论社交电视在文化益智类节目中的困境与对策——从河北卫视的“中华好”系列节目说起  

On the Application and Countermeasures of Social TVin Cultural and Educational Programs

作　　者：彭翠 赵静[2] 董敏 PENG Cui;ZHAOJing;DONG Min(Shanghai University,Shanghai 20000,China;Hebei University,Baoding 071002,China)

机构地区：[1]上海大学新闻传播学院,上海200000 [2]河北大学新闻传播学院,河北保定071002 [3]河北大学社科处,河北保定071002

出　　处：《广西科技师范学院学报》2020年第2期25-29,共5页Journal of Guangxi Science & Technology Normal University

基　　金：河北省哲学社会科学基金项目“河北省文化益智类节目的品牌构建与受众心理研究”(HB19XW018)。

摘　　要：社交电视作为一种节目创作的思维方式,随着技术的迭代已经成为受众喜闻乐见的一种视听模式。文章以社交电视在河北卫视的“中华好”系列节目中的应用困境为起点,着重从内容、渠道、技术、受众等方面分析了社交电视在文化益智类节目中的普遍困境;在此基础上,提出了电视媒体与社交媒体如何在有效利用UGC、优化用户体验、朝着智能化方向发展道路上实现互动与融合;此外,改变用户从被动收看到跨屏互动的参与模式,重建以节目为中心的电视观众群,并借助技术的发展,充分开掘AR带来的场景式体验,无疑也是当前社交电视在文化益智类节目中的可行性策略。Social TV,as a way of thinking about program creation,has become an audio-visual mode that audiences love with the iter⁃ation of technology.This article starts with the dilemma of the application of social TV in the“China Good”series of Hebei TV,and analyz⁃es the general dilemma of social TV in cultural and educational programs from the aspects of content,channels,technology,and audience.On this basis,it is proposed how TV media and social media can achieve interaction and integration on the road of effectively using UGC,optimizing user experience,and moving towards intelligence.In addition,changing the user's participation mode of passively watching multi-screen interaction,rebuilding the TV-centric audience centered on the program,and leveraging the development of technology to fully explore the scene-like experience brought by AR is undoubtedly also the cultural puzzle of social TV Feasible strategies in category programs.

关 键 词：社交电视 文化益智类节目 当前困境 互动融合 应用策略 

分 类 号：G206[文化科学—传播学]