本文關(guān)鍵詞： 同人 影視同人作品 傳播游戲理論　出處：《鄭州大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：斯蒂芬森把“游戲”引入傳播學(xué)領(lǐng)域,形成傳播游戲理論,他從心理學(xué)角度出發(fā),把研究重心放在“人內(nèi)傳播”,并且區(qū)分了“社會(huì)控制”與“趨同性選擇”,“作為工作的傳播”與“作為游戲的傳播”,“傳播快樂”與“傳播痛苦”這三組概念。他認(rèn)為在涉及到社會(huì)的不同趣味時(shí),受眾的趨同性選擇表現(xiàn)更為明顯,他推崇“作為游戲的傳播”,這種傳播是自由的、愉快的�；ヂ�(lián)網(wǎng)時(shí)代是一個(gè)娛樂泛化的時(shí)代,影視作品以其全方位感官享受,成為大眾日常文化生活必不可少的一部分,給人們帶來審美的愉悅和輕松。自媒體的發(fā)展和傳播技術(shù)的賦權(quán)使得受眾的二次創(chuàng)作作品如視頻、圖畫、小說等得到廣泛傳播。有著相同志向,共同愛好的人就是“同人”。對(duì)漫畫、動(dòng)畫、游戲、小說、影視等作品甚至現(xiàn)實(shí)里已知的人物、故事進(jìn)行二次創(chuàng)作出來的作品稱為同人作品�！巴恕眲�(chuàng)作作為一種廣泛流行于年輕群體的新型娛樂方式,創(chuàng)作的動(dòng)力來自于“熱愛”和“興趣”,其創(chuàng)作方式則是對(duì)原作品的解構(gòu)與重構(gòu)。本文所要研究的是受眾基于影視作品二次創(chuàng)作的作品,即影視同人作品。影視文化是大眾文化的代表,影視同人創(chuàng)作既能使受眾獲得文化認(rèn)同,又給影視產(chǎn)業(yè)帶來深遠(yuǎn)影響。第一部分,對(duì)影視同人作品的概念、特點(diǎn)進(jìn)行介紹。第二部分,分析傳播游戲過程中的主體即同人群體,包括兩個(gè)方面,一方面是從受眾到傳播者的轉(zhuǎn)變,互聯(lián)網(wǎng)時(shí)代賦予了這種角色互換的可能性;另一方面是從接受者到游獵者的轉(zhuǎn)變,高度的自我涉入提供了同人創(chuàng)作的必然性。第三部分,分析傳播游戲的內(nèi)容,即同人創(chuàng)作與傳播樂在何處,因何而樂。第四部分,分析傳播游戲的場(chǎng)所,即傳播的媒介環(huán)境,主要通過在彈幕視頻網(wǎng)站、微博和貼吧三大媒體平臺(tái)參與觀察得出結(jié)論。第五部分,分析傳播游戲的影響,即影視同人作品對(duì)于影視作品、影視受眾、大眾文化的影響。
[Abstract]:Stephenson introduced "game" into the field of communication and formed the theory of communication game. He started from a psychological point of view. The study focuses on "intra-human communication" and distinguishes between "social control" and "convergence choice", "communication as work" and "communication as a game", "communication happiness" and "spreading pain". When it comes to different tastes in society, The convergent choice of the audience is more obvious. He advocates "spreading as a game", which is free and pleasant. The Internet age is an era of extensive entertainment, and film and television works enjoy with their all-around senses. Become an indispensable part of the daily cultural life of the public, bring people aesthetic pleasure and ease. Since the development of the media and the dissemination of technology to empower the audience to create works such as video, pictures, Novels are widely disseminated. People with the same aspirations and common interests are the "same people." to comic books, animations, games, novels, movies and films, and even known characters in reality, The works created by the story are called the works of the same person. As a new type of entertainment widely popular among the young people, the creation of the "same person" is regarded as a new type of entertainment. The motive force of creation comes from "love" and "interest", and its creative way is to deconstruct and reconstruct the original works. That is, film and television works with people. Film and television culture is the representative of popular culture, film and television co-creation can not only make the audience gain cultural identity, but also bring far-reaching impact to the film and television industry. The first part, the concept of film and television co-person works, The second part analyzes the main body in the process of communication game, that is, the same human group, including two aspects, one is the change from the audience to the communicator, the Internet era has given the possibility of this kind of role exchange; On the other hand, the transformation from receiver to hunter provides the inevitability of co-creation. The third part analyzes the content of communication game, that is, where and why the co-creation and dissemination of music. Part 4th, By analyzing the place where the game is spread, that is, the media environment of communication, mainly through observing the three major media platforms in the project-video website, Weibo and Tiaoba, we can draw a conclusion. 5th part, analyzes the influence of the communication game. That is to say, the influence of film and television works on film and television works, film and television audience, mass culture.
【學(xué)位授予單位】：鄭州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J943;G206

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