摘要
社交表演涉及主播是基于一定目的的情感劳动,受到受众观者目光的方向导引。相对真情实感进行互动沟通而言,游戏主播与第三方队友之间的即时性社交互动表演并非全然无目的,主播为了达到某种直播效果,会刻意引导互动戏剧化走向,而粉丝受众观者目光的盗猎让其只关注自己想要关注的内容。消费为女性凝视制造了可能,女性受众通过直播观看也获得了凝视男性客体的权力,这形塑着消费文化中流动着的男性气质,但在娱乐外衣下依旧隐藏着性别秩序中根植的不平等,并未从根本上改变现有的性别秩序。
From the perspective of emotional labor,this paper discusses the practice of male anchors and the vision of female viewers in game broadcast.Social performance involves the host based on a certain purpose of emotional labor,direction guided by audience viewers eye,compared with true feelings to interact in terms of communication,game anchor performance of realtime social interaction between teammates with a third party is not altogether without purpose,the host in order to achieve a certain effect of live will lead the interactive drama to painstakingly,and the“poaching”of fans’eyes makes them focus only on what they want to pay attention to.Consumption makes it possible for women to stare at male objects,and female audiences also get the right to stare at male objects through live broadcasting.This shapes the flowing masculinity in consumer culture,but the rooted inequality in gender order is still hidden under the cloak of entertainment,which does not fundamentally change the existing gender order.
作者
彭婧
伍麟
Peng Jing;Wu Lin(School of Sociology,Wuhan University)
出处
《当代青年研究》
CSSCI
2022年第4期25-35,共11页
Contemporary Youth Research
基金
国家社会科学基金重大研究专项“加强社会心理服务体系建设”的阶段性成果,项目编号:18VZL009
关键词
游戏直播
性别操演
情感劳动
表层扮演
观者盗猎
Live Game
Gender Performance
Emotional Labor
Surface Acting
The Viewer Poaching
