社交媒體方面留學dissertation
12-28, 2014
一些出色的社交網(wǎng)站如Facebook，Twitter正在漸漸成為新一代的電視平臺（肯尼，2010年）。在社交網(wǎng)站上看電視給廣播模式中的“接受”和“接觸”增加了新的層面。用戶在社交網(wǎng)站還可以體驗一些融入到電視中的功能工具如語音聊天、網(wǎng)友評價和標簽，這些都以一種更加個性化和親密化的方式吸引了用戶。
電視促進了人們多種形式的社交能力(Oehlberg, Ducheneaut, Thornton, Moore, Nickell: 2006年)，一項人種志學的研究將社交廣播模型的互動模式進行了分類：直接（在看電視的時候與朋友和家人聊天）；間接（與同伴和朋友討論之前看的電視）。直接社交是根據(jù)麥克魯恩（1964年）的客廳體驗得出的，表達了在客廳通過電子媒介（廣播模式）創(chuàng)造出的一種同步性的感覺。他描繪了在一個配有電視的客廳，家庭成員在邊看邊討論電視內(nèi)容。這種參與媒介通過給他家庭成員一個共同的討論話題，促進了他們之間的社交能力。
Whiz-bang social networking sites such as Facebook, Twitter are becoming new platforms for next television generation (Kenny, 2010). Watching television content on social networking sites has added new dimensions to the broadcast model in terms of ‘reception’ and ‘engagement’. Experiencing TV content with functional tools embedded in social networking sites such as voice chat, peer ratings, tagging engages users in a more personalized and intimate manner.
TV fosters multiple forms of sociability (Oehlberg, Ducheneaut, Thornton, Moore, Nickell: 2006), an ethnographic study was conducted to analyze the pattern of interaction of broadcast model that categorized sociability as: direct (chatting with friends and family while watching TV) and indirect (discussing previously viewed TV content with peer and friends). The direct sociability is much on the lines of Mc Luhan’s (1964) living room experience that conveys a sense of synchronicity created by electronic medium (broadcast model) and the living room. He depicts a living room equipped with TV and family members that discuss about TV content while watching it. Such an involvement with the medium promotes sociability among family members by giving them a common topic to discuss.
In the current era, the broadcast model practices direct and indirect form of sociability. Indirect form of sociability refers to ‘water cooler conversation’ (Jenkins: 2000) amongst friends and peers while or after watching TV content. For many of us, the water cooler dialogue has gone digital (Jenkins 2000), in the present context it refers to social networking sites such as Facebook, Twitter and Orkut, that attracts tones of TV fans from all over the world to share ideas and insights at a single platform. The fact that fans are no longer committed to appointment based television i.e. watching shows on broadcast model at a given time and channel, has shifted them to potential jugglers whose movements to different mediums are defined by certain gratification. Gratification refers to amusing activities carried out by online communities of fandom on networking sites that are synonymous to ‘readers’ who other than recovering meanings from the text also apply those meanings to their lived experience (Jenkins :1992).#p#分頁標題#e#
Fandom communities on networking sites are huge and extend beyond peers, neighborhood, cities, countries, and even continents. Online varied content may interest to different fandom communities; what I am interested to discuss here is how such shifts in social networking affects a) circulation of TV content via posting of links and videos on networking sites b) consumption of content by online fandom communities resulting monologue to dialogue. For instance if Brooky becomes a fan of Simpson’s Halloween special episode on Facebook and the same gets posted to all her friends; does it induces a conversation between friends who more or less likely to talk about Simpson? Or her friends going to take this opportunity to discuss something unique about the episode and unleash facts that are not known before.
Facebook in simple words is a networking site, but ascertaining how we incorporate it in our routine life would take some time to ponder. A simple user may use Facebook for networking but a fan of Simpson’s may use it as a forum to discuss about its plot and other characteristics. Different users use networking platforms for varied reasons, other than users or fans who exchange their favorite links and videos, network channels too use such platforms for range of promotional activities such as offering full episodes of popular programs online, making deleted scenes available online, generating episodic commentary of a series etc too boost the fandom activities on social networking, for instance status updates and regular posts to fandom’s wall keep them posted about recent development in the show or series. Posting and sharing videos across networking sites not only sparks comments but forms a series of endless conversation with recent additions. CNN networks fans on Facebook via different pages (pages based on different channels of CNN –CNN International, CNN Turk etc) each catering to different set of niche fandom communities, the pages share links to main websites and have special tabs on the wall such as Twitter tab, video tab that highlights the recent most developments and updates from the channel (Calderon, 2010).
Networking sites (new media) are technologically designed to be more responsive for a better feedback that generates interactivity leading to participation that is dependent on social and cultural protocols surrounding fandom (Jenkins: 2006, 137). The creators (content producers) decides interactivity, and users (fans) may interact with whatever is given to them where as participation allows users to become creators and consumers of the content. In this way both network operators and non network players create and capture value while dramatically changing how consumers interact about TV text on social platforms.
Social as a noun refers to consumption and engagement of amusing activities in public spaces (Putman, 2000). Putman (2000) describes engagement with the broadcast model on social networks contributes to an individual experience and explains how individualization of technology enables contacts on social platform. As discussed before the broadcast model has been transformed by rapid changes in technology, online virtual communities has added a new spectrum for a personalized communication flow that can be accessed by range of personal devices like mobile phone, I phones etc. Personalization of media devices leads to granulation of media spaces performing a customized and personalized programming habits based on what a user or a community may like. (Klym and Montpetit: 2008, 2-7).
Thompson (2009) refers networking sites are ‘personal media network’ for every individual or user who builds a hive himself, selecting and controlling, what you want.
Video links and posts posted on a user page are ‘personalized’ and cater to a common ground shared by you and your friends or communities. Interpretation or ‘decoding’ (Hall: 1980) of the post rests on the individual, who understands and interpret meanings from the text in a personal way and act accordingly. Networking sites are tailored to individual taste and expectation, no matter what you like Simpsons or Lost, the global character of networking sites have enough fodder for entertainment hungry fans.
This seems a rich area of fandom (audience) activities that explores social platform for gratification of personal needs. Pursuing questions will be important to access as in how fandom cultivates communities around their favorite shows, when distribution of TV content flourishes through networking sites.
電視促進了人們多種形式的社交能力(Oehlberg, Ducheneaut, Thornton, Moore, Nickell: 2006年)，一項人種志學的研究將社交廣播模型的互動模式進行了分類：直接（在看電視的時候與朋友和家人聊天）；間接（與同伴和朋友討論之前看的電視）。直接社交是根據(jù)麥克魯恩（1964年）的客廳體驗得出的，表達了在客廳通過電子媒介（廣播模式）創(chuàng)造出的一種同步性的感覺。他描繪了在一個配有電視的客廳，家庭成員在邊看邊討論電視內(nèi)容。這種參與媒介通過給他家庭成員一個共同的討論話題，促進了他們之間的社交能力。
Whiz-bang social networking sites such as Facebook, Twitter are becoming new platforms for next television generation (Kenny, 2010). Watching television content on social networking sites has added new dimensions to the broadcast model in terms of ‘reception’ and ‘engagement’. Experiencing TV content with functional tools embedded in social networking sites such as voice chat, peer ratings, tagging engages users in a more personalized and intimate manner.
TV fosters multiple forms of sociability (Oehlberg, Ducheneaut, Thornton, Moore, Nickell: 2006), an ethnographic study was conducted to analyze the pattern of interaction of broadcast model that categorized sociability as: direct (chatting with friends and family while watching TV) and indirect (discussing previously viewed TV content with peer and friends). The direct sociability is much on the lines of Mc Luhan’s (1964) living room experience that conveys a sense of synchronicity created by electronic medium (broadcast model) and the living room. He depicts a living room equipped with TV and family members that discuss about TV content while watching it. Such an involvement with the medium promotes sociability among family members by giving them a common topic to discuss.
In the current era, the broadcast model practices direct and indirect form of sociability. Indirect form of sociability refers to ‘water cooler conversation’ (Jenkins: 2000) amongst friends and peers while or after watching TV content. For many of us, the water cooler dialogue has gone digital (Jenkins 2000), in the present context it refers to social networking sites such as Facebook, Twitter and Orkut, that attracts tones of TV fans from all over the world to share ideas and insights at a single platform. The fact that fans are no longer committed to appointment based television i.e. watching shows on broadcast model at a given time and channel, has shifted them to potential jugglers whose movements to different mediums are defined by certain gratification. Gratification refers to amusing activities carried out by online communities of fandom on networking sites that are synonymous to ‘readers’ who other than recovering meanings from the text also apply those meanings to their lived experience (Jenkins :1992).#p#分頁標題#e#
Fandom communities on networking sites are huge and extend beyond peers, neighborhood, cities, countries, and even continents. Online varied content may interest to different fandom communities; what I am interested to discuss here is how such shifts in social networking affects a) circulation of TV content via posting of links and videos on networking sites b) consumption of content by online fandom communities resulting monologue to dialogue. For instance if Brooky becomes a fan of Simpson’s Halloween special episode on Facebook and the same gets posted to all her friends; does it induces a conversation between friends who more or less likely to talk about Simpson? Or her friends going to take this opportunity to discuss something unique about the episode and unleash facts that are not known before.
Facebook in simple words is a networking site, but ascertaining how we incorporate it in our routine life would take some time to ponder. A simple user may use Facebook for networking but a fan of Simpson’s may use it as a forum to discuss about its plot and other characteristics. Different users use networking platforms for varied reasons, other than users or fans who exchange their favorite links and videos, network channels too use such platforms for range of promotional activities such as offering full episodes of popular programs online, making deleted scenes available online, generating episodic commentary of a series etc too boost the fandom activities on social networking, for instance status updates and regular posts to fandom’s wall keep them posted about recent development in the show or series. Posting and sharing videos across networking sites not only sparks comments but forms a series of endless conversation with recent additions. CNN networks fans on Facebook via different pages (pages based on different channels of CNN –CNN International, CNN Turk etc) each catering to different set of niche fandom communities, the pages share links to main websites and have special tabs on the wall such as Twitter tab, video tab that highlights the recent most developments and updates from the channel (Calderon, 2010).
Networking sites (new media) are technologically designed to be more responsive for a better feedback that generates interactivity leading to participation that is dependent on social and cultural protocols surrounding fandom (Jenkins: 2006, 137). The creators (content producers) decides interactivity, and users (fans) may interact with whatever is given to them where as participation allows users to become creators and consumers of the content. In this way both network operators and non network players create and capture value while dramatically changing how consumers interact about TV text on social platforms.
Social as a noun refers to consumption and engagement of amusing activities in public spaces (Putman, 2000). Putman (2000) describes engagement with the broadcast model on social networks contributes to an individual experience and explains how individualization of technology enables contacts on social platform. As discussed before the broadcast model has been transformed by rapid changes in technology, online virtual communities has added a new spectrum for a personalized communication flow that can be accessed by range of personal devices like mobile phone, I phones etc. Personalization of media devices leads to granulation of media spaces performing a customized and personalized programming habits based on what a user or a community may like. (Klym and Montpetit: 2008, 2-7).
Thompson (2009) refers networking sites are ‘personal media network’ for every individual or user who builds a hive himself, selecting and controlling, what you want.
Video links and posts posted on a user page are ‘personalized’ and cater to a common ground shared by you and your friends or communities. Interpretation or ‘decoding’ (Hall: 1980) of the post rests on the individual, who understands and interpret meanings from the text in a personal way and act accordingly. Networking sites are tailored to individual taste and expectation, no matter what you like Simpsons or Lost, the global character of networking sites have enough fodder for entertainment hungry fans.
This seems a rich area of fandom (audience) activities that explores social platform for gratification of personal needs. Pursuing questions will be important to access as in how fandom cultivates communities around their favorite shows, when distribution of TV content flourishes through networking sites.
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