政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/101344
English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  全文筆數/總筆數 : 113318/144297 (79%)
造訪人次 : 51026572      線上人數 : 939
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
搜尋範圍 查詢小技巧:
  • 您可在西文檢索詞彙前後加上"雙引號",以獲取較精準的檢索結果
  • 若欲以作者姓名搜尋,建議至進階搜尋限定作者欄位,可獲得較完整資料
  • 進階搜尋
    請使用永久網址來引用或連結此文件: https://nccur.lib.nccu.edu.tw/handle/140.119/101344


    題名: 觀看與被觀看:台灣真人秀的慾望監控、螢幕機體與偽裝後現代
    其他題名: Watch and be Watched: Desire for Surveillance, Screenborging and Postmodern Fakery In Taiwan`s Local Reality TV
    作者: 簡妙如
    Jian, Miao-Ju
    關鍵詞: 真人實境節目;假真人秀;媒體科技;TV 搜查線
    Reality TV;Taiwan’s local reality show;media technology;TV Spy
    日期: 2008-06
    上傳時間: 2016-09-05 16:53:56 (UTC+8)
    摘要: 近年來在國內外引起注意的真人實境節目,在台灣的本土版本\\r 中,則呈現出另類的觀看真實與真實被觀看的樂趣。在影像特效、\\r 各式敘事想像與眾多耀眼明星所組成的繽紛媒體時代,為何人們反\\r 而要觀看起這類強調臨場真實、畫面粗糙、不講究美感與藝術性的\\r 真人秀電視?而這類以「觀看真實」為核心的節目形式,又蘊含什\\r 麼樣的媒體科技、真實、慾望與主體的相互形塑關係?在全球化的\\r 真人實境節目脈絡下,本研究以曾在台灣引發爭議的偷窺真人秀節\\r 目,【TV 搜查線】(2001-2004,華視)為分析文本。本文指出這\\r 個本地真人秀節目,既展現出某種全球化的慾望與監控相互形塑的\\r 觀看文化,也展現出更由電視媒體與身體所共構的觀看關係。並 且,在台灣特有的「作假真人秀」節目形式下,真實成為一種關於\\r 「偽裝」的後現代文化展現。
    The global rise of the Reality TV genre has generated a new localized viewing pleasure. People, from all over, are now enjoying not only watching but also being watched on Reality TV. In the fantastic age of media convergence, why does the audience like to watch real but sometimes banal people and images portrayed in reality shows? How do media technology, reality, desire and subject interaction dance together in order to shape one another on the formatting stage of reality shows? The case study of Taiwan’s local reality TV, TV Spy (2001-2004, CTV), is a hidden camera based program. It also has what one could call a ‘gotcha’ format. This paper explores the intertwined nature of the observer being observed relationship in reality shows. This article suggests that global reality TV has created a viewer’s desire for surveillance. The format of reality TV generates a more involved audience. The name screenborg has been coined to this effect. It is a co-construction of screen effects and the reactive body of viewers. Furthermore, the special case of Taiwan’s local reality show also represents a postmodern visual culture of fakery, adroitly created by an invisible production line in Taiwan’s local TV industry.
    關聯: 廣播與電視, 28, 95-124
    Journal of Radio & Television Studies
    資料類型: article
    顯示於類別:[亞洲廣電與新媒體研究 (原名:廣播與電視)] 期刊論文

    文件中的檔案:

    檔案 描述 大小格式瀏覽次數
    28(p95-124).pdf568KbAdobe PDF21049檢視/開啟


    在政大典藏中所有的資料項目都受到原著作權保護.


    社群 sharing

    著作權政策宣告 Copyright Announcement
    1.本網站之數位內容為國立政治大學所收錄之機構典藏,無償提供學術研究與公眾教育等公益性使用,惟仍請適度,合理使用本網站之內容,以尊重著作權人之權益。商業上之利用,則請先取得著作權人之授權。
    The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

    2.本網站之製作,已盡力防止侵害著作權人之權益,如仍發現本網站之數位內容有侵害著作權人權益情事者,請權利人通知本網站維護人員(nccur@nccu.edu.tw),維護人員將立即採取移除該數位著作等補救措施。
    NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - 回饋