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互卸、BBS與“鄉土劇”的流行:以《天下第一味》為例

Interpassivity, BBS and the Popularity of "Taiwanese TV Series": The Sublime Delicacies in the World as an Example

摘要


台灣近年來電視八點檔始終是「鄉土劇」當道,而這些「鄉土劇」收視群很廣,並不是一般想像的是中、老年人為主,許多學生及年輕的上班族都是忠實的粉絲,而某些收視率高的八點檔,在受歡迎的BBS(電子佈告欄系統)上,甚至有專屬討論板,日前三立的連續劇《天下第一味》非常受歡迎,因此在批踢踢的三立板常有熱烈的討論。從批踢踢的討論中,可以發現現在的節目與觀眾互動的模式,因為網路的出現,而與過去有所不同。本文將以廖朝陽教授的互卸(interpassivity)觀念來討論BBS與「鄉土劇」的流行現象的關係。廖在<失能、控御與全球風險>中提出互動(interactivity)與互卸兩種思考框架的區分,互動指的是有施才有受的的思考框架,而互卸則是考慮虛擬受力的層次。以電視節目而言,螢幕提供了一個有互卸可能的介面,隱藏在此介面背後有許多想像的聯結與潛能,而BBS與電視節目的關係則是此互卸可能最好的例子。

關鍵字

互卸 表面 BBS 鄉土劇 天下第一味

並列摘要


In recent years, the most popular ”8 o'clock TV Series,” or prime time TV series, have usually been those ”Taiwanese TV Series. ”Their audience, not limited to the middle-aged people and the elders as we usually imagine, include young students and young adults. Some prime time TV series with high viewing rates have their faithful fans, some of whom set their own message boards in certain BBSs (Bulletin Board Systems) to demonstrate their support for those TV shows. The Sublime Delicacies in the World produced by SET TV was one of the successful TV shows in 2006. The heated discussions in the message board set by its passionate fans manifest its popularity. The phenomenon reveals an essential change in terms of the interactions between TV shows and their audience: the internet helps facilitate the audience's active communication with TV shows. This paper aims to discuss the relationship between BBSs and the popularity of Taiwanese TV series from the perspective of interpassivity, a new concept raised by Chaoyang Liao. Liao differentiates the concept of interactivity from that of interpassivity. According to him, interactivity refers to the concept that an action engages an actor (or actors) and one (or those) who interacts (or interact) with the actor(s). However, the concept of interactivity does not take into account the factor of what has not happened but might have effects on the action. The concept of interpassivity encompasses the factors of interactive actors and the virtual ones. In terms of TV shows, the screen of TV is a surface replete with the potential of interpassive actions. Hidden behind the surface is a huge congregate of connections and relations among virtual and real actors. The connection between BBS and TV shows demonstrates the concept of interpassivity.

參考文獻


石武耕(2006)。Kuso:對象徵秩序的裝瘋賣傻(碩士論文)。台灣大學。
柯裕棻主編、蔡其達、管中祥、鄭文華(2006)。批判的連結。臺北:唐山。
廖朝陽(2007)。失能、控卸與全球風險:《功夫》的後人類表述。中外文學。36(1),19-66。
蔡靚萱(2002)。從「衛生棉長蟲」案談BBS討論區的謠言傳播現象(碩士論文)。台灣大學。
鄭敏慧(1999)。在虛擬中遇見真實:台灣學術網路BBS站中的女同志實踐(碩士論文)。台灣大學。

被引用紀錄


周婉菱(2012)。鄉土劇不鄉土?-《天下父母心》邊拍邊播的產製策略和網路迷群文化〔碩士論文,國立臺灣師範大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0021-1610201315311111
廖郁琳(2013)。偶像劇網路社群類型差異與使用行為及滿意度之關聯性研究〔碩士論文,國立中正大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0033-2110201613542895

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