腐化無罪、BL萬歲!泰國BL劇與跨國華人觀眾之研究

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2020

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泰國BL劇近年來開始大量的出現在電視上。除了泰國觀眾以外,同時也吸引了泰國境外的觀眾,其中多數為中國與台灣的華人觀眾。無論這些觀眾通過官方或者非官方的管道接觸泰國BL劇,泰國媒體以及製作團隊也都已經注意到此現象。以往的BL閱聽人研究主要的研究對象大多為二次元的BL閱聽人,針對三次元的BL閱聽人,如BL劇的相關研究十分稀少,且其論述並不完善。而本研究將從跨國面向討論BL閱聽人,探究三次元的BL迷文化,並以泰國BL電視劇為主,彌補BL閱聽人研究的缺口。為了能深入了解泰國BL劇的跨國華人觀眾,本研究也將以深度、非結構化訪談模式與14位居住在中國、台灣、或是泰國的華人觀眾對話。本研究主要探討兩種經驗的面向,分別是作為泰國BL劇的閱聽人,以及作為泰國BL劇演員的粉絲。在閱聽人的面向,本研究試圖探討泰國BL劇的跨國華人觀眾的群體特質、泰國BL劇的跨國傳播與流通、泰國BL劇給華人觀眾提供的愉悅感以及其背後意義。而粉絲面向則意圖探究華人觀眾的追星作為與意義,以及對泰國BL劇演員的情慾想像。研究發現,固定持續收看泰國BL劇的華人觀眾不一定皆為腐女,可按照該邏輯以此類推,正意味著無論何種背景的觀眾皆具備「腐」的潛力。另外,無論是泰國BL劇或演員活動訊息,因科技的介入,中國字幕組或粉絲後援會能夠在限制的環境中通過各式各樣的管道給華人觀眾提供資源。可見,在此種趨勢下,泰國BL劇得以在受限的環境中跨國傳播與流通,非營利目的的粉絲勞動作為十分關鍵的幕後推動者。不寧唯是,無論是閱聽人或者粉絲的面向,對華人觀眾而言,其愉悅感來源僅圍繞著真人演員。而泰國的娛樂產業模式和文化習俗等元素促使好追星環境的形成,有助於跨國華人觀眾接觸作為快樂源泉的泰國明星。
In recent years, a large number of Thai BL (Boys love) drama have been broadcast on television. In addition to luring the Thai audience, they also fascinate many Chinese-speaking audiences in Taiwan and China. Whether these transnational Chinese audiences find Thailand's BL dramas through official or unofficial channels, Thai media and production teams have also noticed this phenomenon. In the past, the research object of BL audiences was mostly two-dimensional BL audiences (namely, manga, anime, or fictional character fans), the research on three-dimensional BL audiences, such as BL drama is very rare, and its discussion is not enough. So this study will consider BL audiences from a transnational perspective, explore the three-dimensional BL fan culture, and make up for the gap in BL audiences research by focusing on Thailand's BL drama. In order to have a deeper understanding of Thailand's BL drama and its transnational Chinese audience, this study conducted in-depth interviews with 14 Thai BL drama veteran viewers. As for the analysis and processing work is divided into transnational Chinese audiences as audience of Thailand's BL drama and fans of Thailand's BL drama actors. This study explores (1) the group characteristics of transnational Chinese audience, (2) the transnational propagation and circulation of Thailand's BL drama, (3) the sense of pleasure provided by Thailand's BL drama to Chinese audience and the meaning behind it, (4) the cultural actions of Chinese audience and its significance, and (5) the Chinese audience's sexual imagination of Thailand's BL drama actors. After analyzing the interview data, it is found that the Chinese audience who constantly watch Thailand's BL drama are not only funu (the Chinese equivalent of fujoshi, a Japanese term meaning females who enjoy BL texts). It seemed that anyone could be a funu. In addition, whether it is Thailand's BL drama or actors’ activities information, due to the intervention of Internet and social media technology, Chinese subtitle groups and fan associations can provide resources to Chinese audiences through various channels in a restrictive environment. It can be seen that under this phenomenon, fan labor is a key driving force. Moreover, for Chinese audiences, the source of their pleasure originates from the Thai BL drama actors. The particular fan-star interactions from the Thai entertainment industry and culture have motivated transnational Chinese audiences to move across borders and facilitated bliss and gratification.

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泰國BL劇, 華人觀眾, 腐女, 跨國追星, Thailand’s (Thai) BL drama, Chinese audience, fǔnǚ/Fujoshi, Transnational fan

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