【摘要】： 身體效應(yīng)是一種心理投射機(jī)制,是一場(chǎng)虛擬世界中的仿真體驗(yàn),是觀眾反觀自身的潛意識(shí)反應(yīng)。隨著電視節(jié)目中游戲化元素的不斷注入,新的節(jié)目形式吸引了受眾更多的注意,電視傳播中的身體效應(yīng)與以往相比也更加強(qiáng)烈。因此,對(duì)身體效應(yīng)的深入研究有助于豐富受眾對(duì)電視節(jié)目的感受力,提高電視傳播的效果和力度。 本文從身體的概念入手,通過對(duì)自柏拉圖以來各時(shí)期哲學(xué)家對(duì)身體論述的分析,將梅洛?龐蒂對(duì)身體的界定作為本文的出發(fā)點(diǎn)。身體不再只是肉體的存在,它同時(shí)還是各種感覺器官和思維意識(shí)的“整體”。在此基礎(chǔ)上,本文借鑒了席勒、康德、弗洛伊德等有關(guān)身體的游戲理論,闡述了身體和游戲之間的密切關(guān)系。從構(gòu)成關(guān)系上看,觀眾同參與者一樣也是游戲的重要組成部分,這一命題為揭示電視傳播中的身體效應(yīng)奠定了堅(jiān)實(shí)的理論基礎(chǔ);從感知關(guān)系看,游戲不同的特性會(huì)產(chǎn)生不同的身體體驗(yàn),比如游戲的自由性可以讓身體獲得快感體驗(yàn),虛幻性可以獲得超現(xiàn)實(shí)體驗(yàn)等。二者密切的關(guān)系,更加說明了電視節(jié)目游戲化傾向?qū)⑹闺娨暫蜕眢w走得更近。 論文重點(diǎn)論述了電視節(jié)目游戲化背景下,各類型電視節(jié)目所引發(fā)的身體效應(yīng)。這些類型節(jié)目包括娛樂化新聞節(jié)目、電視廣告、體育節(jié)目、偶像劇、互動(dòng)電視,這些節(jié)目有力地說明了當(dāng)游戲元素增加時(shí),電視傳播中的身體效應(yīng)會(huì)變得更強(qiáng)烈。正因?yàn)檫@一點(diǎn),身體效應(yīng)在電視傳播中具有重要的應(yīng)用和研究?jī)r(jià)值。 目前,對(duì)于電視節(jié)目游戲化現(xiàn)象的成因有多種解釋,本文在前人研究的基礎(chǔ)上,從一個(gè)全新的視角——身體訴求來解釋電視節(jié)目唯游戲獨(dú)尊的根源。另外,現(xiàn)今國(guó)內(nèi)對(duì)身體敘事、身體效應(yīng)的研究多停留在文學(xué)、藝術(shù)等領(lǐng)域,本文結(jié)合電視特點(diǎn),將“身體效應(yīng)”概念引入影視研究的視閾,將身體界面的編解碼特征及身體效應(yīng)的形成加以綜合考察。
[Abstract]:Body effect is a kind of psychological projection mechanism, is a virtual world simulation experience, is the audience to look at their own subconscious reaction. With the continuous injection of gameplay elements in TV programs, the new program forms attract more attention from the audience, and the body effect in TV communication is stronger than ever before. Therefore, the in-depth study of body effect will enrich the audience's sensitivity to TV programs and improve the effect and intensity of television transmission. This article starts with the concept of body, through the analysis of philosophers on body since Plato, Melo? Ponty's definition of body is the starting point of this paper. The body is no longer just the existence of the body, but also the whole of all kinds of sensory organs and mental consciousness. On this basis, this paper draws lessons from Schiller, Kant, Freud and other game theories about the body, and expounds the close relationship between body and game. In terms of constitution, the audience is also an important part of the game, just like the participant, which lays a solid theoretical foundation for revealing the body effect in TV communication. From the perspective of perceptual relationship, different characteristics of the game will produce different physical experience, such as the freedom of the game can make the body get pleasure experience, illusory can obtain surreal experience and so on. The close relationship between the two shows that the tendency to play TV programs will make TV and body closer. This paper focuses on the physical effects caused by various types of TV programs under the background of video games. These types of programs include entertainment news programs, television commercials, sports shows, idol dramas, and interactive television, which powerfully demonstrate that the physical effects of television transmission become more intense as game elements increase. Because of this, the body effect has the important application and the research value in the television transmission. At present, there are many explanations for the phenomenon of video games. Based on the previous studies, this paper explains the origin of TV programs' dominance of game from a new angle of view-body appeal. In addition, the research on body narration and body effect in China is mostly in the field of literature, art and so on. In this paper, the concept of "body effect" is introduced into the visual threshold of film and television research in combination with the characteristics of television. The encoding and decoding characteristics of body interface and the formation of body effect are comprehensively investigated.
【學(xué)位授予單位】：哈爾濱工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類號(hào)】：G222

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

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本文編號(hào)：2405016