Behind the phenomenon of "web ip fever"

In recent years, under the influence of the rapid development of network technology, the form of literature's existence and expressive methods has begun to undergo profound changes worldwide. Compared with the convergence of traditional literature, online literature is gradually becoming one of the important expression of contemporary literature.

Online literature IP is now extremely popular in the international entertainment market and has a strong development momentum. Some cultural products such as film and television dramas, animation, and games adapted from the web IP frequently appear in the public's vision, and the derivatives around the Internet IP have also emerged endlessly, which truly achieved the double harvest of heat and benefits. The works such as "Tram Man" (Japan) "The Boy True" (South Korea) "Sword Art Online" (Japan) and other works not only won unanimous praise from audiences from various countries, but also created huge commercial profits. "The effect. The influence of the Internet on mass media is deep. How to understand this phenomenon from the perspective of communication is related to the future of Internet reading.

1. Internet communication: so near and so far

With the in -depth intervention of the network, the way of literary creation has undergone fundamental changes, and its communication method has become more convenient and humane. The Internet seems to demolish all the propagation of all physical barriers overnight, and interprets the spiritual world of human beings with a new digital face.

The first is the wide coverage of online literature. At present, the Internet has become an indispensable part of people's lives. Online conferences, online shopping, live broadcast, and online education have deeply penetrated into all aspects of economy, society, and interpersonal communication. The network literature born from the Internet makes full use of the attributes of wide network communication coverage, so that the number of readers and the number of reading have reached a magnitude that cannot be comparable to traditional literature.

Second, online literature spreads the end of the world. In general, "near" and "far" refer to the space distance between things. In the Internet age, "near" is a psychological concept. Friends in social networks may be close to Tianya, but they are closely related and very "near". The neighbors next door may have a tentacle but a sparse and "far away." Readers of online literature are no longer the object of imagination when the author writes. They have become intellectual friends who can talk about the voice of the online literature at any time and through the forum interactive dialogue. And with the participation and creation of countless individuals, its aesthetic standards have become increasingly enriched, and their subject matter, carrier, and forms have gradually diversified, providing authors and readers with a broader space for literary communication.

Third, online literature communication arrives instantly. The speed of spreading the network is very fast. It is usually calculated based on "seconds". The instant direct access of information can closely connect readers and online literature works anytime, anywhere, and bring people a "immersive experience". At the same time, in online literature works, people can not only spread text, but also spread various information forms such as sounds, pictures, and images. These information forms can be richer, vividly, and vividly present the text of online literature. Online literature is no longer a kind of "delayed enjoyment", but a "instant consumption". Literary works can instantly reach people's hearts and magnanimous people.

In short, the Internet provides new experience scenes and technical support for the spread of literature. Although technology cannot play a decisive role in creating a brilliant literary period, it has broaden the path and innovate the spread of literary works. It is in this good development ecology that literature returns to the people and has become an important part of people's spiritual and cultural life.

Generally speaking, "network literature" refers to the use of the Internet as a transmission carrier and display medium, and the literary works, literary texts, or network art that uses super -text links and multimedia to interpret and present. "IP" is an abbreviation of Intellectual Property, which is literally translated as intellectual property rights. It refers to the rights of the right holder's possession, use of use, and income rights for the wisdom of the right holder. "Network Literature IP" refers to the copyright of upstream and downstream development products in the cultural industry based on online literature text and use of fan stickiness that comes with network literature.

"Network Literature IP Hot" has become a new popular cultural phenomenon, and when we start talking about this phenomenon, John Fiske (1939-2021) must be an inevitable character. He is one of the influential popular cultural theorists in the contemporary British and American academic circles, a professor of communication at the University of Wisconsin, and the founder of popular cultural research. John Fasc's theory was deeply influenced by the Birmingham Pables Stuart Hall and David Moli, which not only changed the way of thinking about the study of mass culture, but also further enriched the theory of mass culture. Its representative works include "Understanding Volkswagen Culture", "Interpretation of Volkswagen Culture", "Introduction to Communication Research", "Key Concept: Dictionary of Communication and Culture Research", etc. We can start with his popular culture theory to analyze the current "online literature IP heat "This phenomenon.

2. The era of web: from enthusiasts to creators

John Fask pointed out in the "Key Concept: Communication and Cultural Research Dictionary" that the text is composed of various expressive symbols and has a certain material form. Decided.

Fasc believes that from the perspective of the structure of the text, the inside of the text should be loose and there are some large gaps to create new texts from it; from the perspective of text functions, text should be the evidence of meaning and happiness, and It should not be a container that carries meaning and happiness; from the value of text, readers should be able to interpret the value and significance of different levels in the symbolic system of the text. Based on the above understanding, Fask believes that the text of popular culture should not be "iron plates", but "producer -style text". In other words, the text itself must have the characteristics of versatility and openness, and it can become a new space for the public to create and re -produce. Both the author and the reader can produce in the text in the text according to their background, experience, intention and other factors. The meaning and value that meets its own needs. One of the reasons for the "network literature IP fever" lies in the "co -creation" of its text, which is consistent with the theoretical core of the Fask's "producer -style text".

In the era of paper books, watching martial arts in the "quilt" is a common memory of many people. At the moment, reading is no longer silent, and readers are more willing to express, discuss, participate, and create. Some readers are not only keen on "websites chase, urging more", but also keen on "the comment area to participate in discussing the storyline". Many readers have also changed from literary enthusiasts to literary creators. Some well -known online writers such as Nakano (Japan) and cute Tao (South Korea) are also transformed by readers. It can be seen that "social reading" and "fans' co -creation" have become a prominent feature of the creation of IP texts. In this process, the author and readers do not have a clear division. Readers can directly participate in the creation of the network IP text through the website or social media platform. It is also continuously incubated on major platforms. This co -creation method can not only bring more creative inspiration to the author, but also fully meet the needs of readers to participate in the creation. On the one hand, readers can discuss in -depth discussions with the author's details such as character, text structure, writing style, language form, etc. in the novel. On the other hand, they can also conduct the story of the story, development, orgasm, ending and other specific storylines. The form of design and development has become one of the indispensable links in the process of network IP creation. In other words, in the creation of the web IP, readers are no longer the "passive" recipient of the story, but the "active" creator of the story gradually shifted from "production audience" to "production authors", and in the fact that The initiative of creation in this process has also been tilted, and the original tendency to "author" has gradually shifted to tend to "readers". Readers have gradually occupied the advantages of text creation and have a "nomadic subjectivity". feature. As Feask said, the text of popular culture is not only the field of multiple contradictions and various views, but also the combination and unity of "reader -style text" and "author -style text".

3. Reader economy: fan group and symbol consumption

There are two very different views on the research of the fan group. A view is represented by Joli Jensen, a professor of communication at the University of Talza. They believe that the fan group is enthusiastic and potential elements, and their behavior is often anomalous and cross -rail. Another view is represented by John Fask. They believe that the fan group is distinguished, creative, and active and active actors.

In the book "Understanding Volkswagen Culture", Feask divides the consumer group of popular culture into two types: "fan group" and "passers -by". Communicate and communicate in the way of conveying symbolic symbols. The identity of the members will continue to develop and change with the deepening of each other. Finally, the "difference" status of the fan group will be more. Good construction. The enthusiasm of this group of popular culture is active, proactive, and enthusiastic. The focus of their attention is mainly concentrated in the "symbol productivity" of the text, and it can identify which works can be identified in the shortest time to allow them to produce in reading in reading. Puxe and meaning, and quickly participate in the reproduction of these cultural symbols. Therefore, the "symbol consumption" behavior of the fan group is also one of the reasons for the "online literature IP fever".

Taking the Korean website IP "That Boy True" as an example, this work was written by Korean female writers cutely. Since publishing on the Internet, it has been quickly sought after by Korean teenagers. Many people suffer from the so -called so -called so -called so -called so -called so -called "The kid syndrome", the handsome boy's hairstyle and clothing became the object of the Korean boys to imitate, while the girl "Beauty starts from the beginning" as his own motto. The film adapted by "The Boy is really handsome" has also been in the top ten of the Korean comedy movie rankings. On the day of the test -screen, although the maximum temperature has soared to 39.8 ° C, the fans still crowded the audition -type scene on the spot. The water was not leaked, and there were even some fans who came to watch from Busan, Incheon and other cities. Many people were excited after reading the work, thinking that this work was a true portrayal of their own lives. They project their emotions into the works and transformed ordinary inner fantasy into specific and practical behaviors.

It can be seen that fans will actively, actively, and enthusiastic about their favorite web IPs. Regardless of the form of the web IP, as long as the surrounding products are developed, there will always be some fans actively "consumption". This kind of consumption often shows a tendency of sensuality, impulse, and blindness. The consumption here can be related to both money or money. In essence, this is a "symbol consumption" behavior. In the eyes of fans, all symbolic products that are all associated with the web IP will make them fascinated and heartbeat. Prove your belongings to a social group and the differences between yourself and others. As Fask said, fans created a fan culture with their own production and distribution systems, forming the so -called "shadow culture economy". 4. Reality breaks the wall: fantasy construction and micro power

Australian scholar Mark Gibson has pointed out that in the field of cultural research, anthropological research, and sociological research, French philosopher and social thinker Michel Foucault cannot be mentioned. Discuss related topics. Fask's popular cultural theory is also influenced by Michelle Foucault's view of power. Fasc believes that popular culture exists in the practice of daily production and life, and does not exist in closed and solid texts. In other words, the focus of Fask's attention has always been the practical activity of mass culture rather than the public cultural text. This is different from the Frankfurt School that only regards the public as a passive recipient. Sexuality and creativity. He believes that mass culture is created by the public, not imposed on them. It produces the bottom or inside of society, not from the top. Popular culture can not only help people establish a symbolic power of "bottom -up", but also help readers to build the most micro -"fantasy inner world" through micro -micro, gradual, rather than revolutionary ways. Agree. For example, the construction of the reader's "inner world of fantasy" starts with reading text, but not every text can make the reader thrill. Only when the content of the text is related to the reader's own social situation and can take him out of it When social self, this "production pleasure" can be generated. This is a kind of power of readers at the micro -political level. This power can continuously stimulate their creative enthusiasm and integrate different cultural experience into their own cultural experience The field and produce more cultural products with their own labels and meaning, and finally realize the further confirmation of individual identity and the reconstruction of macro power relationships. In the network IP, the reason for the continuous rising work of the work is that the author can always be able to actively and flexibly connect with the public and its life. The further recognition of individual identity is the cultural field of the public's self -creation.

Taking the Japanese website IP "Tram Men" as an example, the work tells that a man named "Tram Men" posted on the 2CH online forum to ask netizens how to pursue the beautiful lady "Miss Hermes" she met on the tram. His post responded enthusiastically, and each discussion post could get nearly a thousand replys. In the end, with the advice and encouragement of many netizens, the tram man not only successfully captured the beauty of the beauty, but his story also became a legend on the 2CH website. In this work, readers are like the "roller coaster" that follows the tram man with a roundabout and ups and downs. The sadness, joy, anxiety, and sweetness in the story also become readers. Important materials for re -creation, and these various "fantasy inner worlds" also constitute the most practical cultural experience of readers. These experiences continue to encourage readers The relationship between society and nature, and the readers have also realized the reshaping of themselves and the construction of identity in this process. This is not only the "breaking wall" of readers for ordinary life, but also their transformation and reproduction of real life. It is a spiritual force that promotes self and social development in the reader's thoughts. This is the reflection of the advanced nature and progressiveness of the popular culture that Fask said, and it is also his complete subversive of the Frankfurt School's popular cultural theory. Strive to defend the public culture.

Throughout the entire research paradigm of John Foss's popular cultural theory, we can see that he is based on the meaning of the public and happiness, with the public's initiative practice. A complete set of theoretical research systems on popular cultural text, audience and functions. This system not only gets rid of the pessimism and elite haze of the Frankfurt School, but also brings a fresh air to the research of popular cultural theory. At the same time, like other theories, there are some deficiencies and limitations in the theory of Fask's popular cultural theory. In his theory, there is some optimism and romantic theory. He believes that the public's micro power is one Social powers that are planted from the bottom up can reconstruct the macro power relationship of society. It can be seen that Fask has fallen into the micro -political power "omnipotent" and "omnipotent". However, John Fasc's popular cultural theory has a strong explanation in terms of the analysis of contemporary popular culture and the analysis of the specific cultural phenomenon such as "online literature IP fever". (Author: Liu Xinran, an associate professor of Marxist College of Shanghai Jiaotong University)

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