我是百萬主播：台灣女性娛樂社交直播主的圈粉經營與打賞文化

Abstract

「在未來，人人都可成名15分鐘」—美國藝術家安迪．沃荷娛樂社交直播從中國市場前進台灣，開創了新形態的「打賞經濟」。娛樂社交直播主以女性為大宗，故引發了對女性與直播主的研究動機，針對其「圈粉」與「打賞」進行探討。過去相關於娛樂社交直播主的研究之中，鮮少以「直播主」進行質性研究。若僅以深度訪談進行考察，其研究結果仍受到許多限制，考量到研究者身處異處的隔閡與文化差異，故採取「自我民族誌」對女性直播主進行研究。

女性直播主透過「美學勞動」與「表演勞動」進行圈粉，透過「情緒勞動」根深蒂固的掌握粉絲並誘導其進行「打賞」。女性直播主受平台與經紀公司／經紀人中介，必須符合直播市場的商業邏輯，有意識地將自己成為「男性凝視」的對象，並透過「陰性氣質」的展演促使男性打賞，娛樂社交直播主成為一種「性別化」的勞動。

「我是一位直播主，我同時進行著直播田野的考察與研究。」從我從事直播主的經驗之中，觀察出直播市場是由一種渴望消渴生活空洞的「寂寞經濟」。粉絲對於直播主的想像與互動，不僅止於隔著銀幕的距離，更多期望交友甚至是愛情的需求。透過自身經驗與深度訪談，探討女性從事娛樂社交直播工的自我認同與反思，以及銀幕之下所承擔的「勞動剝削」。

「百萬直播主」是新手直播主多渴望達成的里程碑，然而行走之路極其顛簸難行。成功的直播主富含著「後女性主義」所提出的自我展演與自我賦權，包含可利用的網路流量與備受寵愛的自信等。存在於亞洲脈絡之下，台灣女性娛樂社交直播主演變出特有的文化資本，並成功創立了性別化勞動的媒介景觀。"In the future, everyone can become famous for 15 minutes." American artist Andy.

Entertainment Social live stream has moved forward from the Chinese market to Taiwan, creating a new form of "gift economy". The majority of entertainment social live streamers are women, which leads to the research motivation of female and live streamers, focusing on their "appealing to fans" and "gift". In the past, there were few qualitative studies on the "live streamers" among the researches on entertainmentsocial live streamers. If we only use in-depth interviews, the research results are still subject to many limitations. Considering the estrangement and cultural differences of researchers in different places, we adopt" autoethnography " to study female live broadcast hosts.

Through "aesthetic labor" and "performance labor", female live streamers appealing to fans and deeply attract fans through "emotional labor" and induce them to "reward". Platforms and brokers are Female live streamers intermediary. Female live streamers must conform to the business logic of the live stream market, consciously make themselves the object of "male gaze", and encourage men to reward through the performance of "femininity", so as to make entertainment social live streamers a kind of"sexualized" labor.

"I am a live streamer, and I am conducting field investigation and Research on stream at the same time." From my experience as a live streamer, I can see that the live stream market is a kind of "lonely economy" which is empty and thirsty. Fans' imagination and interaction with the live streamer is not only limited to the distance from the screen, but also the demand for making friends and even love. Through their own experience and in-depth interviews, this paper explores women's self-identity and reflection in engaging in entertainment social live broadcast, as well as the "labor exploitation" under the screen.

"Million of live streamer" is a milestone that novice live streamers are eager to achieve, but the road is extremely bumpy and difficult. A successful live streamers, is rich in self-performance and self-empowerment proposed by "post feminism", including available Internet traffic and beloved self-confidence. In the culture of Asia, Taiwaness female entertainment social live stream has become a unique cultural and successfully created a media landscape of gender labor.