土味视频生产消费中的情感结构与趣味区隔  

A Study of the Structure of Feelings and the Distinction of Taste in the Production and Consumption of Countrified Videos

作　　者：刘懿璇 何建平[1] Liu Yixuan;He Jianping(Shenzhen University)

机构地区：[1]深圳大学传播学院,广东深圳518060

出　　处：《新闻与传播评论》2022年第3期53-63,共11页Journalism & Communication Review

基　　金：国家自然科学基金面上项目(71772126)。

摘　　要：通过聚焦小镇青年土味视频的文化生产和展演形式,观察到土味视频不仅反映了小镇青年的精神气质、情感需求以及趣味偏好,也吸引了大量城市人群的驻足审视。研究发现:以小镇青年为主的土味视频创作者在视频生产的过程中不仅实现了情感宣泄,同时也获得了个体身份和乡土社会的认同感。另外,受众因乡土文化的亲密感,乡村符号化的生活憧憬以及土味记忆的相通性而对土味视频进行观看消费,究其根本原因是当下社会的情感结构让传受双方形成了文化上的亲密感,而趣味区隔下文化消费秩序形成了大众对土味视频的审美“歧赏”。同时,在这一传播实践过程中,土味视频的传播生产者和消费者增加了个体身份的再确定性。By focusing on the cultural production and performance of countrified videos, this paper observes that countrified videos not only reflect the spirituality, emotional needs and interesting preferences of rural netizens, but also attract a large number of urban people to watch them.The study found that the creators of countrified videos, mainly young people from small towns, not only realized emotional catharsis in the process of video production, but also gained a sense of individual identity and vernacular social identity.In addition, the user audience consumes countrified videos because of the intimacy of rural culture, the symbolic longing of rural life, and the similarity of rural memories.And these are all fundamentally due to the structure of feelings of the current society, which has formed a sense of cultural intimacy between the transmitter and receiver.While, the order of cultural consumption under the distinction of taste has formed the discriminatory aesthetic appreciation of countrified videos.At the same time, in the process of this communication practice, the communication producers and consumers of countrified videos increase the re-confirmation of individual identity.

关 键 词：小镇青年 土味视频 情感结构 趣味区隔 审美“歧赏” 

分 类 号：G206[文化科学—传播学]