由狂歡視角探討直播參與的使用與滿足 以張允曦小8的臉書粉絲團為例

直播具備直接、即時的互動特色，讓直播主與參與者共享情緒、共創文本。除了觀看影片的內容外，直播主與直播間的觀眾互動，也是人們觀看直播的重要原因(Hamilton et all,2016)。透過網路直播互動觀察與研究文獻檢閱，發現特定情境的互動的過程會展現狂歡化現象，透過小丑冠冕、眾聲喧嘩、插科打諢、再意義化等溝通語意轉化等形式呈現，甚至形成直播主與參與者角色翻轉或同時具備雙重身分的狀態。狂歡現象存在於直播中，但並非一直持續展現，以小8張允曦與粉絲之間的直播互動研究個案為例，小8直播以生活分享、輕鬆療癒及正面鼓勵的訊息為主，狂歡現象並不顯著。本研究指出，觸發狂歡現象的關鍵，攸關直播主本身的談的內容、風格及參與者預期使用與滿足的動機需求相關，亦是構成不同的情境與氛圍的影響因素。現今直播中重現的狂歡化情境，透過使用與滿足的需求角度觀察，娛樂需求與資訊需求較為顯著，別於過往狂歡化理論，閱聽人的直播使用需求被滿足，成就狂歡化的新詮釋。

關鍵字

直播；狂歡化；使用與滿足理論；巴赫金

並列摘要

With the features of direct and real-time interactivity,live streaming allows streamers and viewers to initiate shared emotions and content creation. Moreover, in addition to content consumption, the interactions between streamers and viewers are the main reasons behind live-stream usage. Based on the reviewed literature on live-stream interaction, it is found that the process of interactions in specific scenario contexts indicates “Carnival Phenomenon,” the communicative semantic conversion in the form of the clowns, gags, and re-signification etc., which in turn leads to the role reversal and dual identities among streamers and viewers. Nevertheless, the phenomenon of entertainment carnival in live streaming exists yet discontinuously last. By examining the interactions between Pei-Ying Chang, a Taiwanese actress, and her fans on Facebook Fans Club, in which Chang mainly shared positive messages, it is manifested that the key to triggering Carnival phenomenon relates to streamers’ styles and the needs of participants’ anticipated uses and gratifications, which also have effects on different live-stream scenarios and vibes. Therefore, from the uses and gratifications perspective, the study proposes a new interpretation of the carnivalization that, with the premise that live-stream viewers’ needs are satisfied, the needs of entertainment and information are more significant in the reappearance of carnival scenarios in live streaming nowadays than that in the past carnival contexts.