美国深夜脱口秀在中国:文本透明性,文本快感与政治自反（英文）
|
摘要
Although late-night talk shows are largely absent in Chinese television landscape, the genre has gained popularity among Chinese viewers on Internet platforms. First, we draw from the concept of narrative transparency and briefly discuss how late-night talk shows have the ability to appear culturally familiar despite their unfamiliar origins. Then we examine how the practice of "subbing" by fans renders these shows accessible to other fans and viewers. The fan-subtitling help highlight certain elements of these shows, namely playfulness and contentiousness, which intersect with China's Internet culture. Through interviews with fans and analysis of data from fan forum posts and online discussions, this study shows how these familiar interpretive tools help make sense of the American late-night talk shows and further provide a basis for consumption pleasure and reflexivity.
Although late-night talk shows are largely absent in Chinese television landscape, the genre has gained popularity among Chinese viewers on Internet platforms. First, we draw from the concept of narrative transparency and briefly discuss how late-night talk shows have the ability to appear culturally familiar despite their unfamiliar origins. Then we examine how the practice of "subbing" by fans renders these shows accessible to other fans and viewers. The fan-subtitling help highlight certain elements of these shows, namely playfulness and contentiousness, which intersect with China's Internet culture. Through interviews with fans and analysis of data from fan forum posts and online discussions, this study shows how these familiar interpretive tools help make sense of the American late-night talk shows and further provide a basis for consumption pleasure and reflexivity.
Although late-night talk shows are largely absent in Chinese television landscape, the genre has gained popularity among Chinese viewers on Internet platforms. First, we draw from the concept of narrative transparency and briefly discuss how late-night talk shows have the ability to appear culturally familiar despite their unfamiliar origins. Then we examine how the practice of "subbing" by fans renders these shows accessible to other fans and viewers. The fan-subtitling help highlight certain elements of these shows, namely playfulness and contentiousness, which intersect with China's Internet culture. Through interviews with fans and analysis of data from fan forum posts and online discussions, this study shows how these familiar interpretive tools help make sense of the American late-night talk shows and further provide a basis for consumption pleasure and reflexivity.
引文
Baumgartner,J.C.(2007).Humor on the Next Frontier Youth,Online Political Humor,and the JibJab Effect.Social Science Computer Review,25(3),319-338.
Cai,X.(2015).Fansubbing Humor:A Mainland China Case Study.Journalism and Mass Communication,5(9),435-453.
Caufield,R.P.(2008).The influence of“infoenterpropagainment”:Exploring the power of political satire as a distinct form of political humor.In Baumgartner Jody&Jonathan S.Morris(Eds.).Laughing matters:Humor and American politics in the media age(pp.3-20).New York,NY:Routledge.
Chasmar,J.(2014).Sohu Video brings‘Saturday Night Live’to China.Washington Times.Accessed July28,2016.http://www.washingtontimes.com/news/2014/jan/2/sohu-video-brings-saturday-night-livechina/.
China Internet Network Information Center(CNNIC).(2016).“Statistical Report on Internet Development in China”.Retrieved from http://cnnic.com.cn/IDR/ReportDownloads/201604/P020160419390562421055.pdf
Hall,S.(1993).Encoding,decoding.The cultural studies reader,4,90-103.
Harwit,E.,&Clark,D.(2001).Shaping the internet in China:Evolution of political control over network infrastructure and content.Asian Survey,41(3),377-408.
Hesse-Biber,S.N.(2010).Mixed methods research:Merging theory with practice.New York,NY:Guilford Press.
iResearch Inc.(2012).“China online video behaviour research.”Accessed July 30,2014,http://wenku.baidu.com/view/372853200722192e4536f642.html
Ishii,K.(2013).Nationalism and preferences for domestic and foreign animation programmes in China.International Communication Gazette,75(2),225-245.
Jenkins,H.(2006).Convergence culture:Where old and new media collide.New York,NY:NYU press.
Jiang,Q.,&Leung,L.(2012).Lifestyles,gratifications sought,and narrative appeal:American and Korean TV drama viewing among Internet users in urban China.International Communication Gazette,74(2),159-180.
Kalathil,S.,&Boas,T.C.(2001).The Internet and state control in authoritarian regimes:China,Cuba and the counterrevolution.First Monday,6(8).
Lee,T.E.(2014).An Exploratory Studt of Fan-based Subtitling Culture in China:With a Reference to YYeTs.翻譯學研究集刊,18,101-120.
Li,C.(2007).Dianshi de qiantu jiushi yao jiagei wangluo me?:Meiju zai zhongguo de P2P chuanbo xianxiang fenxi(Will television end up in Internet?An analysis of the dissemination of American TV drama on P2P network).Chuanmei(Media),(3),69-71.
Liebes,T.,&Elihu,K.(1993).The export of meaning:Cross-cultural readings of Dallas.Cambridge,UK:Polity Press.
Liu,F.(2011).Urban youth in China:Modernity,the Internet and the self.New York,NY:Routledge.
Lu,J.(2009).Chinese culture and software copyright.New Media&Society,11(8),1372-1393.
Ma,E.K.(2012).Desiring Hong Kong,consuming South China:Transborder cultural politics,1970-2010.Hong Kong,CHN:Hong Kong University Press.
Mattar,Y.(2008).Perceptions and(Re)presentations of Familiarity and Foreignness:The Cultural Politics of Translation in the Subtitling of Japanese Animation by Fans.Leisure/Loisir.32(2),353-378.
Meng,B.(2011).From Steamed Bun to Grass Mud Horse:E Gao as alternative political discourse on the Chinese Internet.Global Media and Communication,7(1),33-51.
Olson,S.R.(2000).The Globalization of Hollywood.International Journal on World Peace,3-17.
Parkin,M.(2010).Taking late night comedy seriously:How candidate appearances on late night television can engage viewers.Political Research Quarterly,63(1),3-15.
Wang,H.,Li,S.,&Wu,J.(2016).Cong mimei dao xiaofenhong:xinmeijie shangye wenhua huanjingxia de guozu shenfen shengchan he dongyuan jizhi yanjiu(in Chinese)(From Fandom to“Little Pinkos”:The Production and Mobilization of National Identities under New Media Commercial Culture).Chinese Journal of Journalism&Communication,38(11),35-53.
Xiao,Q.(2011a).The battle for the Chinese Internet.Journal of Democracy,22(2),47-61.
Xiao,Q.(2011b).The Rise of Online Public Opinion and Its Political Impact.In Changing Media,Changing China,edited by Susan L.Shirk,202-224.New York,NY:Oxford University Press.
Yang,G.(2009).The power of the Internet in China:Citizen activism online.New York,NY:Columbia University Press.
Yang,G.(2012).Lightness,Wildness,and ambivalence:China and new media studies.New Media and Society,14(1),170-179.
Young,D.G.,&Russell M.T.(2006).Dispelling late-night myths:News consumption among latenight comedy viewers and the predictors of exposure to various late-night shows.The Harvard International Journal of Press/Politics,11(3),113-134.
Zhang,W.(2016).The Internet and New Social Formation in China:Fandom Publics in the Making.New York,NY:Routledge.
1.Sina Video is not the most popular online video site in China. However, the famous subbers of latenighttalkshowschosetopublishthesubtitledclipstoSina Videoandpromotedthemthrough Sina Weibo, the most influential microblogging service in China. Therefore, Sina video is the most common venue for Chinese viewers to find American late-night talk shows.
2 .Douban.com is a leading social network site organised around interests such as reading, movies,music and other cultural forms. Fans of different media contents usually form up discussion groups to interact with each other.
Cai,X.(2015).Fansubbing Humor:A Mainland China Case Study.Journalism and Mass Communication,5(9),435-453.
Caufield,R.P.(2008).The influence of“infoenterpropagainment”:Exploring the power of political satire as a distinct form of political humor.In Baumgartner Jody&Jonathan S.Morris(Eds.).Laughing matters:Humor and American politics in the media age(pp.3-20).New York,NY:Routledge.
Chasmar,J.(2014).Sohu Video brings‘Saturday Night Live’to China.Washington Times.Accessed July28,2016.http://www.washingtontimes.com/news/2014/jan/2/sohu-video-brings-saturday-night-livechina/.
China Internet Network Information Center(CNNIC).(2016).“Statistical Report on Internet Development in China”.Retrieved from http://cnnic.com.cn/IDR/ReportDownloads/201604/P020160419390562421055.pdf
Hall,S.(1993).Encoding,decoding.The cultural studies reader,4,90-103.
Harwit,E.,&Clark,D.(2001).Shaping the internet in China:Evolution of political control over network infrastructure and content.Asian Survey,41(3),377-408.
Hesse-Biber,S.N.(2010).Mixed methods research:Merging theory with practice.New York,NY:Guilford Press.
iResearch Inc.(2012).“China online video behaviour research.”Accessed July 30,2014,http://wenku.baidu.com/view/372853200722192e4536f642.html
Ishii,K.(2013).Nationalism and preferences for domestic and foreign animation programmes in China.International Communication Gazette,75(2),225-245.
Jenkins,H.(2006).Convergence culture:Where old and new media collide.New York,NY:NYU press.
Jiang,Q.,&Leung,L.(2012).Lifestyles,gratifications sought,and narrative appeal:American and Korean TV drama viewing among Internet users in urban China.International Communication Gazette,74(2),159-180.
Kalathil,S.,&Boas,T.C.(2001).The Internet and state control in authoritarian regimes:China,Cuba and the counterrevolution.First Monday,6(8).
Lee,T.E.(2014).An Exploratory Studt of Fan-based Subtitling Culture in China:With a Reference to YYeTs.翻譯學研究集刊,18,101-120.
Li,C.(2007).Dianshi de qiantu jiushi yao jiagei wangluo me?:Meiju zai zhongguo de P2P chuanbo xianxiang fenxi(Will television end up in Internet?An analysis of the dissemination of American TV drama on P2P network).Chuanmei(Media),(3),69-71.
Liebes,T.,&Elihu,K.(1993).The export of meaning:Cross-cultural readings of Dallas.Cambridge,UK:Polity Press.
Liu,F.(2011).Urban youth in China:Modernity,the Internet and the self.New York,NY:Routledge.
Lu,J.(2009).Chinese culture and software copyright.New Media&Society,11(8),1372-1393.
Ma,E.K.(2012).Desiring Hong Kong,consuming South China:Transborder cultural politics,1970-2010.Hong Kong,CHN:Hong Kong University Press.
Mattar,Y.(2008).Perceptions and(Re)presentations of Familiarity and Foreignness:The Cultural Politics of Translation in the Subtitling of Japanese Animation by Fans.Leisure/Loisir.32(2),353-378.
Meng,B.(2011).From Steamed Bun to Grass Mud Horse:E Gao as alternative political discourse on the Chinese Internet.Global Media and Communication,7(1),33-51.
Olson,S.R.(2000).The Globalization of Hollywood.International Journal on World Peace,3-17.
Parkin,M.(2010).Taking late night comedy seriously:How candidate appearances on late night television can engage viewers.Political Research Quarterly,63(1),3-15.
Wang,H.,Li,S.,&Wu,J.(2016).Cong mimei dao xiaofenhong:xinmeijie shangye wenhua huanjingxia de guozu shenfen shengchan he dongyuan jizhi yanjiu(in Chinese)(From Fandom to“Little Pinkos”:The Production and Mobilization of National Identities under New Media Commercial Culture).Chinese Journal of Journalism&Communication,38(11),35-53.
Xiao,Q.(2011a).The battle for the Chinese Internet.Journal of Democracy,22(2),47-61.
Xiao,Q.(2011b).The Rise of Online Public Opinion and Its Political Impact.In Changing Media,Changing China,edited by Susan L.Shirk,202-224.New York,NY:Oxford University Press.
Yang,G.(2009).The power of the Internet in China:Citizen activism online.New York,NY:Columbia University Press.
Yang,G.(2012).Lightness,Wildness,and ambivalence:China and new media studies.New Media and Society,14(1),170-179.
Young,D.G.,&Russell M.T.(2006).Dispelling late-night myths:News consumption among latenight comedy viewers and the predictors of exposure to various late-night shows.The Harvard International Journal of Press/Politics,11(3),113-134.
Zhang,W.(2016).The Internet and New Social Formation in China:Fandom Publics in the Making.New York,NY:Routledge.
1.Sina Video is not the most popular online video site in China. However, the famous subbers of latenighttalkshowschosetopublishthesubtitledclipstoSina Videoandpromotedthemthrough Sina Weibo, the most influential microblogging service in China. Therefore, Sina video is the most common venue for Chinese viewers to find American late-night talk shows.
2 .Douban.com is a leading social network site organised around interests such as reading, movies,music and other cultural forms. Fans of different media contents usually form up discussion groups to interact with each other.