从 #AltErLove 到 #LoveIsLove：跨媒体形式、观众参与和性别多样性

IF 0.9 2区艺术学 0 FILM, RADIO, TELEVISION

Critical Studies in Television Pub Date : 2024-04-22 DOI:10.1177/17496020241247111

Thalia Van Wichelen, Esther De Loose, Alexander Dhoest, Sander De Ridder

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引用次数: 0

摘要

SKAM》（2015-2017 年）及其佛兰芒语改编版《wtFOCK》（2018-2021 年）使用多个数字平台为观众提供内容，实现不同类型的观众参与。通过社交媒体分析，本研究调查了制片人如何利用跨媒体工具提高观众对所描述故事情节的参与度，以及观众如何与所提供的有关 LGBTQ 问题的内容进行互动。对 Instagram 评论和帖子的分析说明了观众在线聚集的三种不同方式：Instagram 是：（1）共同观看时的联系平台；（2）反对仇视同性恋的安全环境；（3）电视评论家的集体。SKAM 和 wtFOCK 等跨媒体形式促进了对性少数群体的包容性描述，并为 LGBTQ 个人和盟友提供了无障碍的在线交流空间。

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From #AltErLove to #LoveIsLove: Transmedia formats, audience engagement and sexual diversity

SKAM (2015–2017) and its Flemish adaptation wtFOCK (2018–2021) use several digital platforms to provide viewers with content, enabling different types of audience engagement. By means of a social media analysis, this study investigates how producers utilise transmedia tools to enhance viewers’ involvement with the depicted storyline and how viewers interact with the provided content on LGBTQ issues. An analysis of Instagram comments and posts illustrates three different ways audience members gather online: Instagram serves as (1) a platform to connect while co-viewing, (2) a safe environment against homophobia, and (3) a collective of television critics. Transmedia formats like SKAM and wtFOCK contribute to inclusive depictions of sexual minorities and generate accessible spaces for LGBTQ individuals and allies to engage with one another online.

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来源期刊

Critical Studies in Television FILM, RADIO, TELEVISION-

CiteScore

2.10

自引率

30.00%

发文量

期刊介绍： Critical Studies in Television publishes articles that draw together divergent disciplines and different ways of thinking, to promote and advance television as a distinct academic discipline. It welcomes contributions on any aspect of television—production studies and institutional histories, audience and reception studies, theoretical approaches, conceptual paradigms and pedagogical questions. It continues to invite analyses of the compositional principles and aesthetics of texts, as well as contextual matters relating to both contemporary and past productions. CST also features book reviews, dossiers and debates. The journal is scholarly but accessible, dedicated to generating new knowledge and fostering a dynamic intellectual platform for television studies.