网络KUSO影像创作的特点  

The Analysis on the Network KUSO Video

作　　者：胡泊[1] 

机构地区：[1]南阳师范学院新闻与传播学院,河南南阳473061

出　　处：《南都学坛（南阳师范学院人文社会科学学报）》2009年第6期75-78,共4页Academic Forum of Nandu:Journal of the Humanities and Social Sciences of Nanyang Normal University

基　　金：南阳师范学院科研基金资助课题"城市电视台民生新闻报道策略";项目编号:QN2009017

摘　　要：作为一种文化现象,搞笑视频即KUSO影像,与传统影像相比,它的意义并不仅仅体现在其传播过程中受众双重身份的互换,而且在于其对源文本进行重构时所体现出的颠覆与解构。KUSO影像与传统影像最大的不同点就在于,它可以随意检索、使用传统影像。在KUSO影像的创作过程中,借助的是源影像文本的画面,经过对大众化影像文本的本地化加工,从而形成了与KUSO接受者从语言和内容上有很大接近性的搞笑的影像文本。由于网络传播的开放性,每完成一次这样的KUSO"接龙,"KUSO影像的创作者就加入一些自己生活中所熟知的元素,形成与自己及周围人相关联的新的文本。KUSO影像作品有浓厚的后现代文化特性,消解权威、调侃历史、戏仿经典、针砭时弊是它的主旨。KUSO, compared with traditional video, is characterized by its parody of an established or well-known moves. Therefore, its significance lies not only in the shifting of the role of the viewer, but also in the re-adaptation and re-framing of the sourse text. KUSO differs from traditional videos in that it has unlimited resources to edit and rearrange. KUSO involves almost anyone who has an access to the internet, which enables every viewer, as long as he wishes, to add something of his own to the KUSO work. Naturally, such addition relates KUSO work to himself more closely.

关 键 词：KUSO影像 KUSO精神 影像接龙 后现代 

分 类 号：G206.3[文化科学—传播学]