本文關鍵詞： 萌文化 圖像傳播 網絡 視覺文化 圖像文化 青少年亞文化　出處：《北京郵電大學》2015年碩士論文　論文類型：學位論文

【摘要】：伴隨著互聯(lián)網數字技術的發(fā)展,圖像日益在社會文化的傳播過程中占據著主導地位,昭示著一個全新的視覺信息時代已經到來,琳瑯滿目的視覺符號攻占了我們的眼球,逐步地影響和改變著我們的信息認知方式,我們已經卷入了一個視覺文化的世界之中。同時,互聯(lián)網的出現,為文化的發(fā)展提供了一個更為多元、開放的空間,各種文化得以通過多種方式(視頻、圖像、音頻等)進行傳播、交流,各種思想觀念也得以碰撞、交互,從而創(chuàng)造出了許多新的文化樣式。概括來講,文化在網絡時代呈現出了視覺化、多樣化、全球化等發(fā)展特點。而作為社會文化中比較特殊的文化形態(tài)——青少年亞文化,在網絡平臺中,受到了來自他國動漫文化的影響,也呈現出了新的發(fā)展特點,并且對主流文化的發(fā)展產生了影響,青少年“萌文化”就是一個典型的代表。如今,這種圖像文化早已流行于網絡與現實之中,受到大多數人群的喜愛和追捧。網絡已經極大地影響和改變著青少年的思維方式、行為方式、價值觀念,萌文化不僅代表一種亞文化形態(tài),更從一個側面反映出了當下的一種社會現實。本文以主要研究分析“青少年萌文化”在網絡時代的圖像傳播問題。本文共分為六個部分,第一章主要集中于闡述研究背景、有關“萌文化”、“圖像傳播”兩方面的研究綜述、以及相關概念的界定和理論基礎；緊接著第二章主要分析概述了網絡時代下青少年萌文化的特征,以及其外部、內部層面的形成原因；第三章中則選取了一些網絡中具體的有關萌文化的圖像傳播實例,除了分別從萌漫畫、寵物萌照、人物萌照、搞笑類萌照四個方面概括分析了其圖像傳播表現形態(tài)之外,還對其網絡文化圖像的傳播特點進行了分析闡述。在前文的基礎之上,第四章結合網絡中的一些萌文化的傳播實例,著重探究了青少年在萌文化圖像文化傳播背后的認同建構問題。最后,第五章則對“萌文化”已從一種青少年亞文化走向大眾化、主流化的發(fā)展趨勢進行解讀。通過上述分析解讀發(fā)現,無疑,圖像傳播的方式成為了青少年在網絡中表現自我、尋求認同最為便捷有利的途徑。但是當這種圖像文化發(fā)展成為一種主流化趨勢時,一方面,過分地追求強調圖像符號所帶來的意義,極易走入一種大量類型化、同質化、模仿化的境地,所帶來的結果只能是人們被動地卷入符號世界之中,陷入對于情緒化符號的依賴,喪失對于圖像背后的理性思考的能力。另一方面,惡搞萌文化中存在的負向、低俗化內容的傳播又不得不引發(fā)我們的思考。因此,重建一種有深度的視覺審美認知,把握和權衡“視覺自由”就成為我們面對的一大難題。
[Abstract]:With the development of digital technology on the Internet, images are playing a leading role in the process of social and cultural communication, indicating that a new era of visual information has come. The dazzling visual symbols have captured our eyeballs, gradually influenced and changed our information cognitive style, and we have been involved in a visual culture world. At the same time, the emergence of the Internet. For the development of culture to provide a more pluralistic, open space, all kinds of culture through a variety of ways (video, images, audio, etc.) to spread, exchange, a variety of ideas can also be collided, interactive. As a result, many new cultural styles have been created. Generally speaking, culture has been visualized and diversified in the network age. Globalization and other development characteristics. As a relatively special cultural form of social culture-youth subculture, in the network platform, by the impact of animation culture from other countries, but also showed a new development characteristics. And has had an impact on the development of mainstream culture, youth "adorable culture" is a typical representative, now, this image culture has been popular in the network and reality. The Internet has greatly affected and changed the way of thinking, behavior, values, and adorable culture of teenagers, which not only represents a subcultural form. It also reflects a kind of social reality from one aspect. This paper mainly studies and analyzes the problem of image dissemination in the network age of "Adolescent adorable Culture". This paper is divided into six parts. The first chapter mainly focuses on the background of the study, the "cute culture", "image dissemination" of the two aspects of research review, as well as the definition of relevant concepts and theoretical basis; Then the second chapter mainly analyzes and summarizes the characteristics of adolescent adorable culture in the network era, as well as the external and internal level of the formation of the reasons; In the third chapter, we choose some specific examples of image communication about adorable culture in the network, except from cute comics, pet photos and characters. In addition to the analysis of its image communication performance, the article also analyzes the communication characteristics of its network culture image. On the basis of the previous article, it also analyzes and expounds the characteristics of the network culture image communication. Chapter 4th combined with some examples of the spread of adorable culture in the network, focused on exploring the adolescent identity behind the cultural communication of cute culture. Finally. Chapter 5th interprets the development trend of "adorable culture" from a kind of juvenile subculture to popular and mainstream. Through the above analysis, we find that there is no doubt. Image dissemination has become the most convenient and beneficial way for teenagers to express themselves in the network, but when this image culture develops into a mainstream trend, on the one hand. Excessive pursuit of the significance of the image symbols, easy to walk into a large number of types, homogeneity, imitation of the situation, the result can only be passively involved in the symbolic world. Fall into the dependence on emotional symbols, loss of the ability to rational thinking behind the image. On the other hand, the existence of negative, vulgar content in the goofy culture has to lead to our thinking. Reconstructing a kind of deep visual aesthetic cognition, grasping and weighing "visual freedom" becomes a big problem that we face.
【學位授予單位】：北京郵電大學
【學位級別】：碩士
【學位授予年份】：2015
【分類號】：G206

【參考文獻】

相關期刊論文 前1條

1 王志永;楊蕾;;網絡視覺傳播的批判與反思[J];新聞愛好者;2010年22期

，

本文編號：1446459