为什么我们只得到动漫女孩的化身?流媒体直播中的集体白色非标准化头像设计

IF 2.4 2区 文学 Q1 COMMUNICATION
Noel Brett
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引用次数: 2

摘要

随着直播越来越受欢迎,许多人都在直播3D化身的创作,然而,许多这些化身最终都遵循了类似的输出:一个超女性化的动漫女孩。为什么会这样?构建这些虚拟形象的社会和技术过程是什么?为了回答这些问题,我建议人类(主播和观众)和非人类(流媒体平台和3D建模软件)参与者相互作用,产生直播的文化体验,再现关于身体和理想化身的常见异性恋、顺性别和种族化的比喻。所以,我的研究对象是当所有这些参与者合并时发生的相互作用,形成我所谓的白人异性恋组合。我认为这种组合是集体的、关系的和自我强化的。分析人类和非人类参与者之间的关系,有助于我们将分析镜头从媒体内容或流媒体动机转向这种互动的限制性结果。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Why Do We Only Get Anime Girl Avatars? Collective White Heteronormative Avatar Design in Live Streams
With live streaming rising in popularity, many people stream the creation of 3D avatars However, many of these avatars end up following a similar output: a hyper-feminized anime girl. Why is this? What are the social and technological processes constructing these avatars? To answer these questions, I propose that human (streamer and audience) and non-human (streaming platform and 3D modeling software) participants interact to produce the cultural experience of the live stream, re-producing common heteronormative, cisgendered, and racialized tropes about bodies and desirable avatars. And so, I take as my object of study the interaction that happens when all of these participants merge, forming what I call a white heteronormative assemblage. I argue that this assemblage is collective, relational, and self-reinforcing. Analyzing the relations between human and non-humans participants helps us turn our analytical lens away from media content or streamer motive, and instead toward the restrictive outcomes of such interactions.
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来源期刊
CiteScore
5.60
自引率
5.00%
发文量
49
期刊介绍: Television & New Media explores the field of television studies, focusing on audience ethnography, public policy, political economy, cultural history, and textual analysis. Special topics covered include digitalization, active audiences, cable and satellite issues, pedagogy, interdisciplinary matters, and globalization, as well as race, gender, and class issues.
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