In recently years, the online short films has become the most popular activity among the netizens of Taiwan. It was due to the improvement of online streaming technology, the increasing of network bandwidth, and the widespread of mobile device. Besides, the video recording and editing equipment have getting cheaper, and also more user-friendly. All these transformations have turned one-way passive audience into two-way positive ¡§Prosumer¡¨.
The rising of online short films is the breakthrough of the traditional movie production, which empowered ordinary people to create their own videos. And, YouTube is the most popular ¡§stage¡¨ for amateur videos. Both the ¡§Cathedral style¡¨ videos of specialists and ¡§Bazaar style¡¨ videos of amateurs coexist and prosperous on the video-sharing website. The researcher, as a video amateur, was very curious about the ¡§carnivalization¡¨ of the online short films, and hope to investigate this effect through practice.
This research takes the action research as the main research approach, and the content analysis as the supplement. The research process is divided into two stages. At the first stage, researcher analyzed the video content of ¡§YouTube¡¦s most viewed video¡¨ in order to find out what elements do these high click-through rate videos have in common. At the Second stage, the researcher implemented the action research base on the results of previous content analysis. The videos made by the researcher categorize as business-oriented and non-commercial oriented, in order to discover how these online short films constructed the carnivalization of the audience.
The findings of this research could summarize into three main points. First, there are four important elements of YouTube¡¦s most viewed videos, which are ¡§music¡¨, ¡§love affair¡¨, ¡§joy¡¨ and ¡§story¡¨. Second, the business-oriented online short films construct the carnivalization of audience by ¡§culture identity¡¨, ¡§anti-normal performance¡¨, and ¡§sex appeal¡¨. Third, the non-commercial oriented online short films construct the carnivalization of audience by ¡§phonetic difference" game, ¡§nationalism¡¨, and ¡§cussing¡¨. Both of the carnival factors can be used in business-oriented or non-commercial oriented films, but the operating skills and strategy are quite different.
| Identifer | oai:union.ndltd.org:NSYSU/oai:NSYSU:etd-1224112-230536 |
| Date | 24 December 2012 |
| Creators | Hsieh, Chun-Lin |
| Contributors | Fen-Hui Lin, Feng-Yang Kuo, Shao-Jung Wang |
| Publisher | NSYSU |
| Source Sets | NSYSU Electronic Thesis and Dissertation Archive |
| Language | Cholon |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-1224112-230536 |
| Rights | unrestricted, Copyright information available at source archive |
Page generated in 0.0017 seconds