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沉浸还是干擾?中國大陸弹幕觀影研究 / Flow or not? A research about danmaku-on-video in China李章穎 Unknown Date (has links)
彈幕作為一種新型的實時評論工具,源自日本,發展至中國大陸後被廣泛應用到電影、電視、影音網站、廣告、電子書等諸多領域。隨著彈幕經濟的增長,這個源自於ACG(Animation、Comic、Game)產業的小眾文化漸漸走入大眾視野,彈幕背後的生活方式正在被越來越多的人接受,彈幕影音的使用者也呈現爆發式的增長。
本研究以中國大陸的彈幕影音為例,試圖以沈浸理論來探討彈幕觀影行為。本研究希望探討閱聽眾在彈幕觀影中的沈浸過程,以挑戰與技巧、目的來探討閱聽眾的彈幕觀影的沈浸前因,以愉悅感、注意力和時間扭曲來探討彈幕觀影的沈浸經驗,以使用意願來探討彈幕觀影沈浸的結果。
本研究收集有效問卷556份,結果發現彈幕觀影的沈浸包含愉悅感、時間扭曲感兩項,彈幕觀影技巧、彈幕觀影的目的對彈幕觀影沈浸有顯著正向影響;彈幕閱聽眾的沈浸狀態則會顯著正向影響其使用意願。
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媒介/文本/人?以塊莖思維探析彈幕觀影情境 / Media/Text/Audience? Rhizoanalysis of Danmaku Viewing Contexts夏慧馨, Hsia, Hui Hsin Unknown Date (has links)
彈幕(Danmaku, danmu),是一種評論分享系統,原生於日本線上影音交流平台,其直接覆蓋在影視文本的文字符號文化展現特殊觀影型態。隨著影片播放過程以及彈幕隨機出現,使用者於觀影當下必須隨時改變閱聽焦點來理解瞬間變化的內容,意義生產更加複雜。
彈幕影片呈現出高度流動的觀影文本與觀影狀態,然則現行分析影視文本、媒介、閱聽人研究尚未針對三者變動交互關係-亦即彈幕與影視文本交疊的型態,及閱聽人的接收歷程與反應進行深入分析。Deleuze和Guattari的塊莖思維強調物質與概念的生成(becoming)與裝配(assemblage),以力量的關係作用構成動態的世界觀。據此,本研究設計一個詮釋「流動性」的研究架構,用以同時探究彈幕文本的瞬間形變與使用者觀看影片的瞬間審美體驗。
本研究將彈幕文本與使用者視作兩部「機器」,透過情動力(affect)串聯彈幕、影像內容、使用者異質感受交雜變動的歷程。研究最後提出「嬉遊文本」與「文本人」的概念來說明塊莖式審美的意涵,以及未來的可能應用。 / Danmaku, or Danmu, is a comment-sharing system originating from Japanese online video-streaming platforms. It constitutes a specific viewing state. Videos are covered with texts and symbols, which keep varying and breaking the connotation and denotation of meaning. Danmaku also complicates the perception of the audience. However, such frequently changing viewing contexts have never been studied thoroughly.To illustrate the interrelation among media, texts and audience, this study aims to develop a “fluxional” research framework.
To interpret “sudden” metamorphoses of clips and “sudden” visual experiences while people are viewing Danmaku films, this study takes Deleuze and Guattaris’ figurative concepts of rhizome as main research perspectives. Rhizomatic thinking focuses on the “assemblages” of physical objects and metaphysical concepts as well as how they are “becoming,” which all together constitute a dynamic worldview. In this study, Danmaku films and the audience are both seen as “machines”, through which the “affect” flows. The “affect” forms various rhythms, which energize the constant changing of the content in a video, arousing instant sensation and comprehension.
In the end, this study brings up “collective play script” and “text-er” to conceptualize the context of Rhizo-aesthetic experience, in a hope to offer a new approach to understand new media interface and content design.
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