研究生: |
蘇育瑩 Su, Yu-Ying |
---|---|
論文名稱: |
V LIVE直播平台、K-POP偶像的日常紀實與數位迷群 V LIVE, K-POP Idol’s Daily Record and Digital Fandom |
指導教授: |
胡綺珍
Hu, Kelly |
口試委員: |
胡綺珍
Hu, Kelly 蔡如音 柯裕棻 |
口試日期: | 2021/12/23 |
學位類別: |
碩士 Master |
系所名稱: |
大眾傳播研究所 Graduate Institute of Mass Communication |
論文出版年: | 2022 |
畢業學年度: | 110 |
語文別: | 中文 |
論文頁數: | 151 |
中文關鍵詞: | V LIVE 、直播平台 、偶像直播 、K-POP偶像 、迷群 |
英文關鍵詞: | V LIVE, Live Streaming Platform, Idol Live Stream, K-POP Idol, Fans |
研究方法: | 文本分析 、 網路田野觀察法 |
DOI URL: | http://doi.org/10.6345/NTNU202200094 |
論文種類: | 學術論文 |
相關次數: | 點閱:238 下載:106 |
分享至: |
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近年來,各國明星開始紛紛經營起個人社群媒體,藉此與大眾進行溝通交流。其中,特別是現今風靡全球的韓國K-POP偶像,他們不只是使用社群媒體而已,還更積極地做起直播內容來與粉絲互動,帶起了韓國娛樂圈經營直播的盛行風氣。K-POP偶像這樣運用直播來提升個人能見度的模式,使得直播在內容面上的製作不斷變化且變得更加豐富,同時,也影響了直播平台的發展和追星文化的轉變。而這正是本研究將以文本分析與網路參與觀察來探討的核心內容。
K-POP偶像做V LIVE直播打破了過往他們塑造形象的方式。透過直播無剪輯的拍攝,展示出他們各種日常生活,以真實的樣貌吸引觀眾與粉絲,且建立起親近感。不僅如此,更將「日常」當作一種類型,風格化直播的內容,藉此形塑自己個人直播的特色,以及讓粉絲和觀眾能夠從中獲得趣味。然而,在他們運用「日常」來紀錄跟包裝自己的同時,連帶的也將生活與工作交雜在一起,公私界線愈趨模糊,甚至更容易陷入公關危機之中。而這使得他們無法自由地直播所有事情給粉絲和觀眾看,不得不管制原本要呈現的「真實」。因此,即便直播是將偶像最貼近真實日常的一面呈現給大眾觀看,這樣所展示出的內容依舊有部分受到內部的審查,偶像並非完全脫下形象的面具。
V LIVE直播平台的出現,讓偶像與粉絲有了新的溝通渠道來進行互動交流,並且產生出數位的親密關係,打造了新型態的追星生態。並且,藉由平台科技所形塑出的「現場感」,使得偶像與粉絲之間不再有強烈的距離感,而是意識到彼此是共存在當下的關係。然而,V LIVE的服務內容也不免帶給了粉絲和觀眾一種受制於官方、被其收編的感受。即使如此,V LIVE直播平台對於偶像、粉絲和K-POP圈的影響仍不可小覷,同時,其為韓流文化的發展出力,引領著持續高漲的聲勢,也有不少的貢獻。
In recent years, celebrities around the world have started to run their social media to communicate with the public. Especially the K-POP idols who are popular all over the world nowadays. They not only use social media but also actively do live streaming content to interact with fans. It has become the tendency in the Korean entertainment industry by doing live streaming. The pattern of K-POP idols using live streaming to improve their visibility makes the production of live streaming content constantly changing and becoming more plentiful. Meanwhile, it affects the development of live streaming platforms and the transformation of idol-worshiping culture as well. In this article, we will discuss this main core by textual analysis and network participant observation.
K-POP idols doing V LIVE breaks the way they used to show themselves. Through live streaming filming without editing, various kinds of idols’ daily lives are revealed in the public. It attracts audiences and fans with their real appearance and establishes a sense of intimacy at the same time. Not only taking "daily" as a category, idols also stylize the content of live streaming to shape the characteristics of their live streaming and make fans and audiences get fun from it. However, when they use "daily" to record and show themselves, their lives and works are mixed together. The line between public spheres and private space is blurred and even causes public relations crisis. It prevents idols from showing everything to their fans and viewers freely and forces them to limit what they want to be "real". Therefore, even if the live streaming is to show the most daily life image of the idol to the public, some of the contents revealed in this way are still subject to internal censorship, the idols are not completely taken off their mask of perfect image.
With the emergence of V LIVE, idols and fans have a new communication channel to interact and communicate. The digital intimacy has also been generated between idols and fans, and a new type of idol-worshiping ecology established. In addition, the "Liveness" created by the platform technology makes idols and fans no longer have strong sense of distance, but realize that their relationship coexists at that moment. However, the service of V LIVE gives fans and viewers a feeling that they are under the control of this platform and being cooptation. Even so, the influence of V LIVE on idols, fans, and the K-POP field cannot be underestimated. At the same time, it contributes to leading the continuous upsurge of momentum, having a lot of contributions to the development of Korean wave culture.
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三、韓文文獻
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