「彈幕」的「彈」與「談」－以符號學觀點看彈幕的表意、美感與應用

＂Pop up＂ and ＂Talk＂-Exploring the Ideology, Aesthetics, and Applications of Bullet-Screen from a Semiotic Point of View

莊元薰(Yuan-Hsun Chuang) ； 王藍亭(Lan-Ting Wang)

《視覺藝術論壇》 16期 (2021/12) Pp. 66-87

摘要

彈幕為2006年日本Niconico網站首次推出，為網路影音內容播出時由觀看者發送並覆蓋於螢幕上的動態評論，十餘年來於華人世界蓬勃發展，愛好者已由起初的動漫次文化族群擴展至一般大眾，對數位影音訊息傳達影響甚鉅。本研究以符號學觀點探討彈幕在當代社會的表意、審美及所延伸的應用。首先援引符號學理論，說明彈幕的符號特性及其表意特徵，再觀察其開創出的獨特美感，以及其應用於廣告、海報等設計與影音創作之表現。本研究發現，彈幕已不僅是一「彈」出螢幕，讓觀眾互相交「談」的方式，亦是一極具象徵的符號，影響當代表意與審美甚鉅。對於彈幕的盛行，本研究亦提出三項省思，盼引起更多的關注與相關研究的投入。

關鍵字

彈幕 ； 符號學 ； 符號表意 ； 動漫次文化

並列摘要

Bullet-screen was first launched on the Niconico website in Japan in 2006. It is a dynamic comment sent by viewers and overlaid on the screen when online audio-visual content is broadcast. It was introduced to China in 2007 and booms in the Chinese world. The fans of bullet-screen have expanded from the original animation subculture to the public and have great influence on communication in digital times. In this study, the ideology, aesthetics, and extended applications of bullet-screen are explored from a semiotic point of view. Firstly, citing semiotic theory to explain the ideographic characteristics of the bullet-screen, then observe the unique aesthetics created by it, and its applications in advertising, posters...and other design creations. This study found that the bullet-screen is not only a comment that pop up for viewers to express, but also a highly symbolic sign, which is significant in representing meaning and aesthetics. Furthermore, regarding the prevalence of bullet-screen culture, three reflections are proposed in this study. Hoping to bring further academic discussion.

並列關鍵字

bullet-screen comments ； semiotics ； symbolic ideology ； animation subculture