“互联网+”文创内容的把关及其规制  

Supervision and Regulation of Cultural and Creative Products in Internet+ Era

作　　者：许立勇[1] XU Li-yong(Overseas Cultural Facilities Construction and Management Center at Ministry of Culture, Beijing, 100020)

机构地区：[1]文化部海外文化设施建设管理中心,北京100020

出　　处：《深圳大学学报（人文社会科学版）》2017年第5期44-49,共6页Journal of Shenzhen University：Humanities & Social Sciences

基　　金：国家社会科学基金艺术学重点项目"文化艺术与科技融合视域下的文化产业发展路径研究"(13AH006)

摘　　要："把关人"理论自20世纪40年代末美国传播学学者卢因提出以来,在当代的报纸、广播、电影、电视等大众传播领域发挥着重要的作用。网络信息时代,以"内容生产——审查——传播"为路径、以传播链为核心的传统线性把关模式,渐渐"远离"了中心,在"互联网+"背景下形成了以"内容生产者"为中心的非线性的多元的把关模式。这种新的"把关模式"对传统的"把关人"理论进行了重构,正在呈现新的特点。同时,"互联网+"为文创内容的规制带来了新变化和新要求,亟需建构"互联网+"文创内容把关的新范式,并探索规制的路径。Since Lu Yinti, an American scholar in communication studies, put forward the ＂gatekeeper theory＂in the late 1940 s, the theory has been playing a very important role in contemporary mass media such as newspapers, radio, film and television. In network information era, however, the conventional linear gatekeeping pattern, which follows the path of ＂production-censorship-dissemination＂ and focuses on the dissemination chain,has gradually lost its dominance. In Internet＋ era, there forms a diverse non-linear producer-centered gatekeeping pattern. This new pattern reconstructs conventional ＂gatekeeper theory＂, manifesting new characteristics.Meanwhile, the Internet＋ era has brought about new changes and requirements in regulation of cultural and creative products. It is high time for us to construct new gatekeeping patterns for cultural and creative products in Internet＋context, and explore new ways of regulation.

关 键 词：“互联网+” 文创内容 自媒体 互联网管理 把关 规制 范式 

分 类 号：G124[文化科学]