#正濱漁港：社群媒體與網路新聞潮流下的觀光凝視

Abstract

在後疫情時代的全球變動下，人們對於網際網路的依賴更甚，網路上的文化生態對於生活的影響與發展也愈發重要，首當其衝面對巨大衝擊的觀光旅遊業又是如何面對這樣的轉變？在這樣的轉變下，過去的文化生產方式又是如何激盪出新的變化？本研究以約翰．厄里（John Urry）的「觀光凝視」（Tourist Gaze）作為理論鷹架，並以近幾年藉由彩色屋爆紅的「正濱漁港」作為考察對象，透過網路民族誌的方式，以網路新聞及社群媒體Instagram為主要材料，來探討後疫情及網路世代的地方文化治理與文化生產。研究首先從當代的媒體閱聽樣貌中，抽絲剝繭文化地景的形成與凝視的建構，媒體的匯流、自媒體的賦權等因素使文化生產民主化，新聞透過機制篩選與傳播特定形象，形成「機制化的集體凝視」並促使「景觀」形成，地方被固定為單一圖像符碼，媒體化凝視得以鞏固並強化。社群媒體雖為「民主化的集體凝視」，仍受新聞影響形成「典型凝視」，大量複製同角度樣貌的地景。同時，疫情期間「非典型凝視」的數量比例大增，凝視跳脫既有框架，展現出更多在地文化風貌，勾勒出關懷地方人文與地方發展的「在地凝視」。社群媒體的賦權使新秘境產生，卻也因使用者運用社群媒體時的獨特文化慣習，難以脫詮釋循環，顯現文化地景中權力流動與結構的複雜化。Towards the fast-changing trends in the post-pandemic era, people depends on internet more than ever, how internet has shaped our culture and lives has become a vital issue. Tourism has been the sector hit hardest by the crisis. Under this circumstance, how does tourism turn the old way of making culutrue into a new form? This thesis exploit the “Tourist Gaze” theory by John Urry and focus on Chen-Pin Fishing Harbor’s trending tourist spot – the Color House. Using internet news and Instagram photos as a research material, to discuss the local govermance and cultural production in this generation.This thesis begins from Digital Convergence tendencies nowadays that inflence how cultual landscapes and tourist gaze were built. Web news communicate specific images through its selection mechanism, which causes “institutionalized mass gaze”, and built the landscapes of one place. Gradually, the place were rigidified into simple image. The Media Gaze were unshakable even more.Although social media, also known as self-media, is defined as “democratized mass gaze”, and been considered making cultural production democratization, the images on Instagram still inflenced by web news and turns into “typical gaze” photos. Those posts demonstrate the same landscape as if they were copied images. In the meantime, the pandemic also makes “atypical gaze” photos grow. Those photos show us different culture facts in one place. Beside, the empowerment of social media can create a new Secret Spot in one place, but still the users can’t escape from the hermeneutical circle. The power structure of Tourist Gaze in a cultural landscape is extrmely complicated in this generation. Cultural govermance in local places must face more challenges in post-pandemic era.