从文化研究的角度看《塞克森勒》系列的接受:受众对社交媒体的评论。

Bayram Caglar
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引用次数: 0

摘要

这是一种基于文化研究理论前提的以编码-编码为中心的受众研究。以这一定义受众活跃度的理论为基础,对社交媒体网页上的受众评论进行分析。对在公共电视台TRT1播出4年的电视剧《塞克森勒》在“diziinfo”网站上的评论进行分析,坚持接收法。分析基于主流意识形态通过大众媒体传播的假设,重点关注主流、协商和持不同意见的阅读,通过媒体消费者的多重或优先文本阅读。在研究中,我们还测试了媒体输出给受众的带有“怀旧”码的信息的方式。在这些限制范围内进行的研究中,考虑到观众的评论,确定该系列通常是由媒体文本制作者编码的,并且达到了目标效果。然而,我们发现上述媒体文本的接受并不局限于怀旧的编码,也产生了实际意义。我们还发现,情景喜剧系列在使大众去政治化方面发挥着重要作用,特别是喜剧类型的作品,一方面继续娱乐,另一方面继续创造刻板印象。此外,观众通过社交媒体上的网页观看和解读电视发出的单向信息,粉丝通过这个共同的平台聚集在一起,与制片人、编剧和电视公司分享他们的感受、想法和愿望的想法也变得更加突出。因此,社交媒体一直在塑造一个双向的传播平台,允许用户更加活跃,允许单向传播的电视信息的接收类型的出现。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Reception of The Series Seksenler From The Perspective of Cultural Studies: Comments of The Audience on Social Media.
This is a coding-encoding centered audience study which is based on theoretical premises of Cultural Studies. Taking this theory, which defines the audience active, as the basis, the audience comments on the social media web page were analyzed. The analysis of the comments on the "diziinfo" website about the series Seksenler, which had been aired for 4 years on the public television TRT1 was carried out by sticking to the reception method. The analysis was based on the assumption of the transmission of the dominant ideology through mass media by focusing on dominant, negotiating, and dissident reading through the media consumers multiple or preferential text readings. In the study, the ways of the messages sent by the media output to the audience with the "nostalgia" code were also tested. In the study conducted within the scope of these limitations, considering the audience comments, it was determined that the series was often received by the viewers as have been encoded by the media text producers and that the targeted result was achieved. However, it was found that the reception of the mentioned media text was not limited to the nostalgic encoding, and also actual meanings were produced. It was also found that the sitcom series play an important role in depoliticizing the masses and that especially comedy-type productions, continue to entertain on one hand and continue to create stereotypes on the other hand. Besides, it was observed that the idea that one-way messages sent by TVs were watched and interpreted through web pages in social media by the viewers and that the fans come together and share their feelings, thoughts, and wishes with the producers, screenwriters and television companies through this common platform became prominent. Thus, the social media has been shaping a two-way communication platform by allowing the users to be more active and allowing the emergence of the reception types of television messages with the one-way transmission.
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