闖蕩於後電視、網路直播、YouTube平台的《木曜4超玩》：臺灣綜藝內容的創新

Abstract

本文從匯流文化的視角出發，在臺灣綜藝節目面臨存亡危機的背景下，透過多重中介資料（multi-mediated）法，檢視與梳理《木曜4超玩》分散又混合的多媒介性，並探討屬於後電視時代的產製特色：一、組成混雜電視與新媒體經驗的團隊。二、橫跨YouTube與麥卡貝網路電視平台的直播節目多重設計。三、不被製作單位預期的主動觀眾。四、直播中展露藝人真實的一面，及其與觀眾聊天、贊助互動過程，此一特色引發粉絲持續投入情感以建立更緊密的《木曜》社群關係。另外，「一日系列」作為具有社會視角的錄播節目，題材上與傳統電視節目無太大區隔，但從主持方式著力，找出網路語言與創新風格，在描繪職人形象佔有特殊的地位。本研究亦觀察到，《木曜》在創新企劃與經濟壓力下，實驗不同媒介與企劃內容，尋找節目與業配廣告的新出路，也為團隊帶來專業的產製形象。最後，本研究企圖透過《木曜》在資本與象徵資本的拓展與爭奪，從圈內扮演領頭、合作或是首創的角色中，檢視其自身在YouTube圈內或者跨界時的文化位置。On the basis of convergence culture, this study aims to discuss the characteristics of production in the post-television era when the industry of variety shows in Taiwan faces risks through the example of a Taiwanese variety show, “Muyao 4 Super Playing.” Specifically, the program includes a production team with hybridity and multiple streaming ways on Camerabay and YouTube platforms.Additionally, through the reality of entertainers shown in the steaming shows and interacting with the audience by chatting and sponsoring, the team attempts to motivate continuous emotional involvement of the audience to establish the close and intimate social relation of the “Muyao” community. On the other hand, as a program with social perspectives, although the topics of “One-day Series” are not different from those of traditional TV programs, it focuses on the modes of hosting and tries to find a suitable style in the Internet era, showing its specialty in depicting the image of people in various professions.Besides, under the pressure of being creative and its economic conditions, the production team has made itself much more professional through innovative strategies. Specifically, the team tries to produce a wide variety of content for different media and seeks new possibilities for content and advertisement. Overall, the production team finds its cultural role in the YouTube community and other fields by combining the competition of all capital and symbolic ones, whether it performs as a pioneer or collaborator in the industry.