本文選題：狂歡理論 + 受眾��； 參考：《長春理工大學(xué)》2016年碩士論文

【摘要】：進(jìn)入20世紀(jì)以來,人類科技飛速發(fā)展,其中最突出的表現(xiàn)是互聯(lián)網(wǎng)的普及,在媒介領(lǐng)域表現(xiàn)為媒介生態(tài)環(huán)境的變化,這使四大傳統(tǒng)媒體的地位受到了動(dòng)搖。在新的媒介生態(tài)環(huán)境下,受眾具有了多元的選擇,電視、報(bào)紙、廣播等主流媒體地位受到威脅。真人秀作為新的節(jié)目樣態(tài),開創(chuàng)了受眾與媒介關(guān)系發(fā)展的新格局,它以迅猛的發(fā)展態(tài)勢引起了受眾、媒體、學(xué)界等領(lǐng)域的共同關(guān)注。從傳播學(xué)視角來看,真人秀的本質(zhì)是群體狂歡,它既是人類狂歡精神在特定社會(huì)媒介環(huán)境中的生動(dòng)體現(xiàn),也是受眾權(quán)利意識(shí)覺醒的體現(xiàn),更是媒介與受眾話語權(quán)博弈的產(chǎn)物。真人秀的零門檻、個(gè)性表達(dá)以及極強(qiáng)的交互性等特點(diǎn),恰好滿足了受眾內(nèi)心對話語權(quán)的渴求,為受眾實(shí)現(xiàn)參與權(quán)、表演權(quán)、對話權(quán)提供了開放的平臺(tái)。從受眾自身來看,其自我意識(shí)的覺醒、媒介素養(yǎng)的提升和對精英階層的反叛等社會(huì)心理因素也為其實(shí)現(xiàn)話語權(quán)提供了內(nèi)在推動(dòng)力。然而,受眾話語權(quán)的泛濫也為受眾自身和真人秀的發(fā)展帶來了問題,這仍是不容忽視的部分。本文追根溯源,從真人秀崛起的時(shí)代背景入手,系統(tǒng)闡述了受眾話語權(quán)在真人秀中的具體實(shí)現(xiàn)方式,從社會(huì)文化、受眾個(gè)體和媒介技術(shù)三方面探究受眾話語權(quán)在真人秀中得以實(shí)現(xiàn)的原因、總結(jié)出受眾實(shí)現(xiàn)話語權(quán)的正面效果、受眾話語權(quán)泛濫所引發(fā)的問題以及對問題的思考,揭示真人秀的狂歡特質(zhì)與受眾的狂歡訴求二者之間千絲萬縷的聯(lián)系,以期實(shí)現(xiàn)對受眾的社會(huì)文化心理進(jìn)行探究,并對真人秀發(fā)展有所裨益的研究目的。
[Abstract]:Since the 20th century, the rapid development of human science and technology, in which the most prominent manifestation is the popularity of the Internet, in the media field for the media ecological environment changes, which makes the four traditional media status has been shaken. In the new media ecological environment, the audience has multiple choices, TV, newspapers, radio and other mainstream media status is threatened. Reality TV, as a new program model, has created a new pattern of the relationship between audience and media. It has aroused the common concern of audience, media, academia and other fields with the rapid development. From the perspective of communication, the essence of reality TV is group carnival, which is not only the vivid embodiment of human carnival spirit in the specific social media environment, but also the embodiment of the awakening of the audience's right consciousness, and the result of the game between the media and the audience's discourse right. The characteristics of reality TV, such as zero threshold, personality expression and strong interactivity, exactly satisfy the audience's desire for the right to speak, and provide an open platform for the audience to realize the right of participation, performance and dialogue. From the audience's own point of view, the awakening of their self-consciousness, the promotion of media literacy and the rebellion against the elite also provide an internal impetus for the realization of their right to speak. However, the flood of audience's right of speech also brings problems to the development of audience and reality show, which is still a part that can not be ignored. Based on the background of the rise of reality TV, this paper systematically expounds the specific realization of the audience's right to speak in reality show, and from the social culture, This paper explores the reasons for the realization of the audience's discourse right in reality TV from the three aspects of audience individual and media technology, summarizes the positive effect of the audience's realization of the right to speak, the problems caused by the overflowing of the audience's right to speak, and the thinking on the problems. This paper reveals the relationship between the carnival characteristics of reality TV and the carnival demands of the audience in order to realize the social and cultural psychology of the audience and benefit the development of the reality show.
【學(xué)位授予單位】：長春理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類號(hào)】：G222

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