文化视角下的映客直播APP传播研究

发布时间：2018-06-27 21:49

本文选题：映客直播APP + 文化视角　；参考：《南京师范大学》2017年硕士论文

【摘要】：2016年,在花样繁多的手机应用中,移动直播APP异军突起成为当年的流行应用。网络上甚至出现了 “一言不合就直播”的流行语来比喻直播的火爆。网络直播火爆的背景下催生了一批“路人主播”,他们并不是名人,但是却因为直播而人气上涨,并从人气上涨中通过固定的盈利模式获得或高或低的收益。本文选取了映客直播APP作为研究案例,是因为映客处于直播APP中“龙头老大”的地位,有其自身的典型性和代表性。文中首先对于映客直播APP的产生背景与内容生产进行详细介绍,着重强调映客APP目前发展状况与内容生产。其次剖析了映客直播APP的媒介特点,相比于其他网络社交APP的实时性、海量性、广泛性、公共性等,映客的媒介特性是更为突出的。它是借助媒介的产生而壮大,媒介宣传炒热直播登上观众议程,又利用“明星奇观”来加持直播,凭借着真实的生活媒介的称号,打破了既有的大众传播媒介创造的“拟态环境”。这些特点都造就了映客的主体之间良性互动、你来我往的关系,这种关系类似于日常生活中的一对多的交流。运用凝视理论、娱乐消费文化去分析映客直播的传播,是有着特定原因的。以两种文化视角为理论背景,可以深入分析在这两种文化视角下的映客直播APP的特定女性消费观。这两种文化理论的共通点在于消费女性。在凝视理论下的映客传播研究,映客直播APP上的女性主播是被用户“凝视”的美女,男性欲望眼光的特定解读,给男性观客带来“快感”,一种特定的快感传播方式诞生。而这种传播也创造映客直播APP的“美女经济”。其次,在娱乐消费文化理论下的映客,后现代的消费文化让人们接纳了文化消费、身份消费、炫耀消费等消费方式。映客直播APP的发展,与消费社会有着千丝万缕的关系。或者可以说,映客直播APP又是一个消费社会下的“作品”。女性主播们通过搞笑或是个人特技娱乐受众,创造“娱乐消费”。观客们心理催生了消费需求,创造了符号性的消费语境,通过消费避免了“认同危机”,“形象消费”成为紧俏的消费方式。这些消费语境的变化都给映客的发展提供了良机。文化视角下映客直播存在着一些问题,比如女性物化现象严重,直播内容庸俗,媒介责任缺失等等。映客直播A PP存在着那些困境和掣肘,映客直播APP发展有哪些策略,如何才能更加长远健康的发展映客直播APP,希望能通过深刻的认识文化视角下的映客直播A P P传播,可以对我国现在的直播APP的发展有所帮助。
[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.
【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：G206

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