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| Title: | 日常生活中的社群凝視與美學建構─ 以Instagrammer為例
Social gaze and aesthetic construct in daily life – take Instagrammers for example |
| Authors: | 鍾育庭
Chung, Yu-Ting |
| Contributors: | 劉慧雯
鍾育庭
Chung, Yu-Ting |
| Keywords: | 社群媒體
社群凝視
日常生活美學化
Instagrammer
形式美學
Instagramism
Social media
Social gaze
Daily life anesthetization
Instagrammer
Formalist aesthetic
Instamgramism |
| Date: | 2021 |
| Issue Date: | 2021-11-01 11:52:57 (UTC+8) |
| Abstract: | 本研究旨在探討Instagram日常生活影像美學化的現況，以及Instagrammer在平台機制互動及社群凝視下的美學建構過程。
「我要拍IG照」是時下年輕人常在不特定場合會脫口而出的話語，拍照時除了調度設計場景及刻意展現身體姿勢外，精心修整照片更是上傳社群前的必要過程。俄羅斯學者Lev Manovich形容這是一種興新發展的視覺美學溝通，有別於其他社群型態，應將此獨特的影像匯流文化歸納為一種新的美學觀點。然而每一個社群媒體上的發文都可視為使用者作為觀看及被觀看的主體性選擇，因此本研究以觀看理論—凝視角度為中心，試圖梳理在社群環境下凝視影像與自身關係。而生活感的影像在社群中日趨美化，除了瞭解Instagrammer與平台機制互動的協商、生產的循環外，並試圖以實踐的限制及框架為依據，透析Instagrammer在媒體生產、媒體環境、媒體體驗之間的日常美學實作與協定。
本研究採取任務施作及深度訪談法，以觀察慣性使用下的一連串步驟，並探討Instagrammer在社群上的凝視與美學經驗。研究結果顯示，機制互動協商確實存在第二層次的使用特徵，利用社群工具使得空間成為複數的自我存在方式，並以社群結構的概念去進行多重控制。除此之外，社群中凝視的作用力超越大眾媒體時代的幻想功能，數位足跡所反饋的量化數字，使得閱聽人能投射在現實生活中，投入更多不同的情感及假設性立場。在美學實踐上，亦不斷受到凝視的客體影響，也會受到想像的閱聽眾及實際的數字回應所塑造，透過觀看、反思、連續與互動而形成自我的再現，同時馴化他人的美學觀點。
This research aims to explore the current situation of Instagram’s aestheticized images in everyday life and the process of aesthetic construct along with the platform interactions among Instagrammers and social gaze.
“I want to post on Instagram.” It is the phrase that modern young people often blurt out. In addition to arranging the scenes and showing body figures, elaborately optimizing photos is a necessary step prior to posting. Russian researcher, Lev Manovich, describes this as a trend on Instagram for aesthetic visual communication. Different from other social communities, this distinct culture is supposed to be generalized to a new aesthetic idea. Each post on social media can be regarded as a subjective selection that users are either viewing or viewed. Therefore, this research is based on viewing theory –social gaze centric, trying to organize the relationship between gazing images and self in a social community. Daily life images have become more satisfactory. Apart from finding out the negotiations for Instagramers and the cycle of interactions with the platform, the research attempts to point the limit of practical use and frame, analyze the everyday practice of media production, media environments, and media experiences.
The research conducts tasks and in-depth interviews to observe a series of intuitive steps, and discuss Instagrammers’ social gaze and aesthetic experiences. The result indicates the interaction negotiations indeed show in the second layer of user features, utilizing social tools to enable the plural self to exist and making use of the concept of the social construct to multiple control it. Moreover, the power of the social gaze in community surpasses the fantasy function that the mass media creates. Digital footprints reflect quantitative figures which allow viewers to feel empathy, immerse themselves in various emotions and hypothetical conditions. In the aesthetic practice, viewers are constantly influenced by gazing objectivity, imaginary audience, and actual feedback numbers. Through viewing, reflection, continuity, and interaction, it reforms yourself as well as domesticates others’ aesthetic ideas at the same time. |
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| Description: | 碩士
國立政治大學
傳播學院碩士在職專班
106941007 |
| Source URI: | http://thesis.lib.nccu.edu.tw/record/#G0106941007 |
| Data Type: | thesis |
| DOI: | 10.6814/NCCU202101650 |
| Appears in Collections: | [傳播學院碩士在職專班] 學位論文
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| 100701.pdf | | 5818Kb | Adobe PDF2 | 497 | View/Open |
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