亦會討論互聯網時代如何影響框架爭奪戰的進行;最後,本文將分析框架美學化的現象如何影響社會運動的動員。本研究以香港的菜園村抗爭運動作為案例,並採用文本分析、訪問及參與式觀察等研究方法。 / 本文旨在擴充框架分析的討論層面:除探討其認知層面外,本文更試圖討論框架建構中被忽略的面向:情感性層面。此外,本文亦會分析框架爭奪戰的場境如何在互聯網時代被擴大。 / 在認知層面上,本文發現在論述性的框架建構過程中,若框架的理念能充分回應社會、政治及文化上的斷裂,框架動員力便會提高。此外,在運動過程中,策略性的框架轉化亦有助號召不同界別的群體參與。 / 在鬥爭層面上,本文指出在互聯網時代,社會運動與政府、主流傳媒進行框架爭奪戰的場境已被伸延及擴大。而互聯網所造就的分散式競爭能量及沉積性網絡結構則對運動於框架爭奪戰過程中有利。 / 最後,在情感層面上,本文認為近年社會運動中採用的美學化運動手段,有助運動在情感和道德價值上動員群聚,因美學化的框架不單有助社會運動鞏固其內部聯繫,對民眾整體都有吸引力。 / This study investigates the construction and development of opposition frames in a social movement by exploring three important dimensions: the discursive, contested, and affective processes. This study first elucidates how counter-frames can be discursively constructed to gain legitimacy in challenging the dominant hegemonic belief. Second, the study reviews how the framing processes have been influenced by the Internet in the digital era. Finally, it investigates how the aestheticization of frames relates to the affective mobilization of a movement. These questions were addressed through the case of the Tsoi Yuen resistance movement, a two-year struggle in Hong Kong. To this end, textual analysis, interviews, and participant observations are employed. / This study seeks to elaborate upon the framing perspective by discussing not only the cognitive meaning alignment processes, but also expanding the theoretical discussion in the affective dimension of framing, which is an under-explored area. In addition, it contributes to the investigation of the expanded frame contestations in the Internet era. / On the cognitive level, this thesis argues that the discursive framing strategies have worked best when meanings are activated by exploiting the social, political, and cultural cleavages in post-colonial Hong Kong. In addition, the transformation of framing strategies can facilitate mobilizations across a variety of groups of targets when different cleavages are echoed. / For the contested framing processes, it is argued that the media ecology of the framing contest between the movement’s frames and the dominant frames constructed by the government and the mainstream media have been considerably enlarged by the Internet. The distributed contested power and sedimentary networks emerging in the Internet era are enabling the contested processes in the frame battle. / Finally, on the affective level, this study argues that the series of aesthetic movement tactics employed in social movements enhance the affective dimension of framing processes through the mediation of the emotional and moral components. Aestheticized frames serve to consolidate engagements among the movement’s participants and to appeal to the publics at large. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Ma, Lai Yee. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 262-281). / Abstracts also in Chinese.

Identiferoai:union.ndltd.org:cuhk.edu.hk/oai:cuhk-dr:cuhk_1077726
Date January 2014
ContributorsMa, Lai Yee (author.), Chan, Joseph Man (thesis advisor.), Chinese University of Hong Kong Graduate School. Division of Communication, (degree granting institution.)
Source SetsThe Chinese University of Hong Kong
LanguageEnglish, Chinese
Detected LanguageEnglish
TypeText, bibliography, text
Formatelectronic resource, electronic resource, remote, 1 online resource (v, 286 leaves) : color illustrations, computer, online resource
CoverageChina, Hong Kong, China, Hong Kong, Tsoi Yuen Tsuen (Hong Kong, China)
RightsUse of this resource is governed by the terms and conditions of the Creative Commons “Attribution-NonCommercial-NoDerivatives 4.0 International” License (http://creativecommons.org/licenses/by-nc-nd/4.0/)

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