政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/147003

政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/147003

English | 正體中文 | 简体中文 | Post-Print筆數 : 27 | 全文筆數/總筆數 : 113648/144635 (79%)
造訪人次 : 51572489 線上人數 : 785

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

主頁 ‧ 登入 ‧ 上傳 ‧ 說明 ‧ 關於政大典藏 ‧ 管理

到手機版

政大機構典藏 > 傳播學院 > 國際傳播英語碩士學程 > 學位論文 > Item 140.119/147003

請使用永久網址來引用或連結此文件: https://nccur.lib.nccu.edu.tw/handle/140.119/147003

題名:	當偶像和粉絲共同創造內容：Hololive Vtuber的參與文化 When idols and fans create content together: The participatory culture of Hololive Vtubers
作者:	吳杰 Wu, Jack
貢獻者:	黃俊銘 Huang, Chun-Ming 吳杰 Wu, Jack
關鍵詞:	Vtuber 虛擬YouTuber 直播參與文化日本創意媒體偶像文化御宅內容創作社群 YouTube Vtubers Virtual YouTubers Live Streaming Participatory Culture Japanese Creative Media Idol Culture Otaku Content Creation Community YouTube
日期:	2023
上傳時間:	2023-09-01 15:17:57 (UTC+8)
摘要:	YouTube已成為現代流行文化中最重要的媒體平台之一。近年來，一個新的趨勢席捲了YouTube，那便是虛擬YouTuber（Vtubers）。這一趨勢於2017年開始，並在2019年末真正的火爆起來，Vtuber是採用虛擬形象來創作內容的YouTuber。虛擬主播的內容在經歷了多次調整後，目前直播已經成為主流的內容形式。本論文是探討Vtuber文化是否可以視為參與文化的一種形式，以及Vtuber粉絲們是如何看待企業勢和獨立勢Vtuber之間的參與差距。由於Vtuber與過往的流行文化（如YouTube、直播和日本創意媒體，如動漫和偶像）具有許多共同特點，因此本研究所使用的文獻包括先前在這些相關領域的參與文化研究。考慮到Vtuber是一種新的趨勢，本研究採用定性方法，通過線上會議的形式進行一對一的訪問。受訪者要麼是一直關注Vtuber文化的硬核粉絲，要麼是與Vtuber相關的內容創作者。受訪者被詢問他們是如何參與Vtuber文化以及他們是如何看待企業勢和獨立勢Vtuber之間的參與差距。本研究發現，Vtuber文化的確可以視為一種參與文化，其主要形式包括關聯、表達和傳播。此外，雖然受訪者們認知到並承認了參與差距的存在，但他們並不認為這種差距完全是負面的。企業勢和獨立勢Vtuber確實被認為是不同的，但兩者並不一定有優劣之分。這項研究將為未來的學者打下研究這種流行文化形式的基礎。它還可以幫助有意在未來成為Vtuber的人們更加了解這種文化，並為他們取得成功提供幫助。 YouTube has become one of the most significant media platforms for modern popular culture. One of the more recent trends, having started in 2017 and really took off in late 2019, that has taken YouTube by storm is Vtubers. They are YouTubers who have adopted a virtual avatar to create content. Vtuber content has gone through many adjustments and has currently settled on streaming as its most mainstream content form. This thesis is a study of whether or not Vtuber culture can be considered a form of participatory culture and how Vtubers fans view the participation gap between agency-based and independent Vtubers. Due to Vtubers’ shared qualities with previous forms of popular culture such as YouTube, streaming, and Japanese creative media (e.g. anime and idols), the literature used in this research includes previous studies of participatory culture in these respective fields. Considering how new the phenomenon of Vtubers is, this study took a qualitative approach via one-on-one interviews conducted online through video meetings. Interviewees were either hardcore Vtubers who’ve been following the culture or Vtuber content creators. The interviewees were asked about how they participate in Vtuber culture and how they view the participation gap between agency-based and indie Vtubers. This study determined that Vtuber culture can indeed be considered a form of participatory culture, with the primary forms being affiliations, expressions, and circulations. Additionally, while the participation gap is observed and acknowledged by the interviewees, it’s not considered to be something that’s solely negative. Agency-based Vtubers and indie Vtubers are acknowledged as different, but one isn’t necessarily superior to the other. This research will help lay a foundation for future scholars to dive deeper into this form of popular culture. It can also help the industry and people who are looking to become Vtubers in the future learn more about the culture and what they can do to succeed.
參考文獻:	References Activ8 Inc. (2022). About. Activ8. Retrieved May 4, 2022, from https://activ8.co.jp/about/ Banda, D. (2020, September 2). Meet Cover Corp CEO Motoaki "Yagoo" Tanigo, the man behind Hololive`s virtual YouTubers. Anime News Network. Retrieved January 20, 2021, from https://www.animenewsnetwork.com/feature/2020-09-02/meet-cover-corp-ceo-motoaki-yagoo-tanigo-the-man-behind-hololive-virtual-youtubers/.163495 Burgess, J. (2015). From ‘broadcast yourself’ to ‘follow your interests’: Making over social media. International Journal of Cultural Studies, 18(3), 281–285. https://doi.org/10.1177/1367877913513684 Burgess, J., & Green, J. (2009). YouTube: Online video and participatory culture. Polity Press. Retrieved May 4, 2022, from https://ayomenulisfisip.files.wordpress.com/2019/02/youtube-online-video-and-participatory-culture.pdf. Busse, K., & Gray, J. (2011). Fan cultures and fan communities. The Handbook of Media Audiences, 425–443. https://doi.org/10.1002/9781444340525.ch21 Chau, C. (2010). YouTube as a participatory culture. New Directions for Youth Development, 2010(128), 65–74. https://doi.org/10.1002/yd.376 Chen, J. (2020, November 30). The Vtuber takeover of 2020. Polygon. Retrieved May 4, 2022, from https://www.polygon.com/2020/11/30/21726800/hololive-vtuber-projekt-melody-kizuna-ai-calliope-mori-vshojo-youtube-earnings Chuang, Y. C. (2011). KAWAII IN TAIWAN POLITICS . International Journal of Asia Pacific Studies, 7(3). Retrieved May 4, 2022, from https://ijaps.usm.my/?page_id=559. Cover Corp. (2022). Talent: Hololive Official Website. hololive TALENTS. Retrieved May 4, 2022, from https://hololive.hololivepro.com/en/talents Cover Corp. (2022). VTuberオーディション. hololive production. Retrieved May 4, 2022, from https://en.hololive.tv/audition Cover Corp. (2020, September 27). Regarding issues caused by on-stream statements by our talents: カバー株式会社. カバー株式会社 \| つくろう。世界が愛するカルチャーを。. Retrieved July 16, 2022, from https://cover-corp.com/news/detail/20200927-1 Cover Corp. (2021, June 9). Announcement of Kiryu Coco`s Graduation: カバー株式会社. カバー株式会社 \| つくろう。世界が愛するカルチャーを。. Retrieved July 16, 2022, from https://cover-corp.com/news/detail/20210609b Crypton Future Media. (2021). Who is Hatsune Miku? About HATSUNE MIKU \| CRYPTON FUTURE MEDIA. Retrieved September 15, 2021, from https://ec.crypton.co.jp/pages/prod/virtualsinger/cv01_us Dean, J., & Marinescu, D. (2021, June 10). The virtual YouTube world is in uproar. what`s The Virtual YouTube world? Slate Magazine. Retrieved May 4, 2022, from https://slate.com/technology/2021/06/kiryu-coco-graduating-vtube-hololive.html Eisenbrand, R., & Peterson, S. (2021, January 12). Millions of subs & huge revenues-that`s not make-believe for vtubers. omr.com. Retrieved May 4, 2022, from https://omr.com/en/vtubers-hololive-kizuna-ai/ Fukuoka, N. (2021, January 19). "投げ銭"で1億5000万円超の人気者も登場、日本発で世界を見据えるvtuberプロダクションの野望. DIAMOND SIGNAL. Retrieved September 15, 2021, from https://signal.diamond.jp/articles/-/527 FullStory. (2021, October 6). Qualitative vs. quantitative data: What`s the difference? and why they`re so valuable. FullStory. Retrieved May 4, 2022, from https://www.fullstory.com/blog/qualitative-vs-quantitative-data/ Grayson, N. (2022, May 10). How a pink-haired anime girl became one of Twitch`s biggest stars. The Washington Post. Retrieved July 16, 2022, from https://www.washingtonpost.com/video-games/2022/04/20/twitch-ironmouse-vtuber-subathon-interview/ Hamilton, W. A., Garretson, O., & Kerne, A. (2014). Streaming on Twitch: Fostering Participatory Communities of Play within Live Mixed Media. Proceedings of the SIGCHI Conference on Human Factors in Computing Systems. https://doi.org/10.1145/2556288.2557048 Hernandez, A. D. H., & Hirai, T. (2015). The reception of Japanese animation and its determinants in Taiwan, South Korea and China. Animation, 10(2), 154–169. https://doi.org/10.1177/1746847715589061 Hernández, Á. D. H. (2018). The anime industry, networks of participation, and environments for the management of content in Japan. Arts, 7(3), 42–62. https://doi.org/10.3390/arts7030042 Hogan, B. (2010). The presentation of self in the age of social media: Distinguishing performances and Exhibitions Online. Bulletin of Science, Technology & Society, 30(6), 377–386. https://doi.org/10.1177/0270467610385893 Huang, S. (2011). Nation-branding and transnational consumption: Japan-mania and the Korean Wave in Taiwan. Media, Culture & Society, 33(1), 3–18. https://doi.org/10.1177/0163443710379670 Jenkins, H. (1992). Textual poachers: Television fans and participatory culture. Taylor & Francis e-Library. Routledge. Retrieved May 4, 2022. Jenkins, H. (2006). Convergence culture: Where old and new media collide. Higher School of Economics. New York University Press. Retrieved May 4, 2022, from https://www.hse.ru/data/2016/03/15/1127638366/Henry%20Jenkins%20Convergence%20culture%20where%20old%20and%20new%20media%20collide%20%202006.pdf. Jenkins, H., Clinton, K., Purushotma, R., Robison, A. J., & Weigel, N. (2009). Confronting the challenges of Participatory Culture: Media Education for the 21st Century. MacArthur Foundation. MIT Press. Retrieved May 4, 2022, from https://www.macfound.org/media/article_pdfs/jenkins_white_paper.pdf. Kizuna AI. (2022). Biography. Kizuna AI official website. Retrieved May 4, 2022, from https://kizunaai.com/en/biography/ Kyodo. (2014, October 1). Publisher Kadokawa, internet firm Dwango Complete Merger. The Japan Times. Retrieved May 4, 2022, from https://www.japantimes.co.jp/news/2014/10/01/business/corporate-business/publisher-kadokawa-internet-firm-dwango-complete-merger/ Lin, J.H.T (2019). Because Jimmy Kimmel Wants to Know: Motivations for Watching Game Streaming as Predictors of Viewing Time and Enjoyment. Information Society Studies, 36, 39–74. Retrieved July 8, 2022, from https://ir.nctu.edu.tw/bitstream/11536/154770/1/information%20society3604.pdf. Lin, J.H.T, Bowman, N., Lin, S.-F., & Chen, Y.-S. (2019). Setting the digital stage: Defining game streaming as an entertainment experience. Entertainment Computing, 31. https://doi.org/10.1016/j.entcom.2019.100309 Live2D. (2020, June 18). What is Live2D? Live2D Cubism. Retrieved May 4, 2022, from https://www.live2d.com/en/about/ Lu, Z., Shen, C., Li, J., Shen, H., & Wigdor, D. (2021). More kawaii than a real-person live streamer: Understanding how the Otaku Community engages with and perceives virtual youtubers. Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems. https://doi.org/10.1145/3411764.3445660 Market Research Camp. (2021, July 30). 「Vチューバー」を、10代の約7割が認知. マーケティングリサーチキャンプ\|市場の旬を調査で切る！. Retrieved May 4, 2022, from https://marketing-rc.com/report/report-video-20190319.html Morrissy, K. (2020, July 31). Virtual youtuber agency Hololive apologizes for uploading videos without copyright permission. Anime News Network. Retrieved May 4, 2022, from https://www.animenewsnetwork.com/interest/2020-07-31/virtual-youtuber-agency-hololive-apologizes-for-uploading-videos-without-copyright-permission/.162427 Nagata, K. (2018, July 17). Japan`s latest big thing: `virtual youtubers`. The Japan Times. Retrieved September 15, 2021, from https://www.japantimes.co.jp/news/2018/07/17/national/japans-latest-big-thing-virtual-youtubers/ Nordvall, B. (2021). Down the Rabbit Hole: Hololive Myth, community, and digital geographies . diva portal. Retrieved May 4, 2022, from https://www.diva-portal.org/smash/get/diva2:1562108/FULLTEXT01.pdf noxinfluencer. (2022). Top 100 most subscribed youtubers in Taiwan. NoxInfluencer. Retrieved May 4, 2022, from https://www.noxinfluencer.com/youtube-channel-rank/top-100-tw-all-youtuber-sorted-by-subs-weekly nyalra. (2018, December 27). VTuberはなぜ増え、どう駆け抜けたのか？当事者たちが振り返る2018年【のじゃロリおじさん×にゃるら対談】. 電ファミニコゲーマー – ゲームの面白い記事読んでみない？. Retrieved May 4, 2022, from https://news.denfaminicogamer.jp/interview/181227 Translated by DeepL. Otmazgin, N. K. (2008). Japanese Popular Culture in East and Southeast Asia: Time for a Regional Paradigm? The Asia-Pacific Journal: Japan Focus, 6(2). Retrieved September 15, 2021, from https://apjjf.org/-Nissim-Kadosh-Otmazgin/2660/article.html. Otmazgin, N. K. (2020). Creative masses: Amateur participation and corporate success in Japan’s Media Industries. Creative Context, 65–82. https://doi.org/10.1007/978-981-15-3056-2_5 Severin, K. (2018, March 9). YouTube`s Super Chat is a guerrilla marketing gift to advertisers. LinkedIn. Retrieved July 17, 2022, from https://www.linkedin.com/pulse/youtubes-super-chat-guerilla-marketing-gift-karol-severin/ Sone, Y. (2014). Canted desire: Otaku performance in japanese popular culture. Cultural Studies Review, 20(2), 196–222. https://doi.org/10.5130/csr.v20i2.3700 Sushi [Hololive and Vtubers]. (2021, March 4). Subaru reveals the ratio of applicants for Hololive auditions. YouTube. Retrieved May 1, 2022, from https://www.youtube.com/watch?v=HRTsaTCYTdA Tanigo, M. (2022). Yagoo Twitter. Twitter. Retrieved May 4, 2022, from https://twitter.com/tanigox Top sites - Alexa. (2020). Retrieved November 4, 2020, from https://www.alexa.com/ Twitch. (2022). Over 2,500,000 are watching Twitch right now. Twitch.tv. Retrieved July 17, 2022, from https://twitchadvertising.tv/audience/ Twitch. (2022). Video On Demand. Customer support. Retrieved July 17, 2022, from https://help.twitch.tv/s/article/video-on-demand?language=en_US User Local. (2020, November 9). バーチャルYouTuber、本日1万3千人を突破（ユーザーローカル調べ）｜株式会社ユーザーローカル. 株式会社ユーザーローカル. Retrieved September 15, 2021, from https://www.userlocal.jp/press/20201109vi/ User Local. (2021). ファン数ランキング. VTuber ランキング - ユーザーローカル : 人気バーチャルユーチューバーランキング. Retrieved May 4, 2022, from https://virtual-youtuber.userlocal.jp/document/ranking User Local. (2022). 切り抜きCh 切り抜き・まとめチャンネルバーチャルyoutuber一覧(ファン数順). VTuber ランキング - ユーザーローカル : 人気バーチャルユーチューバーランキング. Retrieved May 4, 2022, from https://virtual-youtuber.userlocal.jp/office/kirinuki van Dijck, J. (2013). Youtube: The intimate connection between television and video sharing. The Culture of Connectivity, 110–131. https://doi.org/10.1093/acprof:oso/9780199970773.003.0006 Vshojo. (2022). Ironmouse. VShojo. Retrieved July 17, 2022, from https://www.vshojo.com/talent/ironmouse YouTube. (2020). 【#桐生ココ】あさココLIVEニュース！5月6日. YouTube. Retrieved July 17, 2022, from https://www.youtube.com/watch?v=tYGyZKiht18. YouTube. (2021). Why Suzuhara Lulu decided to Retire. YouTube. Retrieved July 17, 2022, from https://www.youtube.com/watch?v=4C-fIU0fYo4. Zhou, X. (2020, May). Virtual Youtuber Kizuna AI : Co-creating human-non-human interaction and celebrity-audience relationship. Lund University Publications. Retrieved May 4, 2022, from https://lup.lub.lu.se/student-papers/search/publication/9009369 亞小安. (2021, November 29). Hololive六期生首位「總帥」出道，即打破多項數據紀錄. 4Gamers 官方網站. Retrieved May 4, 2022, from https://www.4gamers.com.tw/news/detail/51012/hololive-6th-gen-debut-make-some-records
描述:	碩士國立政治大學國際傳播英語碩士學位學程(IMICS) 108461007
資料來源:	http://thesis.lib.nccu.edu.tw/record/#G0108461007
資料類型:	thesis
顯示於類別:	[國際傳播英語碩士學程] 學位論文

文件中的檔案:

檔案	描述	大小	格式	瀏覽次數
100701.pdf		1338Kb	Adobe PDF2	144	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