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題名 當偶像和粉絲共同創造內容：Hololive Vtuber的參與文化
When idols and fans create content together: The participatory culture of Hololive Vtubers作者 吳杰
Wu, Jack貢獻者 黃俊銘
Huang, Chun-Ming
吳杰
Wu, Jack關鍵詞 Vtuber
虛擬YouTuber
直播
參與文化
日本創意媒體
偶像文化
御宅
內容創作
社群
YouTube
Vtubers
Virtual YouTubers
Live Streaming
Participatory Culture
Japanese Creative Media
Idol Culture
Otaku
Content Creation
Community
YouTube日期 2023 上傳時間 1-Sep-2023 15:17:57 (UTC+8) 摘要 YouTube已成為現代流行文化中最重要的媒體平台之一。近年來，一個新的趨勢席捲了YouTube，那便是虛擬YouTuber（Vtubers）。這一趨勢於2017年開始，並在2019年末真正的火爆起來，Vtuber是採用虛擬形象來創作內容的YouTuber。虛擬主播的內容在經歷了多次調整後，目前直播已經成為主流的內容形式。本論文是探討Vtuber文化是否可以視為參與文化的一種形式，以及Vtuber粉絲們是如何看待企業勢和獨立勢Vtuber之間的參與差距。由於Vtuber與過往的流行文化（如YouTube、直播和日本創意媒體，如動漫和偶像）具有許多共同特點，因此本研究所使用的文獻包括先前在這些相關領域的參與文化研究。考慮到Vtuber是一種新的趨勢，本研究採用定性方法，通過線上會議的形式進行一對一的訪問。受訪者要麼是一直關注Vtuber文化的硬核粉絲，要麼是與Vtuber相關的內容創作者。受訪者被詢問他們是如何參與Vtuber文化以及他們是如何看待企業勢和獨立勢Vtuber之間的參與差距。本研究發現，Vtuber文化的確可以視為一種參與文化，其主要形式包括關聯、表達和傳播。此外，雖然受訪者們認知到並承認了參與差距的存在，但他們並不認為這種差距完全是負面的。企業勢和獨立勢Vtuber確實被認為是不同的，但兩者並不一定有優劣之分。這項研究將為未來的學者打下研究這種流行文化形式的基礎。它還可以幫助有意在未來成為Vtuber的人們更加了解這種文化，並為他們取得成功提供幫助。
YouTube has become one of the most significant media platforms for modern popular culture. One of the more recent trends, having started in 2017 and really took off in late 2019, that has taken YouTube by storm is Vtubers. They are YouTubers who have adopted a virtual avatar to create content. Vtuber content has gone through many adjustments and has currently settled on streaming as its most mainstream content form.This thesis is a study of whether or not Vtuber culture can be considered a form of participatory culture and how Vtubers fans view the participation gap between agency-based and independent Vtubers. Due to Vtubers’ shared qualities with previous forms of popular culture such as YouTube, streaming, and Japanese creative media (e.g. anime and idols), the literature used in this research includes previous studies of participatory culture in these respective fields.Considering how new the phenomenon of Vtubers is, this study took a qualitative approach via one-on-one interviews conducted online through video meetings. Interviewees were either hardcore Vtubers who’ve been following the culture or Vtuber content creators. The interviewees were asked about how they participate in Vtuber culture and how they view the participation gap between agency-based and indie Vtubers.This study determined that Vtuber culture can indeed be considered a form of participatory culture, with the primary forms being affiliations, expressions, and circulations. Additionally, while the participation gap is observed and acknowledged by the interviewees, it’s not considered to be something that’s solely negative. Agency-based Vtubers and indie Vtubers are acknowledged as different, but one isn’t necessarily superior to the other.This research will help lay a foundation for future scholars to dive deeper into this form of popular culture. It can also help the industry and people who are looking to become Vtubers in the future learn more about the culture and what they can do to succeed.參考文獻 ReferencesActiv8 Inc. (2022). About. Activ8. Retrieved May 4, 2022, from https://activ8.co.jp/about/Banda, D. (2020, September 2). Meet Cover Corp CEO Motoaki "Yagoo" Tanigo, the man behind Hololive`s virtual YouTubers. Anime News Network. Retrieved January 20, 2021, from https://www.animenewsnetwork.com/feature/2020-09-02/meet-cover-corp-ceo-motoaki-yagoo-tanigo-the-man-behind-hololive-virtual-youtubers/.163495Burgess, J. (2015). 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International Journal of Asia Pacific Studies, 7(3). Retrieved May 4, 2022, from https://ijaps.usm.my/?page_id=559.Cover Corp. (2022). Talent: Hololive Official Website. hololive TALENTS. Retrieved May 4, 2022, from https://hololive.hololivepro.com/en/talentsCover Corp. (2022). VTuberオーディション. hololive production. Retrieved May 4, 2022, from https://en.hololive.tv/auditionCover Corp. (2020, September 27). Regarding issues caused by on-stream statements by our talents: カバー株式会社. カバー株式会社 | つくろう。世界が愛するカルチャーを。. Retrieved July 16, 2022, from https://cover-corp.com/news/detail/20200927-1Cover Corp. (2021, June 9). Announcement of Kiryu Coco`s Graduation: カバー株式会社. カバー株式会社 | つくろう。世界が愛するカルチャーを。. Retrieved July 16, 2022, from https://cover-corp.com/news/detail/20210609bCrypton Future Media. (2021). Who is Hatsune Miku? About HATSUNE MIKU | CRYPTON FUTURE MEDIA. Retrieved September 15, 2021, from https://ec.crypton.co.jp/pages/prod/virtualsinger/cv01_usDean, J., & Marinescu, D. (2021, June 10). The virtual YouTube world is in uproar. what`s The Virtual YouTube world? Slate Magazine. Retrieved May 4, 2022, from https://slate.com/technology/2021/06/kiryu-coco-graduating-vtube-hololive.htmlEisenbrand, R., & Peterson, S. (2021, January 12). Millions of subs & huge revenues-that`s not make-believe for vtubers. omr.com. Retrieved May 4, 2022, from https://omr.com/en/vtubers-hololive-kizuna-ai/Fukuoka, N. (2021, January 19). "投げ銭"で1億5000万円超の人気者も登場、日本発で世界を見据えるvtuberプロダクションの野望. DIAMOND SIGNAL. Retrieved September 15, 2021, from https://signal.diamond.jp/articles/-/527FullStory. (2021, October 6). Qualitative vs. quantitative data: What`s the difference? and why they`re so valuable. FullStory. Retrieved May 4, 2022, from https://www.fullstory.com/blog/qualitative-vs-quantitative-data/Grayson, N. (2022, May 10). How a pink-haired anime girl became one of Twitch`s biggest stars. The Washington Post. 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Bulletin of Science, Technology & Society, 30(6), 377–386. https://doi.org/10.1177/0270467610385893Huang, S. (2011). Nation-branding and transnational consumption: Japan-mania and the Korean Wave in Taiwan. Media, Culture & Society, 33(1), 3–18. https://doi.org/10.1177/0163443710379670Jenkins, H. (1992). Textual poachers: Television fans and participatory culture. Taylor & Francis e-Library. Routledge. Retrieved May 4, 2022.Jenkins, H. (2006). Convergence culture: Where old and new media collide. Higher School of Economics. New York University Press. Retrieved May 4, 2022, from https://www.hse.ru/data/2016/03/15/1127638366/Henry%20Jenkins%20Convergence%20culture%20where%20old%20and%20new%20media%20collide%20%202006.pdf.Jenkins, H., Clinton, K., Purushotma, R., Robison, A. J., & Weigel, N. (2009). Confronting the challenges of Participatory Culture: Media Education for the 21st Century. MacArthur Foundation. MIT Press. Retrieved May 4, 2022, from https://www.macfound.org/media/article_pdfs/jenkins_white_paper.pdf.Kizuna AI. (2022). Biography. Kizuna AI official website. Retrieved May 4, 2022, from https://kizunaai.com/en/biography/Kyodo. (2014, October 1). Publisher Kadokawa, internet firm Dwango Complete Merger. The Japan Times. Retrieved May 4, 2022, from https://www.japantimes.co.jp/news/2014/10/01/business/corporate-business/publisher-kadokawa-internet-firm-dwango-complete-merger/Lin, J.H.T (2019). Because Jimmy Kimmel Wants to Know: Motivations for Watching Game Streaming as Predictors of Viewing Time and Enjoyment. Information Society Studies, 36, 39–74. Retrieved July 8, 2022, from https://ir.nctu.edu.tw/bitstream/11536/154770/1/information%20society3604.pdf.Lin, J.H.T, Bowman, N., Lin, S.-F., & Chen, Y.-S. (2019). Setting the digital stage: Defining game streaming as an entertainment experience. Entertainment Computing, 31. https://doi.org/10.1016/j.entcom.2019.100309Live2D. (2020, June 18). What is Live2D? Live2D Cubism. Retrieved May 4, 2022, from https://www.live2d.com/en/about/Lu, Z., Shen, C., Li, J., Shen, H., & Wigdor, D. (2021). More kawaii than a real-person live streamer: Understanding how the Otaku Community engages with and perceives virtual youtubers. Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems. https://doi.org/10.1145/3411764.3445660Market Research Camp. (2021, July 30). 「Vチューバー」を、10代の約7割が認知. マーケティングリサーチキャンプ|市場の旬を調査で切る！. Retrieved May 4, 2022, from https://marketing-rc.com/report/report-video-20190319.htmlMorrissy, K. (2020, July 31). Virtual youtuber agency Hololive apologizes for uploading videos without copyright permission. Anime News Network. Retrieved May 4, 2022, from https://www.animenewsnetwork.com/interest/2020-07-31/virtual-youtuber-agency-hololive-apologizes-for-uploading-videos-without-copyright-permission/.162427Nagata, K. (2018, July 17). Japan`s latest big thing: `virtual youtubers`. The Japan Times. Retrieved September 15, 2021, from https://www.japantimes.co.jp/news/2018/07/17/national/japans-latest-big-thing-virtual-youtubers/Nordvall, B. (2021). Down the Rabbit Hole: Hololive Myth, community, and digital geographies . diva portal. Retrieved May 4, 2022, from https://www.diva-portal.org/smash/get/diva2:1562108/FULLTEXT01.pdfnoxinfluencer. (2022). Top 100 most subscribed youtubers in Taiwan. NoxInfluencer. Retrieved May 4, 2022, from https://www.noxinfluencer.com/youtube-channel-rank/top-100-tw-all-youtuber-sorted-by-subs-weeklynyalra. (2018, December 27). VTuberはなぜ増え、どう駆け抜けたのか？ 当事者たちが振り返る2018年【のじゃロリおじさん×にゃるら対談】. 電ファミニコゲーマー – ゲームの面白い記事読んでみない？. Retrieved May 4, 2022, from https://news.denfaminicogamer.jp/interview/181227 Translated by DeepL.Otmazgin, N. K. (2008). Japanese Popular Culture in East and Southeast Asia: Time for a Regional Paradigm? The Asia-Pacific Journal: Japan Focus, 6(2). 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國立政治大學
國際傳播英語碩士學位學程(IMICS)
108461007資料來源 http://thesis.lib.nccu.edu.tw/record/#G0108461007 資料類型 thesis dc.contributor.advisor 黃俊銘 zh_TW dc.contributor.advisor Huang, Chun-Ming en_US dc.contributor.author (Authors) 吳杰 zh_TW dc.contributor.author (Authors) Wu, Jack en_US dc.creator (作者) 吳杰 zh_TW dc.creator (作者) Wu, Jack en_US dc.date (日期) 2023 en_US dc.date.accessioned 1-Sep-2023 15:17:57 (UTC+8) - dc.date.available 1-Sep-2023 15:17:57 (UTC+8) - dc.date.issued (上傳時間) 1-Sep-2023 15:17:57 (UTC+8) - dc.identifier (Other Identifiers) G0108461007 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/147003 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 國際傳播英語碩士學位學程(IMICS) zh_TW dc.description (描述) 108461007 zh_TW dc.description.abstract (摘要) YouTube已成為現代流行文化中最重要的媒體平台之一。近年來，一個新的趨勢席捲了YouTube，那便是虛擬YouTuber（Vtubers）。這一趨勢於2017年開始，並在2019年末真正的火爆起來，Vtuber是採用虛擬形象來創作內容的YouTuber。虛擬主播的內容在經歷了多次調整後，目前直播已經成為主流的內容形式。本論文是探討Vtuber文化是否可以視為參與文化的一種形式，以及Vtuber粉絲們是如何看待企業勢和獨立勢Vtuber之間的參與差距。由於Vtuber與過往的流行文化（如YouTube、直播和日本創意媒體，如動漫和偶像）具有許多共同特點，因此本研究所使用的文獻包括先前在這些相關領域的參與文化研究。考慮到Vtuber是一種新的趨勢，本研究採用定性方法，通過線上會議的形式進行一對一的訪問。受訪者要麼是一直關注Vtuber文化的硬核粉絲，要麼是與Vtuber相關的內容創作者。受訪者被詢問他們是如何參與Vtuber文化以及他們是如何看待企業勢和獨立勢Vtuber之間的參與差距。本研究發現，Vtuber文化的確可以視為一種參與文化，其主要形式包括關聯、表達和傳播。此外，雖然受訪者們認知到並承認了參與差距的存在，但他們並不認為這種差距完全是負面的。企業勢和獨立勢Vtuber確實被認為是不同的，但兩者並不一定有優劣之分。這項研究將為未來的學者打下研究這種流行文化形式的基礎。它還可以幫助有意在未來成為Vtuber的人們更加了解這種文化，並為他們取得成功提供幫助。 zh_TW dc.description.abstract (摘要) YouTube has become one of the most significant media platforms for modern popular culture. One of the more recent trends, having started in 2017 and really took off in late 2019, that has taken YouTube by storm is Vtubers. They are YouTubers who have adopted a virtual avatar to create content. Vtuber content has gone through many adjustments and has currently settled on streaming as its most mainstream content form.This thesis is a study of whether or not Vtuber culture can be considered a form of participatory culture and how Vtubers fans view the participation gap between agency-based and independent Vtubers. Due to Vtubers’ shared qualities with previous forms of popular culture such as YouTube, streaming, and Japanese creative media (e.g. anime and idols), the literature used in this research includes previous studies of participatory culture in these respective fields.Considering how new the phenomenon of Vtubers is, this study took a qualitative approach via one-on-one interviews conducted online through video meetings. Interviewees were either hardcore Vtubers who’ve been following the culture or Vtuber content creators. The interviewees were asked about how they participate in Vtuber culture and how they view the participation gap between agency-based and indie Vtubers.This study determined that Vtuber culture can indeed be considered a form of participatory culture, with the primary forms being affiliations, expressions, and circulations. Additionally, while the participation gap is observed and acknowledged by the interviewees, it’s not considered to be something that’s solely negative. Agency-based Vtubers and indie Vtubers are acknowledged as different, but one isn’t necessarily superior to the other.This research will help lay a foundation for future scholars to dive deeper into this form of popular culture. It can also help the industry and people who are looking to become Vtubers in the future learn more about the culture and what they can do to succeed. en_US dc.description.tableofcontents Acknowledgments iAbstract iiTable of Contents iiiList of figures and tables v1. Introduction 12. Research Background 42.1 What are Vtubers? 42.2 Hololive Productions 73. Literature review 103.1 Participatory Culture 103.2 Participatory Culture and YouTube 113.2.1 The participation gap 123.3 Participatory culture and live streaming 133.3.1 Vtubers and live streaming 153.4 The participatory culture of the Japanese creative media industry 173.4.1 The “Otaku” system 183.5 Vtubers and the Japanese creative media industry 203.5.1 Professional agencies in Vtuber culture 213.6 Vtubers and participatory culture 233.6.1 The participation gap in Vtuber culture 263.7 Other known issues in Vtuber culture 284. Research goals and questions 325. Research Method 345.1 Individual Interviews 345.2 Vtuber group and market considerations 345.3 Research setting and procedure 365.4 Interviewee search process and sampling 386. Research Results 416.1 How were you introduced to Vtuber culture? 416.2 The appeal of Vtuber culture 426.3 Vtuber content form preference 446.4 The Vtuber Community 466.5 SuperChat (SC) and Memberships 496.5.1 SuperChat (SCs) 496.5.2 Memberships 526.6 Thoughts on Indie Vtubers 536.6.1 Differences between Hololive Vtubers and Indie Vtubers 546.7 Thoughts on an agency-dominated Vtuber culture 566.7.1 Suggestions for Indie Vtubers 596.8 Thoughts on Vtuber Drama 616.9 Future Changes in Vtuber Culture They would like to see 627. Research Discussions, Implications, and Limitations 657.1 Research Discussions 657.2 Research Implications 707.3 Research Limitations 718. Future research topics 73References 74Appendix 81 zh_TW dc.format.extent 1370649 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0108461007 en_US dc.subject (關鍵詞) Vtuber zh_TW dc.subject (關鍵詞) 虛擬YouTuber zh_TW dc.subject (關鍵詞) 直播 zh_TW dc.subject (關鍵詞) 參與文化 zh_TW dc.subject (關鍵詞) 日本創意媒體 zh_TW dc.subject (關鍵詞) 偶像文化 zh_TW dc.subject (關鍵詞) 御宅 zh_TW dc.subject (關鍵詞) 內容創作 zh_TW dc.subject (關鍵詞) 社群 zh_TW dc.subject (關鍵詞) YouTube zh_TW dc.subject (關鍵詞) Vtubers en_US dc.subject (關鍵詞) Virtual YouTubers en_US dc.subject (關鍵詞) Live Streaming en_US dc.subject (關鍵詞) Participatory Culture en_US dc.subject (關鍵詞) Japanese Creative Media en_US dc.subject (關鍵詞) Idol Culture en_US dc.subject (關鍵詞) Otaku en_US dc.subject (關鍵詞) Content Creation en_US dc.subject (關鍵詞) Community en_US dc.subject (關鍵詞) YouTube en_US dc.title (題名) 當偶像和粉絲共同創造內容：Hololive Vtuber的參與文化 zh_TW dc.title (題名) When idols and fans create content together: The participatory culture of Hololive Vtubers en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) ReferencesActiv8 Inc. 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