本文選題：大眾文化 + 綜藝節(jié)目發(fā)展��； 參考：《廣西民族大學(xué)》2017年碩士論文

【摘要】：《奇葩說》以真實(shí)多元、不走尋常路的節(jié)目定位,吸引了眾多網(wǎng)友參與討論,他們自發(fā)地在新浪微博、百度貼吧、知乎、微信等平臺(tái)積極推廣,不斷地刷新百度指數(shù)和微博指數(shù)的峰值,成為第一個(gè)互聯(lián)網(wǎng)平臺(tái)制作的現(xiàn)象級(jí)綜藝節(jié)目,開辟了視頻網(wǎng)站自制綜藝節(jié)目的新紀(jì)元。因此研究《奇葩說》是有必要且有意義的事情。本文從大眾文化基本理論與原則出發(fā),結(jié)合后現(xiàn)代語境的特點(diǎn),運(yùn)用斯圖亞特·霍爾的“文化的循環(huán)”理論與方法,較全面地探討大眾文化視域下的《奇葩說》,為網(wǎng)絡(luò)綜藝節(jié)目的文化研究添磚加瓦,指明了綜藝娛樂節(jié)目的審美風(fēng)向和發(fā)展道路。本文主要分為三大部分,包括緒論、本論和結(jié)語。其中本論分為三章:第一章圍繞內(nèi)地綜藝節(jié)目的發(fā)展史展開梳理,提出了本研究的理論方法和實(shí)踐意義,總結(jié)出網(wǎng)絡(luò)自制綜藝娛樂節(jié)目的三大促動(dòng)力,即“機(jī)遇”、“技術(shù)”和“受眾”。第二章運(yùn)用斯圖亞特·霍爾的“文化循環(huán)”理論,對(duì)互聯(lián)網(wǎng)自制綜藝節(jié)目《奇葩說》進(jìn)行個(gè)案分析,看它如何被表征,如何制定規(guī)則,如何從內(nèi)容上進(jìn)行生產(chǎn),從而獲得觀眾的認(rèn)同進(jìn)行消費(fèi)的過程,并以文化狂歡化理論為理論基礎(chǔ)批判了網(wǎng)絡(luò)自制節(jié)目“娛樂至死”的特征。第三章以《奇葩說》為例,總結(jié)后現(xiàn)代語境下綜藝節(jié)目的同步與異步、荒誕性以及同質(zhì)性特點(diǎn),從而為綜藝節(jié)目的發(fā)展貢獻(xiàn)力量,重申綜藝節(jié)目的時(shí)代追求和社會(huì)價(jià)值,謀求綜藝節(jié)目發(fā)展審美新風(fēng)向。
[Abstract]:It has attracted a lot of netizens to participate in the discussion. They are actively promoting Sina micro-blog, Baidu's post bar, knowing, WeChat and other platforms, constantly refreshing the peak of the Baidu index and micro-blog index, becoming the phenomenon level variety show of the first Internet platform, opening video On the basis of the basic theory and principles of the mass culture and the characteristics of the post-modern context, this paper, based on the basic theories and principles of the mass culture, and the theory and method of Stuart Hall's "cultural circulation", is a more comprehensive discussion of the "wonderful flower" in the mass culture view. The cultural research of the network variety show shows the aesthetic trend and the development path of the variety entertainment program. This article is divided into three parts, including the introduction, this theory and the conclusion. The first chapter is divided into three chapters. The first chapter combs the history of the development of the mainland variety show, and puts forward the theoretical method and practical significance of this research. The three driving forces of the self-made entertainment program of the network are "opportunity", "technology" and "audience". The second chapter, using Stuart Hall's theory of "cultural circulation", analyzes how it is characterized, how to formulate rules, and how to produce it from content, from the theory of "cultural circulation" of the Internet. The third chapter, taking the theory of Cultural Carnival as the theoretical basis, criticizes the characteristics of "entertainment to death" on the basis of the theory of Cultural Carnival. The third chapter, taking the "strange flower" as an example, summarizes the synchronization and asynchronous, absurdity and homogeneity of the variety shows in the post-modern context, thus contributing to the development of the variety shows. Quantity, reiterates the times pursuit and social value of variety show, and seeks variety show to develop new aesthetic trend.
【學(xué)位授予單位】：廣西民族大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：G222

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