社交媒体方面留学dissertation
12-28, 2014
一些出色的社交网站如Facebook，Twitter正在渐渐成为新一代的电视平台（肯尼，2010年）。在社交网站上看电视给广播模式中的“接受”和“接触”增加了新的层面。用户在社交网站还可以体验一些融入到电视中的功能工具如语音聊天、网友评价和标签，这些都以一种更加个性化和亲密化的方式吸引了用户。
电视促进了人们多种形式的社交能力(Oehlberg, Ducheneaut, Thornton, Moore, Nickell: 2006年)，一项人种志学的研究将社交广播模型的互动模式进行了分类：直接（在看电视的时候与朋友和家人聊天）；间接（与同伴和朋友讨论之前看的电视）。直接社交是根据麦克鲁恩（1964年）的客厅体验得出的，表达了在客厅通过电子媒介（广播模式）创造出的一种同步性的感觉。他描绘了在一个配有电视的客厅，家庭成员在边看边讨论电视内容。这种参与媒介通过给他家庭成员一个共同的讨论话题，促进了他们之间的社交能力。
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#分页标题#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.
电视促进了人们多种形式的社交能力(Oehlberg, Ducheneaut, Thornton, Moore, Nickell: 2006年)，一项人种志学的研究将社交广播模型的互动模式进行了分类：直接（在看电视的时候与朋友和家人聊天）；间接（与同伴和朋友讨论之前看的电视）。直接社交是根据麦克鲁恩（1964年）的客厅体验得出的，表达了在客厅通过电子媒介（广播模式）创造出的一种同步性的感觉。他描绘了在一个配有电视的客厅，家庭成员在边看边讨论电视内容。这种参与媒介通过给他家庭成员一个共同的讨论话题，促进了他们之间的社交能力。
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#分页标题#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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