本文選題：娛樂(lè)類 + 移動(dòng)視頻直播��； 參考：《鄭州大學(xué)》2017年碩士論文

【摘要】：隨著移動(dòng)互聯(lián)網(wǎng)4G時(shí)代的到來(lái)和移動(dòng)智能終端的迅速發(fā)展,移動(dòng)視頻直播平臺(tái)開(kāi)始出現(xiàn),并迅速成為熱門手機(jī)應(yīng)用。移動(dòng)視頻直播平臺(tái)是以智能手機(jī)、平板電腦等移動(dòng)通訊設(shè)備為載體進(jìn)行視頻內(nèi)容制作播出和接收,依托網(wǎng)絡(luò)技術(shù)搭建虛擬直播間,提供實(shí)時(shí)表演和互動(dòng),以觀眾打賞為主,廣告分成、電商引流等盈利方式的信息傳播及娛樂(lè)方式,其中娛樂(lè)類移動(dòng)視頻直播指的就是以?shī)蕵?lè)內(nèi)容為主的移動(dòng)視頻直播。截至2016年,市場(chǎng)上先后出現(xiàn)了200多家直播平臺(tái),數(shù)量眾多的用戶以及大量的資本投資,使移動(dòng)視頻直播行業(yè)在短短一年的時(shí)間里狂飆突進(jìn)。在迅猛發(fā)展的同時(shí)移動(dòng)視頻直播也出現(xiàn)了很多問(wèn)題,如市場(chǎng)競(jìng)爭(zhēng)混亂、內(nèi)容質(zhì)量差、商業(yè)模式不清晰等等。不同于以往業(yè)界對(duì)娛樂(lè)類移動(dòng)視頻直播平臺(tái)盈利模式、資本構(gòu)成的分析或?qū)W界針對(duì)視頻直播過(guò)度娛樂(lè)化的批判,本文從內(nèi)容生產(chǎn)的角度出發(fā),從目前移動(dòng)視頻直播平臺(tái)的熱門內(nèi)容入手,用內(nèi)容分析的研究方法對(duì)國(guó)內(nèi)娛樂(lè)類移動(dòng)視頻直播平臺(tái)直播內(nèi)容的基本情況和傳播效果進(jìn)行分析,將收集到的熱門平臺(tái)中的熱門內(nèi)容進(jìn)行整理,從中分析出熱門娛樂(lè)類移動(dòng)視頻直播在內(nèi)容生產(chǎn)方面的共性特點(diǎn)和其中存在的問(wèn)題,并根據(jù)目前的行業(yè)發(fā)展?fàn)顩r和媒介發(fā)展規(guī)律提出針對(duì)性的解決措施。文章根據(jù)下載量和用戶活躍度選擇了六個(gè)娛樂(lè)視頻直播APP,并從中各選取三個(gè)熱門直播內(nèi)容,通過(guò)五天的收集整理,對(duì)這些內(nèi)容的生產(chǎn)者、形式、具體內(nèi)容進(jìn)行總結(jié)分析后發(fā)現(xiàn)個(gè)性主播、高互動(dòng)性、優(yōu)質(zhì)娛樂(lè)內(nèi)容是成為熱門直播的必備條件,另外還發(fā)現(xiàn)目前娛樂(lè)類移動(dòng)視頻直播平臺(tái)本身還場(chǎng)景單調(diào)、低俗內(nèi)容屢禁不絕、生產(chǎn)模式僵化等問(wèn)題。為了解決這些問(wèn)題,本文提出在娛樂(lè)類移動(dòng)視頻直播內(nèi)容生產(chǎn)過(guò)程中應(yīng)該強(qiáng)化直播內(nèi)容的移動(dòng)性,擴(kuò)展直播場(chǎng)景;提高用戶生產(chǎn)內(nèi)容和專業(yè)生產(chǎn)內(nèi)容的融合度,創(chuàng)新生產(chǎn)模式;加強(qiáng)技術(shù)性,引入VR直播;同時(shí)還要注重政府、行業(yè)協(xié)會(huì)、平臺(tái)自身對(duì)內(nèi)容監(jiān)管的結(jié)合,共同引導(dǎo)娛樂(lè)類移動(dòng)視頻直播的未來(lái)發(fā)展路徑。
[Abstract]:With the arrival of the 4G era of mobile Internet and the rapid development of mobile intelligent terminals, mobile video broadcasting platform has begun to appear and become a hot mobile phone application. The mobile video broadcasting platform uses mobile communication devices such as smart phones and tablets as the carrier to make and receive video content, build virtual live broadcast rooms based on network technology, provide real-time performances and interactions, and give priority to audience rewards. Advertising division, e-commerce drainage and other profitable ways of information dissemination and entertainment, including entertainment mobile video live broadcast refers to the entertainment content of mobile video live broadcast. As of 2016, there have been more than 200 live broadcast platforms, a large number of users and a large amount of capital investment, which has caused the mobile video broadcasting industry to surge in just one year. With the rapid development of mobile video, there are many problems, such as market competition chaos, content quality poor, business model unclear and so on. Different from the past industry on the entertainment mobile video broadcast platform profit model, capital analysis or academic criticism of video streaming excessive entertainment, this paper from the perspective of content production, Based on the current popular content of mobile video broadcasting platform, this paper analyzes the basic situation and spread effect of domestic entertainment mobile video live broadcast platform with the research method of content analysis. The popular content collected from the popular platform is sorted out, and the common features and problems in the content production of the popular entertainment mobile video live broadcast are analyzed. And according to the current situation of industry development and media development law put forward targeted solutions. According to the download and user activity, the article selects six live entertainment video live apps, and selects three popular live broadcast content from each of them. Through five days' collection and collation, the producers and forms of these content are analyzed. After summing up and analyzing the specific content, we find that personality anchorman, high interactive, high quality entertainment content is the necessary condition of popular live broadcast. In addition, we also find that the current entertainment mobile video broadcasting platform itself is also monotonous, and the vulgar content is repeatedly prohibited. Rigid production model and other issues. In order to solve these problems, this paper proposes that in the production of entertainment mobile video live content, we should strengthen the mobility of live video content, expand the live broadcast scene, improve the integration of user production content and professional production content, and innovate the production mode. At the same time, we should pay attention to the combination of government, industry association and platform to supervise the content, and guide the future development of entertainment mobile video broadcasting.
【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)】：G206

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