跳到主要內容

簡易檢索 / 詳目顯示

研究生: 單柏涵
Shan, Po-Han
論文名稱: 從情感創作到社群協商:數位時代的粉絲圖實踐
From Emotional Creation to Community Negotiation: Fan Art Practices in the Digital Age
指導教授: 柯裕棻
Ko, Yu-Fen
口試委員: 劉慧雯
Liu, Hui-Wen
簡妙如
Jian, Miao-Ju
學位類別: 碩士
Master
系所名稱: 傳播學院 - 傳播學院傳播碩士學位學程
Master's Program of Communication
論文出版年: 2025
畢業學年度: 114
語文別: 中文
論文頁數: 96
中文關鍵詞: 粉絲圖粉絲文化能見度勞動隱匿性勞動詮釋性危機平台能供性
外文關鍵詞: Fan Art, Fan Culture, Visibility Labor, Invisibility Labor, Interpretive Crisis, Platform Affordance
相關次數: 點閱:424下載:17
分享至:
查詢本校圖書館目錄 查詢臺灣博碩士論文知識加值系統 勘誤回報
  • 本研究旨在探討數位時代中,以「真人名人」為對象的粉絲圖(Fan Art)創作實踐,並分析創作者行為如何在社群媒體平台技術與社群文化的交織下協商變化。研究採質性深度訪談法,訪談九位活躍於不同社群平台(如 X、Instagram、Facebook、噗浪)且創作對象涵蓋偶像、演員及 Vtuber 的創作者。
    研究發現,粉絲圖創作者的身分具有高度流動性。其創作動機包含內在情感抒發、社群認同的追求,以及與名人建立連結的渴望。在此過程中,粉絲圖創作者除了作為名人的粉絲,更展現強烈的主體性,高度重視個人繪畫技藝、風格展示與敘事建構。在此過程中,名人更成為投射幻想、進行再詮釋的媒介,而非單純的再現對象。
    然而,真人創作亦常伴隨「詮釋性危機」。研究發現,雖然創作者普遍主張「創作自由」,但在實踐中卻深受社群默契與文化的制約。為避免可能的創作風險與情感審查,創作者會主動進行自我審查並依據不同平台的能供性進行策略性的游移與操作。最後,本研究提出「能見度-隱匿性光譜」,說明創作者如何運用帳號分眾、使用標籤與暗號等手段,在追求「被看見」的能見度勞動與迴避爭議的「隱匿性勞動」之間取得平衡,從而建構出屬於自身的創作空間 。


    This study explores the practices of creating fan art based on real-life celebrities in the digital age. It analyzes how creators negotiate and adapt their behavior within the intersection of social media technology and community culture. Using qualitative in-depth interviews, this research interviewed nine creators who are active on various social media platforms (such as X, Instagram, Facebook, and Plurk) and whose subjects include idols, actors, and Vtubers.
    The findings reveal that fan art creators possess highly fluid identities. Their creative motivations include expressing inner emotions, seeking community recognition, and the desire to build a connection with celebrities. In this process, creators do not merely act as fans, they also demonstrate strong agency. They highly value their artistic skills, the display of personal style, and narrative construction. Celebrities serve as a medium for projecting fantasies and reinterpretation, rather than just objects of simple representation.
    However, creating fan art based on real people often leads to an “interpretive crisis.” The study finds that while creators generally advocate for freedom of creating, their practices are actually restricted by community tacit understandings and culture. To avoid potential risks and affective censorship, creators actively perform self-censorship and strategically move between platforms based on different affordances. Finally, this study proposes the “Visibility-Invisibility Spectrum”. It explains how creators use methods such as account segregation, hashtags, and code words to balance the “visibility labor” of seeking recognition with the “invisibility labor” of avoiding controversy, thereby constructing their own creative space.

    第一章 緒論 1
    第一節 研究緣起 1
    第二節 研究背景 4
    一、 乘載情感的粉絲圖像創作 4
    二、 社群媒體革新對創作意義的改變 9
    第三節 研究目的與問題意識 12
    第二章 文獻回顧 14
    第一節 迷群的參與式文化 14
    第二節 社群媒體時代的能見度勞動 16
    一、 網路內容創作者的能見度勞動 16
    二、 粉絲的能見度勞動 18
    第三節 情感真實性的危機 19
    一、 網路自我表達的真實性 19
    二、 誰才是真正的粉絲?情感真實性的審查 20
    第四節 詮釋性的危機 22
    一、 詮釋不同所帶來的危機 22
    二、 粉絲應對詮釋危機的行動 27
    第三章 研究方法 29
    一、 研究設計 29
    二、 研究對象 29
    三、 訪談大綱 33
    第四章 為了誰的創作?具主體性的粉絲創作者 35
    第一節 創作的起點:從內到外的情感連結 35
    一、 創作作為自我調節與情感抒發 35
    二、 圖像成為社群語言 36
    三、 社群的回饋與情感負擔 40
    第二節 我被看見、故我創作 44
    一、 非官方的紀錄者 44
    二、 當粉絲藉由創作被名人看見 47
    三、 拉近距離後的矛盾 51
    第三節 不只在追星:創作者的技藝、幻想與再詮釋 55
    一、 技藝的追求 55
    二、 從再現到幻想式加工 56
    第五章 詮釋危機下的創作攻防戰 62
    第一節 創作自由v.s.創作危機 62
    一、 創作自由的假象? 62
    二、 共同協商的詮釋邊界 64
    第二節 平台技術的操作實踐 75
    一、 主動游移於平台的創作者 75
    二、 公開示愛或隱匿創作?粉絲圖創作的能見度光譜 81
    第六章 結論 87
    第一節 研究發現 87
    一、 身分多變的粉絲圖創作者 87
    二、 在自由與規範之間:粉絲圖創作者的協商 88
    第二節 研究限制與未來展望 89
    參考文獻 91

    中文部分
    OOSGA,〈台灣社群媒體現況:2023年社群平台發展趨勢、用戶分佈數據〉。2023年10月17日。https://zh.oosga.com/social-media/twn/
    Vivian,〈懶人包|20萬人連署抵制「偶像BL同人文」!韓國「RPS爭議」事件總整理〉。2021年1月15日。https://www.ttshow.tw/article/76342
    王鈺婷、陳育民(2015)。〈台灣同人誌文化中的耽美想像:女性閱聽人的性別意識〉,《台灣學誌》,11:17-33。
    余光中(2015)。《粉絲與知音》。台北市:九歌出版社。
    吳宇軒(2021)。《我一直都在:歌手情感勞動行為研究》。政治大學傳播學院傳播碩士學位學程論文。
    李佩真(2004)。《偶像文本的消費意義:迷與偶像關係之探討。》世新大學傳播研究所學位論文。
    高淑清(2008)。《質性研究的18堂課-首航初探之旅》。高雄市:麗文文化。
    楊世全(2017)。《BL搖滾音樂劇《新社員》迷的二次創作現象》臺北藝術大學藝術行政與管理研究所學位論文。
    端傳媒,〈粉絲、偶像、國家——肖戰粉打響與同人圈的跨圈戰爭後,誰被毀滅了?〉。2020年3月10日。https://theinitium.com/opinion/20200310-opinion-xiaozhan-fanquan-fans
    簡妙如(1996)。《過度的閱聽人:「迷」之初探》。政治大學新聞研究所學位論文。
    簡妙如(2021)。〈醒醒吧!臺灣龐克小誌及小誌文化政治〉,《現代美術學報》,42:154-196。
    顏君儒(2022)。《紫愛你:防彈少年團同人創作者在 Instagram 上的迷實踐》。臺灣師範大學大眾傳播研究所學位論文。
    龎袿方(2019)。《迷的情感經濟與勞動:防彈少年團(BTS)與迷的社群媒體實踐》政治大學傳播學院傳播碩士學位學程論文。
    蘇蘅(2019)。《傳播研究方法新論》。台北市:雙葉書廊。
    莊佳穎(2022)。〈理解「可愛」文化在臺灣〉,《台灣學研究》,28:95-136。

    英文部分
    Abidin, C. (2016). Visibility labour: Engaging with Influencers’ fashion brands and #OOTD advertorial campaigns on Instagram. Media International Australia, 161(1), 86–100.
    Li, Y., & Jiang, Q. (2023). The development and influence of Japanese aesthetics and its manifestation in Japanese animation. SHS Web of Conferences, 151, 01007.
    Arriagada, A., & Ibáñez, F. (2020). “You need at least one picture daily, if not, you’re dead”: Content Creators and Platform Evolution in the Social Media ecology. Social Media + Society, 6(3), 205630512094462.
    Bhatt, S. (2020). #FanArt becomes an instant formula for amateur artists to gain popularity on Instagram. The Economic Times. Retrieved from https://m.economictimes.com/
    Binnie, S. (2024). Using the Murdoch Mysteries fandom to examine the types of content fans share online. Transformative Works and Cultures, 42.
    Bucher, T., & Helmond, A. (2018). The Affordances of Social Media Platforms. In J. Burgess, A. Marwick, & T. Poell (Eds.), The SAGE Handbook of Social Media (pp. 233–253). Sage Publications.
    Chiang, F. (2016). Counterpublic but obedient: a case of Taiwan’s BL fandom. Inter-Asia Cultural Studies, 17(2), 223–238.
    Church, J. (2023). #Supercorp kissed…or did they?: lesbian fandom and queerbaiting. Journal of Lesbian Studies, 27(2), 213–229.
    De Kosnik, A. (2013). Fandom as free labor. In T. Scholz (Ed.) Digital Labor: The Internet as Playground and Factory (pp. 98-111). New York: Routledge.
    Duffy, B. E., & Meisner, C. (2022). Platform governance at the margins: Social media creators’ experiences with algorithmic (in)visibility. Media Culture & Society, 45(2), 285–304.
    Evans, J. (2020). ‘We [mostly] carry guns for the internet’: Visibility labour, social hacking and chasing digital clout by Black male youth in Chicago’s drill rap scene. Global Hip Hop Studies, 1(2), 227–247.
    Fiske, J. (1992). The Cultural Economy of Fandom. In L. Lewis (Ed.), The Adoring Audience: Fan Culture and Popular Media (pp. 30-49). London: Routledge.
    Gong, Y. (2017). Between conformity and transgression: Chinese women’s gendered discourse of fan authenticity for European football. Feminist Media Studies, 17(5), 821–835.
    Grossberg, L. (1992). Is there a Fan in the House?: The Affective Sensibility of Fandom. In L. Lewis (Ed.), The Adoring Audience: Fan Culture and Popular Media (pp. 50-65). London: Routledge.
    Hellekson, K. (2009). A Fannish field of value: online fan gift culture. Cinema Journal, 48(4), 113–118.
    Hofstetter, R., & Gollnhofer, J. F. (2024). The creator’s dilemma: Resolving tensions between authenticity and monetization in social media. International Journal of Research in Marketing.
    https://datareportal.com/reports/digital-2023-global-overview-report
    Hu, T., Z, C., & Wang, E. N. (2023). A male idol becoming a girl? Nisu fans’ sexual fantasy about male stars. Transformative Works and Cultures, 41.
    Jenkins, H. (1992). Textual Poachers: Television fans and participatory culture. NY: Routledge.
    Jenkins, H., Ford, S. & Green, J. (2013). Spreadable Media: Creating Value and Meaning in a Networked Culture. New York, NY: NYU Press.
    Jensen, J. (1992). Fandom as Pathology: The Consequences of Characterization. In L. Lewis (Ed.), The Adoring Audience: Fan Culture and Popular Media (pp. 9-26). London: Routledge.
    Lin, Q. (2021). “Nisu” culture in Chinese fandom under the rise of female gaze. Advances in Social Science, Education and Humanities Research/Advances in Social Science, Education and Humanities Research.
    Losh, E. (2023). Are You the Main Character? Visibility Labor and Attributional Practices on TikTok. In Proceedings of the 34th ACM Conference on Hypertext and Social Media (HT '23). Association for Computing Machinery, New York, NY, USA, Article 18, 1–5.
    Ma, R., Gui, X., & Kou, Y. (2023). Multi-platform content creation: The configuration of creator ecology through platform prioritization, content synchronization, and audience management. Proceedings of the 2023 CHI Conference on Human Factors in Computing Systems (CHI '23), 1–19. ACM.
    Maares, P., Banjac, S., & Hanusch, F. (2020b). The labour of visual authenticity on social media: Exploring producers’ and audiences’ perceptions on Instagram. Poetics, 84, 101502.
    Marwick, A. E., & Boyd, D. (2010). I tweet honestly, I tweet passionately: Twitter users, context collapse, and the imagined audience. New Media & Society, 13(1), 114–133.
    McRae, S. (2017). “Get Off My Internets”: How Anti-Fans Deconstruct lifestyle Bloggers’ authenticity work. Persona Studies, 3(1), 13–27.
    Mercante, A. (2022, November 9). TikTok Is Bimbofying Modern Warfare II’s Ghost And Veteran Players Are Big Mad. Kotaku. https://kotaku.com/call-of-duty-mw2-ghost-hot-tiktok-bimbo-thirst-trap-1849762466
    Patterson, C. W. (2022). Towards a manumissive black fantastic in fandom, fantasy, and literature for young people, or: a case for the Black Hermione. The International Journal of Young Adult Literature, 3(1).
    Pearson, R. (2010). Fandom in the Digital Era. Popular Communication, 8(1), 84–95.
    Pöyry, E., Pelkonen, M., Naumanen, E., & Laaksonen, S. (2019). A call for authenticity: audience responses to social media influencer endorsements in strategic communication. International Journal of Strategic Communication, 13(4), 336–351.
    Soukup, C. (2006). Hitching a ride on a star: celebrity, fandom, and identification on the world wide web. Southern Communication Journal, 71(4), 319–337.
    Terranova, T. (2013). Free Labor: Producing Culture for the Digital Economy In T. Scholz (Ed.) Digital Labor: The Internet as Playground and Factory (pp.). New York: Routledge.
    Tompkins, J. & Guajardo, A. (2024). Gatekeeping the Gatekeepers: An Exploratory Study of Transformative Games Fandom & TikTok Algorithms Article. Games and Culture. 10.
    Vlessing, E. (2024, October 16). Cynthia Erivo Speaks Out on Fan-Edited ‘Wicked’ Poster: “This Is Just Deeply Hurtful”. The Hollywood Reporter. https://www.hollywoodreporter.com/movies/movie-news/cynthia-erivo-wicked-poster-hurtful-1236033182/
    Wei, Y. (2023). Emotional complexity of fan-controlled comments: Affective labor of fans of high-popularity Chinese stars. Frontiers in Communication, 8.
    Williams, J. P., & Wang, J. (2024). How fan clubs manage the authenticity of fans’ identities in Chinese idol culture. International Journal of Cultural Studies.
    Zhai, H. & Wang, W. Y. (2023). Fans’ Practice of Reporting: A Study of the Structure of Data Fan Labor on Chinese Social Media. International Journal of Communication, 17, 1913-1934.

    QR CODE
    :::