动漫迷亚文化的生成——日本动漫在中国的传播轨迹硕士学位论文THESIS OF MASTER DEGREE论文题目: 动漫迷亚文化的生成??日本动漫在中国的传播轨迹Formation of the Subculture ofACG Fans? ? the CommunicationTrack of Japanese ACG in China作者: 王睿指导教师: 冯仕政副教授2008年 6月 6日论文题目:(中文)动漫迷亚文化的生成??日本动漫在中国的传播轨迹(外文) Formation of the Subculture of ACG Fans??the Communication Track of Japanese ACG in China所在院、系、所 : 社会与人口学院社会学系专专业、名、称 : 社会学指专导专教专师姓专名、职专称 : 冯仕政副教授论文主题词:动漫迷;亚文化;传播;受众学专习专期专限 :2006年9月至2008 年6月论文提交时间: 2008 年5月 8 日摘要自 20世纪 80年代,日美等国外动画相继引入我国,与国产动画同台竞技, 其后漫画、电影等动漫形式也先后登陆,至今已有 30余年的传播史。
在这场传播史中,美国凭借迪斯尼、皮克斯等电影公司的动画作品获得了巨大的商业利润,日本则通过廉价的电视动画、地下盗版漫画、网络非法传播等方式逐步培养起一大批日本动漫迷。
而各种统计数据和生活中的现象都表明日本动漫在国内的受众最多,影响最大。
于是日本动漫的受众作为一个独特的群体,逐渐浮出水面,以“动漫迷”的共同身份为人们所见。
他们有一套属于动漫圈的话语体系,意义符号,有交流互动,有心理认同,可以说形成了一种亚文化。
而这种亚文化在 80后,90后的青少年中几乎成为主流,并随着不断扩散变得越来越显著。
本文尝试回答,在动漫领域中,甚至众多动漫之外更广阔的文艺形式里,为什么只有日本动漫具有如此深广的影响,以致其受众形成了“不足为外人道”的亚文化圈;在三十年的动漫传播历程,亦即动漫迷的生成过程中,这种影响是如何形成、扩散和深入的,以及它为什么超越了欧美、国产作品,在不同传播方式主导的不同阶段胜出。
研究主要采用田野调查和文本分析的方法,以性为主,通过分析群体亚文化的生成过程解释其成因。
根据动漫在国内不同时期的传播特点,本文将动漫迷的生成过程分为三个阶段进行分析。
1、20 世纪 80 年代末-90 年代初,国外电视动画被国内电视台大量引进。
这是动漫的进入普及期,也是动漫迷开始形成的基础时期,他们通过电视这一当时影响力最大的官方媒介,培养起对动漫的最初感情。
日本的电视动画远比欧美国家更为发达,更多产品便于这一时期国内媒体传播,从而取得优势。
另外,从跨文化传播的角度看,日本与中国同属东方文化模式,文化接近使其内容和表现形式更容易让中国观众接受。
2、20 世纪 90 年代初-90 年代末,除了电视动画之外,大量盗版日本漫画书开始半地下流通,动漫杂志出现。
这一时期日本动漫的影响开始深入和广泛,并开始从地上的大众传播转入地下的群体传播。
同期国内电影市场逐步开放,美国动画大片开始进入国内影院。
在这一阶段末期,VCD开始普及,盗版光盘1出现。
不同传播方式之间的互相促进(这里主要是电视与书),日常获取资源的方便程度,同龄群体的作用,都是影响受众选择的因素。
受众通过传播的心理学机制对传播模式不同的美日动漫作品做出选择,并通过群体交往将此行为扬光大。
同时上一阶段由电视动画培养的受众基础也是本阶段走向的重要推动力。
3、20世纪 90年代末至今,光盘等电子产品大范围流行,互联网兴起,动漫作品的传播渠道丰富起来。
受众开始摆脱电视台、盗版书商等传播主体的单方面控制,第一时间上网获取动漫作品。
他们在互联网形成社区,在现实中结成社团,通过人际和群体传播全面了解各种作品,并通过参与讨论和再创作等行为形成亚文化。
在各种产品同台竞争的时代,根据约翰?菲斯克的理论,日本动漫文本的复杂性和多义性成为发展出庞大、显著迷文化群的关键。
通过对传播过程和受众的综合研究,本文得出结论:在官方电视台、地下出版物、网络和兴趣团体三个阶段的具体传播过程中,日本动漫凭借其丰富而独特的产品内容、契合中国国情的传播模式,在中国大陆占领了不同时期的传播渠道,并在此过程中培养起人数众多而特征显著的动漫迷亚文化群。
随着这一亚文化逐渐发展壮大,甚至占据了青少年文化的主流,由中日产品受众定位偏差导致的一些问题也不容忽视。
了解动漫的传播和动漫迷的形成过程,有于更好地把握受众心理,了解传播机制,甚至借鉴这些经验,改善国产动漫的现状。
关键词:动漫迷;亚文化;传播;受众2AbstractSince the 1980s, foreign animations of Japan, United States and other countrieshave been introduced in China, which has competed with Chinese works from thenon. Later other forms of ACG such as manga or movie came out. So far, it has beenmore than 30 years history of the spread. In this communication, Americancorporations, such as Disney, Pixar, get a huge commercial profits, while Japan bringup a large number of ACG fans through low-cost TV animation, comic undergroundpiracy, illegal dissemination on the internet. And a variety of statistical data and thephenomenon of life indicated that Japanese ACG has the most audience, the greatestimpactGradually, the audiences of Japanese emerged as a special group, andare knownas the common identity of ACG fans. They have a discourse system, significance ofsymbols, which belongs to the circle of ACG. They also have interactivecommunication and psychological identity. It can be said that a sub-culture formedand get more and more remarkable, which almost become mainstream in youthThis paper tries to answer why only Japanese ACG has such deep and extensiveimpact, so as to form a sub-cultural circle excluding non-ACG fans., how did theimpact form, diffuse and go in-depth, and the reason that Japanese ACG winEuropean and the United States’, domestic works in different stages ofcommunicationI divided the process into three stages to analyze. 1. In the late 1980s to early1990s, foreign TV animation was introduced by domestic TV station. It is thebeginning of ACG and ACG fans in China. TV animation in Japan is muchmorepopular than it in U.S., so more Japanese product fit domestic mass media and obtainadvantages. Otherwise, Japan and China belong to the same cultural pattern, socultural close make Japanese production easy to accept for Chinese audience2. In the early 1990s to late 1990s, except TV animation, a large number ofpirated Japanese comic books began semi-underground currency, and animation3magazine appeared. The impact became deeper and more extensive in this period,and the mass communication overground turn to group communication undergroundAt the same time, American cartoon movie entered domestic cinema for the openmarket. In this late stage, VCD popularize quickly, which made pirated optical discsappeared. Promotion of different forms of communication Here is mainly ontelevision and books, day-to-day ease of access to resources, the role of the sameage group are all factors affecting the choice of audience. The audience of TVanimation in last period is important driving force of this stage, too3. Since the late 1990s, electronic products just like discs get popular, also theinternet developed, so the communication channels of ACG works become richAudience could get products online timely, found community online, or organizeassociations in reality. They can know more about ACG product and culture byinterpersonal and group communication, even create subculture through discuss andrecreate. Due to the theory of Fix, complexity and polysemicy of the Japanese ACGtext is the key of fans cultureThrough the study of the dissemination process and the audience, this paperconcluded that, in the specific process of three stages, Japanese ACG dominateddifference times of the Chinese ACG development. This is because its abundant andunique content, and marketing mode that fits China’s condition. As the developmentof the ACG fans subculture, Japanese ACG even become the main stream of youthculture in China. But the difference of the two country’s products targeting results insome problem. It is also the concern of the essay. Knowing the communication ofACG and the formation of ACG fans, we could understand audience psychology andcommunication mechanism better, even improve Chinese ACG industry via theseexperienceKey words: ACG fans; subculture; communication; audience 4目录第1 章导论.11.1问题的提出11.2文献综述 21.2.1 对日本动漫的研究 21.2.2 从受众研究到“迷”文化 51.3分析框架 91.3.1田野调查 101.3.2文本分析 10第2 章研究背景122.1概念界定. 122.1.1动漫122.1.2 ACG. 132.1.3 迷142.1.4 亚文化 152.2美日中动漫产业简介182.2.1美国的动画电影王朝. 182.2.2日本的ACG产业 192.2.3断裂的中国动漫 21第3 章电视的大众传播23第4 章半地下流通..26第5 章生活实践和文本再生产32第6 章亚文化的主流未来?.37参考文献.39附录42致谢44动漫迷亚文化的生成??日本动漫在中国大陆的传播轨迹第1章导论1.1问题的提出自 20 世纪 80 年代,日美动画相继引入我国,与国产动画同台竞技,其后漫画、电影等动漫形式也先后登陆,至今已有 30余年的传播史。