本文選題：明星制 + 明星真人秀�。� 參考：《上海師范大學(xué)》2010年碩士論文

【摘要】： 提起韓流,我們首先會想到韓國明星、韓劇或者韓國電影,然而近幾年,在韓國明星制的帶動下,韓國綜藝節(jié)目漸漸也開始崛起,引領(lǐng)韓流熱潮。內(nèi)地有不少電視臺模仿過韓國綜藝節(jié)目,至今還有一些節(jié)目在模仿其形式環(huán)節(jié)。而且國內(nèi)對于韓國綜藝的研究也大多集中對節(jié)目主體的形式上。 本文突破了傳統(tǒng)研究中單純以節(jié)目主體為對象,微觀個體式的研究手法,從產(chǎn)業(yè)運(yùn)作和傳播模式這兩種宏觀的視角入手,系統(tǒng)分析了韓國明星制在綜藝節(jié)目的中位置及運(yùn)作規(guī)律,及網(wǎng)絡(luò)媒介下對綜藝節(jié)目制作和傳播上的影響。 在宏觀的視角分析下,不難發(fā)現(xiàn)韓國綜藝的成功規(guī)律在于引入好萊塢的明星制并且合理本土化。筆者認(rèn)為,明星是節(jié)目的主體,是節(jié)目傳播的動力來源,更是最終受益者。從某種角度來說,節(jié)目是明星形象的一種宣傳廣告,而節(jié)目也通過明星獲得收視率,兩者是一種雙贏互利的關(guān)系。 此外通過與國內(nèi)綜藝的對比分析發(fā)現(xiàn),韓國綜藝節(jié)目中明星都有明確的綜藝形象定位,特別是偶像明星,有著偶像與綜藝的雙重定位,并在大量韓國綜藝節(jié)目特別是真人秀類的節(jié)目中,包裝展示這種定位。這種綜藝定位來源與明星本身性格但又不完全是本色表現(xiàn),是一種真實(shí)化的藝術(shù)包裝,是為了明星的商業(yè)屬性所做的一種包裝策略。相比之下,國內(nèi)的明星很少有這種清晰綜藝定位,大多本色演出,沒有考慮進(jìn)受眾市場的需要進(jìn)行包裝培養(yǎng)。 在宏觀研究產(chǎn)業(yè)規(guī)律的同時,也加入了對韓國綜藝節(jié)目主體的研究,歸納出在節(jié)目后期制作上采用了一種敘事引導(dǎo)手段,通過字幕、動畫、慢鏡頭、音樂、畫外音、觀眾反應(yīng),制造出一種情緒化、故事化引導(dǎo)的效果。 在傳播模式的分析上,提出三跨自主傳播的概念,也就是跨文化、跨國家、跨媒介的受眾自主傳播,分析了受眾自主傳播的深層原因來自與長期以來在傳統(tǒng)媒介中缺失話語權(quán)。詳盡分析了網(wǎng)絡(luò)媒介下綜藝節(jié)目的挑戰(zhàn)與機(jī)遇。 最后,結(jié)合我國國情,試提出發(fā)展民星制綜藝的策略。其本質(zhì)也就是自行培養(yǎng)發(fā)展綜藝明星,使之成為節(jié)目的附屬產(chǎn)品,通過延長民星自身的價值鏈來延長節(jié)目的價值鏈,同時再通過明星效應(yīng)擴(kuò)大節(jié)目影響力。打破節(jié)目單一依靠收視率盈利的模式。
[Abstract]:When it comes to the Korean Wave, we first think of Korean stars, Korean dramas or Korean movies. However, in recent years, Korean variety shows have gradually begun to rise and lead the Korean wave boom, driven by the Korean star system. Many TV stations in the mainland have imitated Korean variety shows, and so far some programs have been imitating its formal links. And the domestic research on Korean variety is mostly focused on the form of the main program. This paper breaks through the traditional research on the program as the object, micro-individual research techniques, from the industrial operation and communication mode of the two macro perspective, This paper systematically analyzes the position and operation rule of Korean star system in variety show, and the influence of network media on variety show production and dissemination. From the macro point of view, it is not difficult to find that the successful rule of Korean variety is to introduce Hollywood star system and make it localization. The author believes that star is the main body of the program, the power source of program dissemination, and the ultimate beneficiary. From a certain point of view, the program is a kind of publicity advertisement of star image, and the program also gets the ratings through the star, which is a win-win and mutually beneficial relationship. In addition, through the comparative analysis with the domestic variety arts, it is found that the Korean variety show stars all have a clear variety image positioning, especially the idol star, has the double position of idol and variety arts. And in a large number of Korean variety shows, especially reality shows, packaging shows this positioning. This variety art orientation source and star's own character but is not completely the true color performance, is one kind of real art packing, is for star's commercial attribute one kind of packing strategy. In contrast, domestic stars rarely have such a clear variety positioning, most of the original performance, did not take into account the needs of the audience market packaging culture. While studying the laws of the industry macroscopically, we also joined the research on the main body of Korean variety shows, and concluded that in the post-production of the programs, a narrative guiding means was adopted, through subtitles, animations, slow motion, music, voice-over sounds, and audience reactions. Create an emotional, story-based guidance effect. Based on the analysis of communication mode, the author puts forward the concept of "three-cross-independent communication", that is, the self-directed communication of the audience across cultures, countries and media, and analyzes the deep reason of the self-communication of the audience from the loss of the right of speech in the traditional media for a long time This paper analyzes in detail the challenges and opportunities of variety shows under the network media. Finally, according to the situation of our country, this paper puts forward the strategy of developing the folk star variety art system. Its essence is to cultivate and develop variety stars by themselves and make them become the subsidiary products of programs, extend the value chain of programs by extending the value chain of Minxing, and at the same time extend the influence of programs through the star effect. Break a program that relies on ratings to make a profit.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：G222

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 劉宇清;;敘事元素在韓國真人秀節(jié)目中的運(yùn)用[J];文史博覽(理論);2012年10期

相關(guān)碩士學(xué)位論文 前3條

1 王一越;電視娛樂節(jié)目與網(wǎng)絡(luò)互動研究[D];遼寧大學(xué);2011年

2 韓超;韓國電視綜藝節(jié)目形態(tài)探析[D];東北師范大學(xué);2012年

3 吳蕾;韓國明星真人秀《我們結(jié)婚了》的內(nèi)容訴求與接受效果研究[D];南京大學(xué);2013年

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本文編號：1904281