臺灣閱聽人對大陸戶外真人秀節目之中國形象接收研究:以《爸爸去哪兒》為例
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2018
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Abstract
2013年起大陸綜藝節目首次在臺灣各大電視台播出,並此之後愈來愈受到歡迎。本研究以其中之戶外真人秀《爸爸去哪兒》為例,分析節目文本中之中國形象,並採接收分析理論,透過質性深度訪談,探討不同世代及經驗的臺灣閱聽人對於節目所呈現之中國形象的解讀詮釋情形。
研究結果發現,不同背景的受訪閱聽人採取了不同的解讀位置。例如,去過中國之閱聽人否定節目的呈現而採對立解讀,不曾去過中國之閱聽人則贊同節目呈現而採優勢解讀。值得注意的是,閱聽人對於不同層面中國形象之呈現,採用了不同詮釋社群的觀點,如以世代觀點詮釋節目中的人民形象,另以中國經驗詮釋社會文化形象。此外,閱聽人亦因本身的興趣而關注特定的呈現,並有不同的詮釋情形。整體而言,閱聽人的解讀位置會隨著多重的詮釋社群而流動。
本研究結語指出,節目中所呈現之中國形象,顯示了中國媒體的核心價值與社會建構的能力,亦進一步地對閱聽人的媒體識讀、臺灣綜藝節目的產製、大陸的媒體產業提出省思。對於後續研究,本研究亦提出相關建議。
Chinese variety shows have become more and more popular in Taiwan since 2013. This study focuses on the outdoor reality show Where Are We Going, Dad?, analyzing China’s image portrayed by this show, as well as investigating the interpretations by Taiwanese audiences of different generations and experiences based on the reception theory and through in-depth interviews. Research results show that interviewed audiences of different backgrounds take on diverse decoding positions. For instances, those who have ever been to China undertake oppositional decodings regarding the presentation of the reality show, while those who have never been to China adopt preferred decodings. It is worth noting that regarding different dimensions of China’s image, interviewed audiences take on the perspectives from diverse interpretative communities; for example, audiences interpret “the dimension of people” in line with the view of generations, while they decode “the dimension of culture” with the experiences of visiting China. In addition, audiences pay attention, based on their interests, to particular presentations and undertake diverse decodings. In general, audiences’ decoding positions change with multiple interpretative communities. In the end, this study points out that the China’s image presented by the reality show reveals the core value and the capacity of social construction of China’s media. This study further indicates reflections on the media literacy of audiences, the production of variety shows in Taiwan, and the media industry in China. For further research, this study also propounds several suggestions.
Chinese variety shows have become more and more popular in Taiwan since 2013. This study focuses on the outdoor reality show Where Are We Going, Dad?, analyzing China’s image portrayed by this show, as well as investigating the interpretations by Taiwanese audiences of different generations and experiences based on the reception theory and through in-depth interviews. Research results show that interviewed audiences of different backgrounds take on diverse decoding positions. For instances, those who have ever been to China undertake oppositional decodings regarding the presentation of the reality show, while those who have never been to China adopt preferred decodings. It is worth noting that regarding different dimensions of China’s image, interviewed audiences take on the perspectives from diverse interpretative communities; for example, audiences interpret “the dimension of people” in line with the view of generations, while they decode “the dimension of culture” with the experiences of visiting China. In addition, audiences pay attention, based on their interests, to particular presentations and undertake diverse decodings. In general, audiences’ decoding positions change with multiple interpretative communities. In the end, this study points out that the China’s image presented by the reality show reveals the core value and the capacity of social construction of China’s media. This study further indicates reflections on the media literacy of audiences, the production of variety shows in Taiwan, and the media industry in China. For further research, this study also propounds several suggestions.
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Keywords
中國大陸綜藝節目, 閱聽人研究, 接收分析, 中國形象, Chinese Variety Shows, Audiences Research, Reception Analysis, China’s Image