试析新浪播客的传播及发展
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摘要
继博客之后,草根媒体的新形式——播客又成为网络媒体的热门。应该说,播客的出现为互联网web2.0时代又提供了一种网聚传播内容的新途径。播客虽然是博客发展方向的一个分支,但毕竟有着与文字传播不同的一些内在文化逻辑,也带来了一些不同的文化景观,正是这些将决定播客未来空间的大小,也决定着播客不同的研究价值。播客开始成为一股不可忽视的力量,改变着现代人的精神生活,因此把它做一种现象来研究,探求它的发展历程,传播形态、传播特点,未来走向等具有非常现实的意义。
本文从传播学的视角出发,结合后现代主义、符号学等相关理论,通过分析新浪播客为切入点,分析中国播客的传播特点和未来发展趋势。本文选择的主要研究对象就是新浪网站的播客频道,因为新浪播客具备了目前国内播客网站的一般特性,具有一定的典型性,此外它独具的内容编排、营销模式等都是未来中国播客行业可以借鉴的发展方向。
本文力图通过解析新浪播客是视听结合的影像交流、平民视角的个性影像展现、浅浏览时代的强大娱乐体验以及影像文本建构、解析的自我愉悦等传播特点,发掘它目前存在的问题以及未来可能在新旧媒体融合搭配,手机媒介带动的移动播客发展以及开创城市播客等多角度的发展走向,借此揭示播客这一传播媒介的传播学意义和未来发展趋势。
Following the blog, podcasting, as a new form of grassroots media, has become the most popular online media. it is supposed to be a new way to spread content in the era of Internet web2.0 Fabric. Although the podcasting is a species during the development of blog, it is different from the word-spreading in blog. The differences are showed not only in the intrinsic cultural logic, but also in the cultural landscape. These different features determine the future development of podcasting and the different value of podcasting research. Podcasting has become a force that can not be overlooked and changed the modern spiritual life of humanbeings. It has a great realistic significance to study this phenomenon, such as exploreing the history of the podcasting development、the dissemination patterns、communication features as well as the future direction of podcasting development.
According to the perspectives of the Communication and postmodernism as well as the theories of semeiology, this paper analyzes the current situation of Chinese podcasting and its future development trend. The Sina podcasting channels is the main subjects as an example for the starting point of the analysis. The reasons I choose are it has the general characteristics of the current domestic podcasts site and the unique layout of its contents、marketing mode and so on are the future developmental direction of Chinese podcasts industries.
Through the analysis of Sina, it is showed that Sina podcasting is the combination of audio-visual image exchange、indivisual images show in personal angle、the powerful entertainment experience in the era of browser and construction of the text and imaging as well as analytical transmission characteristics such as self-pleasure. Exploring the existing problems and analyzes the future possible multi-angle developmental directions such as the integration between the new and old media、media-driven mobile phone podcasting as well as creating a city podcasting and reveling its significance in Communication and the future developmental trends.
本文从传播学的视角出发,结合后现代主义、符号学等相关理论,通过分析新浪播客为切入点,分析中国播客的传播特点和未来发展趋势。本文选择的主要研究对象就是新浪网站的播客频道,因为新浪播客具备了目前国内播客网站的一般特性,具有一定的典型性,此外它独具的内容编排、营销模式等都是未来中国播客行业可以借鉴的发展方向。
本文力图通过解析新浪播客是视听结合的影像交流、平民视角的个性影像展现、浅浏览时代的强大娱乐体验以及影像文本建构、解析的自我愉悦等传播特点,发掘它目前存在的问题以及未来可能在新旧媒体融合搭配,手机媒介带动的移动播客发展以及开创城市播客等多角度的发展走向,借此揭示播客这一传播媒介的传播学意义和未来发展趋势。
Following the blog, podcasting, as a new form of grassroots media, has become the most popular online media. it is supposed to be a new way to spread content in the era of Internet web2.0 Fabric. Although the podcasting is a species during the development of blog, it is different from the word-spreading in blog. The differences are showed not only in the intrinsic cultural logic, but also in the cultural landscape. These different features determine the future development of podcasting and the different value of podcasting research. Podcasting has become a force that can not be overlooked and changed the modern spiritual life of humanbeings. It has a great realistic significance to study this phenomenon, such as exploreing the history of the podcasting development、the dissemination patterns、communication features as well as the future direction of podcasting development.
According to the perspectives of the Communication and postmodernism as well as the theories of semeiology, this paper analyzes the current situation of Chinese podcasting and its future development trend. The Sina podcasting channels is the main subjects as an example for the starting point of the analysis. The reasons I choose are it has the general characteristics of the current domestic podcasts site and the unique layout of its contents、marketing mode and so on are the future developmental direction of Chinese podcasts industries.
Through the analysis of Sina, it is showed that Sina podcasting is the combination of audio-visual image exchange、indivisual images show in personal angle、the powerful entertainment experience in the era of browser and construction of the text and imaging as well as analytical transmission characteristics such as self-pleasure. Exploring the existing problems and analyzes the future possible multi-angle developmental directions such as the integration between the new and old media、media-driven mobile phone podcasting as well as creating a city podcasting and reveling its significance in Communication and the future developmental trends.
引文
①本文涉及的播客定义是综合了《2006 年中国播客行业报告》、《播客——web2.0 时代的典型传媒形态》等多篇学术刊物中涉及播客定义的综合。
② 定义出自《2006 年中国网络视频报告 2006 年简版》。
③ 定义出自《2006 年中国网络视频报告 2006 年简版》。
①本数据统计于广电总局 2008 年 3 月 20 日发布的《互联网视听节目服务抽查情况公告》前,所以数据中仍包括《互联网视听节目服务抽查情况公告》发布后暂停的视频分享网站。
② P2P 在 IT 届最初的含义是 Peer-to-peer(点对点),现在 P2P 已经被更广泛的理解为 Pointer-to-Pointer, PC-to-PC 等等。简单来说,P2P 就是指数据的传输不再通过服务器,而是网络用户之间直接传递数据。
③新浪播客介绍来自于新浪播客首页:http://you.video.sina.com.cn/。
[1][加]麦克卢汉.人的延伸——媒介通论[M].肖海华,译.四川:四川人民出版社,1999:23-25.
[2] 彭兰.播客发展的内在逻辑.[EB/OL](2006-06-30)[2008-03-11]. http://column.bokee.com/print.156063.html.
[3]宋红梅.“播客现象”与传播学观照[J].中国传媒报告,2005:26-28.
[4]新浪.新浪与中国电信联手 新浪互联星空播客全新亮相. [EB/OL](2006-12-26)[2008-03-11].http://tech.sina.com.cn/i/2007-05-17/10091512192.shtml.
[5][美]W.J.T.米歇尔.图像转向[J].文化研究.天津:天津社会科学出版社,2002:48-50.
[6][美]苏珊.桑塔格.反对阐释[M].程巍,译.上海:上海译文出版社,2003:11.
[7][美]弗里德里克·杰姆逊.后现代主义与文化理论[M].多人编译.陕西:陕西师范大学出版社,1987:33-40.
[8][德]黑格尔.逻辑学[M].杨一之,译.北京:商务印书馆,2006:169-234.
[9] 常震波.解读媒介图本的多重文化之像[J].现代传播,2004(3):120.
[10][加]埃里克?麦克卢汉 弗兰克?秦格龙.麦克卢汉精粹[M].江苏:南京大学出版社,2000:239.
[11][美]尼古拉·尼葛洛庞帝.数字化生存[M].汪仲,等译.海南:海南出版社,1997:89.
[12]李文君.新闻传播中的图像消费[J].现代传播,2006(6):146.
[13][美]戈夫曼.日常生活中的自我呈现[M].黄爱华,等译.浙江:浙江人民出版社,1989:23-26.
[14]百度知道.戈夫曼戏剧理论[EB/OL]. (2001-12-19)[2008-04-02]. http://www.baidu.com/s?wd=%B8%EA%B7%F2%C2%FC%CF%B7%BE%E7%C0%ED%C2%DB.
[15][意]克罗齐.美学原理[M].朱光潜,译.上海:上海人民出版社,2001:169.
[16]楼姗姗.从休闲传播的角度看“播客”现象[J].广西师范学院学报(哲学社会科学版),2006(6):23.
[17]谢云.传统媒体精英与网络草根部落传播的较量[EB/OL]. (2006-11-30)[2008-04-02].http://info.feno.cn/2006/110315/c000010440.shtml.
[18]王永强.草根传播 2.0:“郭德纲们”愤然前行[J].中国经营报,2006-2-20(5).
[19]甘丹,刘晋锋,陈婧.“馒头”VS“无级”:大众与精英的文化对垒?[J].新京报,2006-2-24(7).
[20]欧阳云玲,宁琅.播客娱乐元素的后现代性解读[J].东南传播,2007(11):114.
[21]黄匡宇.当代电视摄影制作教程[M].上海:复旦大学出版社, 2005:301-308.
[22]新华网.注意 KUSO 文化到来了[EB/OL].(2007-05-19)[2008-04-02] http://news.xinhuanet.com/fashion/2003-11/11/content_1171305.htm.
[23]张旭东.后现代主义与中国的现代性[J].中国与世界,2000(2):7—10.
[24][加]马歇尔?麦克卢汉.理解媒介[M].何道宽,译.北京:商务印书馆,2000:8.
[25]刘新锁.现代性后现代性与伦理之可能[J].读书,2006 年(3):95.
[26][美]波林·罗斯诺.后现代主义与社会科学[M].张国清,译.北京:译文出版社, 1998:18.
[27]张之沧.后现代理念与社会[M].江苏:南京.师范大学出版社,2005:107.
[28]人民网.学子论文:试析播客娱乐视频的心态和伦理法律尺度[EB/OL]. (2007-05-26)[2008-02-10].http://media.people.com.cn/GB/4900724.html.
[29]李彬.符号透视:传播内容的本体诠释[M].上海:复旦大学出版社, 2003:231.
[30]黄桂萍、吴文虎,播客的社会文本意义解读[J].国际新闻界,2006(8):66.
[31][德]卡西尔.人论[M].甘阳译.上海:上海译文出版社,1985:34-35.
[32]齐效斌.人的自我发展与符号形式的创造[M].北京:中国社会科学出版社.2002:73.
[33][美]约翰?费斯克等.关键概念:传播与文化研究辞典[M].李彬译.北京:新华出版社,2004:122 .
[34]林秀琴.零度写作[EB/OL].(2003-06-26)[2008-04-06]. http://www.ccforum.org.cn/archiver.
[35][法]Roland Barthes, Le plaisir du texte 罗兰?巴特.文之悦[M]. 李任,译.法国色伊出版,1973:20.
[36]姚守勤.从华南虎事件看“网络暴力”事件[J].新闻知识,2008(3):34.
[37]大众网网摘.网友发现:新浪播客出现大量色情视频(图)[EB/OL]. (2007-12-19)[2008-04-02] http://wz.dzwww.com/it/200703/t20070328_2078415_1.htm.
[38]聪慧.移动播客:成长中的新传媒产业.[EB/OL]. (2007-12-19)[2008-04-02] http://info.broadcast.hc360.com/2007/03/02161198442.shtml.
[39]方兴东.手机必将超越互联网——移动梦网运行四年露出冰山一角[N].市场报,2005(10):36.
[40][美]保罗?莱文森.手机——挡不住的呼唤[M].何道宽,译.北京:中国人民大学出版社,2004:24.
[41]李鹏.移动播客内容市场将会有 70 亿美金[J].通信世界网,2006(16):5-28
[42]新浪.打造城市的网络名片————从杭州城市播客落户新浪看城市营销新思路[J].广告大观综合版.2007(11):13.
[43]八强.新浪启动城市播客战略[EB/OL]. (2007-4-28) [2008-02-15]. http://www.8tops.com/113_2007tops_C82ECFACC42C4FCC8563EA96BE197A71.htm.
② 定义出自《2006 年中国网络视频报告 2006 年简版》。
③ 定义出自《2006 年中国网络视频报告 2006 年简版》。
①本数据统计于广电总局 2008 年 3 月 20 日发布的《互联网视听节目服务抽查情况公告》前,所以数据中仍包括《互联网视听节目服务抽查情况公告》发布后暂停的视频分享网站。
② P2P 在 IT 届最初的含义是 Peer-to-peer(点对点),现在 P2P 已经被更广泛的理解为 Pointer-to-Pointer, PC-to-PC 等等。简单来说,P2P 就是指数据的传输不再通过服务器,而是网络用户之间直接传递数据。
③新浪播客介绍来自于新浪播客首页:http://you.video.sina.com.cn/。
[1][加]麦克卢汉.人的延伸——媒介通论[M].肖海华,译.四川:四川人民出版社,1999:23-25.
[2] 彭兰.播客发展的内在逻辑.[EB/OL](2006-06-30)[2008-03-11]. http://column.bokee.com/print.156063.html.
[3]宋红梅.“播客现象”与传播学观照[J].中国传媒报告,2005:26-28.
[4]新浪.新浪与中国电信联手 新浪互联星空播客全新亮相. [EB/OL](2006-12-26)[2008-03-11].http://tech.sina.com.cn/i/2007-05-17/10091512192.shtml.
[5][美]W.J.T.米歇尔.图像转向[J].文化研究.天津:天津社会科学出版社,2002:48-50.
[6][美]苏珊.桑塔格.反对阐释[M].程巍,译.上海:上海译文出版社,2003:11.
[7][美]弗里德里克·杰姆逊.后现代主义与文化理论[M].多人编译.陕西:陕西师范大学出版社,1987:33-40.
[8][德]黑格尔.逻辑学[M].杨一之,译.北京:商务印书馆,2006:169-234.
[9] 常震波.解读媒介图本的多重文化之像[J].现代传播,2004(3):120.
[10][加]埃里克?麦克卢汉 弗兰克?秦格龙.麦克卢汉精粹[M].江苏:南京大学出版社,2000:239.
[11][美]尼古拉·尼葛洛庞帝.数字化生存[M].汪仲,等译.海南:海南出版社,1997:89.
[12]李文君.新闻传播中的图像消费[J].现代传播,2006(6):146.
[13][美]戈夫曼.日常生活中的自我呈现[M].黄爱华,等译.浙江:浙江人民出版社,1989:23-26.
[14]百度知道.戈夫曼戏剧理论[EB/OL]. (2001-12-19)[2008-04-02]. http://www.baidu.com/s?wd=%B8%EA%B7%F2%C2%FC%CF%B7%BE%E7%C0%ED%C2%DB.
[15][意]克罗齐.美学原理[M].朱光潜,译.上海:上海人民出版社,2001:169.
[16]楼姗姗.从休闲传播的角度看“播客”现象[J].广西师范学院学报(哲学社会科学版),2006(6):23.
[17]谢云.传统媒体精英与网络草根部落传播的较量[EB/OL]. (2006-11-30)[2008-04-02].http://info.feno.cn/2006/110315/c000010440.shtml.
[18]王永强.草根传播 2.0:“郭德纲们”愤然前行[J].中国经营报,2006-2-20(5).
[19]甘丹,刘晋锋,陈婧.“馒头”VS“无级”:大众与精英的文化对垒?[J].新京报,2006-2-24(7).
[20]欧阳云玲,宁琅.播客娱乐元素的后现代性解读[J].东南传播,2007(11):114.
[21]黄匡宇.当代电视摄影制作教程[M].上海:复旦大学出版社, 2005:301-308.
[22]新华网.注意 KUSO 文化到来了[EB/OL].(2007-05-19)[2008-04-02] http://news.xinhuanet.com/fashion/2003-11/11/content_1171305.htm.
[23]张旭东.后现代主义与中国的现代性[J].中国与世界,2000(2):7—10.
[24][加]马歇尔?麦克卢汉.理解媒介[M].何道宽,译.北京:商务印书馆,2000:8.
[25]刘新锁.现代性后现代性与伦理之可能[J].读书,2006 年(3):95.
[26][美]波林·罗斯诺.后现代主义与社会科学[M].张国清,译.北京:译文出版社, 1998:18.
[27]张之沧.后现代理念与社会[M].江苏:南京.师范大学出版社,2005:107.
[28]人民网.学子论文:试析播客娱乐视频的心态和伦理法律尺度[EB/OL]. (2007-05-26)[2008-02-10].http://media.people.com.cn/GB/4900724.html.
[29]李彬.符号透视:传播内容的本体诠释[M].上海:复旦大学出版社, 2003:231.
[30]黄桂萍、吴文虎,播客的社会文本意义解读[J].国际新闻界,2006(8):66.
[31][德]卡西尔.人论[M].甘阳译.上海:上海译文出版社,1985:34-35.
[32]齐效斌.人的自我发展与符号形式的创造[M].北京:中国社会科学出版社.2002:73.
[33][美]约翰?费斯克等.关键概念:传播与文化研究辞典[M].李彬译.北京:新华出版社,2004:122 .
[34]林秀琴.零度写作[EB/OL].(2003-06-26)[2008-04-06]. http://www.ccforum.org.cn/archiver.
[35][法]Roland Barthes, Le plaisir du texte 罗兰?巴特.文之悦[M]. 李任,译.法国色伊出版,1973:20.
[36]姚守勤.从华南虎事件看“网络暴力”事件[J].新闻知识,2008(3):34.
[37]大众网网摘.网友发现:新浪播客出现大量色情视频(图)[EB/OL]. (2007-12-19)[2008-04-02] http://wz.dzwww.com/it/200703/t20070328_2078415_1.htm.
[38]聪慧.移动播客:成长中的新传媒产业.[EB/OL]. (2007-12-19)[2008-04-02] http://info.broadcast.hc360.com/2007/03/02161198442.shtml.
[39]方兴东.手机必将超越互联网——移动梦网运行四年露出冰山一角[N].市场报,2005(10):36.
[40][美]保罗?莱文森.手机——挡不住的呼唤[M].何道宽,译.北京:中国人民大学出版社,2004:24.
[41]李鹏.移动播客内容市场将会有 70 亿美金[J].通信世界网,2006(16):5-28
[42]新浪.打造城市的网络名片————从杭州城市播客落户新浪看城市营销新思路[J].广告大观综合版.2007(11):13.
[43]八强.新浪启动城市播客战略[EB/OL]. (2007-4-28) [2008-02-15]. http://www.8tops.com/113_2007tops_C82ECFACC42C4FCC8563EA96BE197A71.htm.