本文選題：映客直播APP + 文化視角　； 參考：《南京師范大學(xué)》2017年碩士論文

【摘要】：2016年,在花樣繁多的手機(jī)應(yīng)用中,移動直播APP異軍突起成為當(dāng)年的流行應(yīng)用。網(wǎng)絡(luò)上甚至出現(xiàn)了 “一言不合就直播”的流行語來比喻直播的火爆。網(wǎng)絡(luò)直播火爆的背景下催生了一批“路人主播”,他們并不是名人,但是卻因為直播而人氣上漲,并從人氣上漲中通過固定的盈利模式獲得或高或低的收益。本文選取了映客直播APP作為研究案例,是因為映客處于直播APP中“龍頭老大”的地位,有其自身的典型性和代表性。文中首先對于映客直播APP的產(chǎn)生背景與內(nèi)容生產(chǎn)進(jìn)行詳細(xì)介紹,著重強(qiáng)調(diào)映客APP目前發(fā)展?fàn)顩r與內(nèi)容生產(chǎn)。其次剖析了映客直播APP的媒介特點(diǎn),相比于其他網(wǎng)絡(luò)社交APP的實時性、海量性、廣泛性、公共性等,映客的媒介特性是更為突出的。它是借助媒介的產(chǎn)生而壯大,媒介宣傳炒熱直播登上觀眾議程,又利用“明星奇觀”來加持直播,憑借著真實的生活媒介的稱號,打破了既有的大眾傳播媒介創(chuàng)造的“擬態(tài)環(huán)境”。這些特點(diǎn)都造就了映客的主體之間良性互動、你來我往的關(guān)系,這種關(guān)系類似于日常生活中的一對多的交流。運(yùn)用凝視理論、娛樂消費(fèi)文化去分析映客直播的傳播,是有著特定原因的。以兩種文化視角為理論背景,可以深入分析在這兩種文化視角下的映客直播APP的特定女性消費(fèi)觀。這兩種文化理論的共通點(diǎn)在于消費(fèi)女性。在凝視理論下的映客傳播研究,映客直播APP上的女性主播是被用戶“凝視”的美女,男性欲望眼光的特定解讀,給男性觀客帶來“快感”,一種特定的快感傳播方式誕生。而這種傳播也創(chuàng)造映客直播APP的“美女經(jīng)濟(jì)”。其次,在娛樂消費(fèi)文化理論下的映客,后現(xiàn)代的消費(fèi)文化讓人們接納了文化消費(fèi)、身份消費(fèi)、炫耀消費(fèi)等消費(fèi)方式。映客直播APP的發(fā)展,與消費(fèi)社會有著千絲萬縷的關(guān)系�；蛘呖梢哉f,映客直播APP又是一個消費(fèi)社會下的“作品”。女性主播們通過搞笑或是個人特技娛樂受眾,創(chuàng)造“娛樂消費(fèi)”。觀客們心理催生了消費(fèi)需求,創(chuàng)造了符號性的消費(fèi)語境,通過消費(fèi)避免了“認(rèn)同危機(jī)”,“形象消費(fèi)”成為緊俏的消費(fèi)方式。這些消費(fèi)語境的變化都給映客的發(fā)展提供了良機(jī)。文化視角下映客直播存在著一些問題,比如女性物化現(xiàn)象嚴(yán)重,直播內(nèi)容庸俗,媒介責(zé)任缺失等等。映客直播A PP存在著那些困境和掣肘,映客直播APP發(fā)展有哪些策略,如何才能更加長遠(yuǎn)健康的發(fā)展映客直播APP,希望能通過深刻的認(rèn)識文化視角下的映客直播A P P傳播,可以對我國現(xiàn)在的直播APP的發(fā)展有所幫助。
[Abstract]:In 2016, in a variety of mobile applications, mobile live app suddenly became a popular application. Even appeared on the network, "a word on live" catchwords to describe the popularity of live broadcast. The popularity of webcast has given birth to a group of "passers-by anchors" who are not celebrities, but who have gained popularity because of the live broadcast, and have made high or low profits through fixed profit models from the rising popularity. In this paper, the author chooses app as a case study, because it has its own typicality and representativeness because it is in the position of "leading leader" in live broadcast app. In this paper, the background and content production of app are introduced in detail, and the current development and content production of app are emphasized. Secondly, it analyzes the media characteristics of the app, which is more prominent than other network social app, such as real-time, magnanimity, extensiveness, publicity and so on. It is strengthened by the emergence of the media. The media propagandizes and hypes live broadcast on the audience's agenda, and uses "Star Wonders" to bless the live broadcast, relying on the title of the real life media. It breaks the "pseudo environment" created by the existing mass media. These characteristics create a positive interaction between the main body, a relationship similar to the daily life of one-to-many communication. There are certain reasons for analyzing the spread of live broadcasting by using the theory of gazing and entertainment consumption. With two cultural perspectives as the theoretical background, we can deeply analyze the specific female consumption view of app from these two cultural perspectives. The common point of these two cultural theories is to consume women. Under the theory of gaze, the female anchorman on the app is a beautiful woman who is "gazed" by the user. The special interpretation of male desire brings "pleasure" to the male viewer, and a special way of communication of pleasure is born. And this kind of communication also creates the "beauty economy" of app live broadcast. Secondly, under the theory of entertainment consumption culture, postmodern consumption culture allows people to accept cultural consumption, identity consumption, show off consumption and other consumption patterns. The development of app is closely related to consumer society. Or it can be said, live screen app is also a consumer society under the "works." Female anchormen create "entertainment consumption" by amusing and entertaining audiences with individual stunts. The psychology of visitors spawned consumption demand, created symbolic consumption context, avoided "identity crisis" through consumption, and "image consumption" became a tight consumption mode. These changes in the consumer context provide a good opportunity for the development of the audience. There are some problems in the cultural perspective, such as the serious phenomenon of female materialization, vulgar content, lack of media responsibility and so on. There are some difficulties and constraints in the development of APP. What are the strategies for the development of app, and how to develop it more healthily in the long run? I hope that through a profound understanding of the cultural perspective of the direct broadcast of APP, I hope to be able to broadcast live broadcast of APP from the perspective of a profound understanding of culture. It can be helpful to the development of live broadcast app in our country.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：G206

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