Bullet Screen and Discipline: Gender Gaze in Webcast Based on Douyu Big Data

XU Jinghong, ZHANG Rukun, GUO Jingyu, GONG Jiankun

Chinese Journal of Journalism & Communication ›› 2022, Vol. 44 ›› Issue (4) : 146-167.

PDF(1738 KB)
PDF(1738 KB)
Chinese Journal of Journalism & Communication ›› 2022, Vol. 44 ›› Issue (4) : 146-167.
Research Articles

Bullet Screen and Discipline: Gender Gaze in Webcast Based on Douyu Big Data

Author information +
History +

Abstract

In recent years, the popularity of male anchors has continued to rise, and traditional gaze theories are unable to explain the new trends in webcasting. This article proposes a new paradigm of gaze for live webcasts based on the big data analysis of Douyu’s anchors. We found that the “male gaze” has changed in the “panopticon” constructed by the bullet screen. The audience, as the monitor, disciplines anchors through the definition of the “others” and the support of capital power, and anchors are active to accept it. The audience’s attention to the anchors’ body is symbolized and divided. The gender boundary of peeking and possession begain to blur, the shackles of the binary opposition between men and women are breaking gradually, and “male sex consumption” is growing.

Key words

Webcast platform / bullet screen / network anchors / the gaze theory

Cite this article

Download Citations
XU Jinghong , ZHANG Rukun , GUO Jingyu , et al. Bullet Screen and Discipline: Gender Gaze in Webcast Based on Douyu Big Data[J]. Chinese Journal of Journalism & Communication. 2022, 44(4): 146-167

References

[1]
陈静姝, 闵健(2014). 女性主义视角下的身体、权力和体育参与. 《体育科学》,(7),12-14.
[2]
陈伟军(2019). 网络直播的日常展演与场景魅惑. 《社会科学文摘》,(8),112-114.
[3]
陈响园, 陈妤菁, 王晓奕(2017). “弹幕视频”的去传统美学及其现实逻辑. 《现代传播(中国传媒大学学报)》,(3),143-147.
[4]
李勇, 蒋冠文, 毛太田, 蒋知义(2019). 基于情感挖掘和话题分析的旅游舆情危机演化特征——以“丽江女游客被打”事件为例. 《旅游学刊》,(9),101-113.
[5]
刘涛(2014). 社会化媒体与空间的社会化生产:福柯“空间规训思想”的当代阐释. 《国际新闻界》,(5),48-63.
[6]
刘运同(主编)(2007). 《会话分析概要》. 上海: 学林出版社.
[7]
梅洛·庞蒂(1964/2008). 可见的与不可见的(罗国祥译). 北京: 商务印书馆.
[8]
仝冲, 赵宇翔(2019). 基于内容分析法的弹幕视频网站用户使用动机和行为研究. 《图书馆论坛》,(6),80-89.
[9]
王婷, 刘乾阳(2019). 网络视频直播空间中青年女性的自我建构与身份认同. 《当代青年研究》,(4),97-103.
[10]
魏钰(2017). 传播学视域下弹幕文化的现状及前景分析——以大学生群体为例. 《传媒》,(15),52-55.
[11]
雅克·拉康, 让·鲍德里亚(1973/2005). 视觉文化的奇观 (吴琼译). 北京: 中国人民大学出版.
[12]
袁奂青(2019). 网络直播对网红与粉丝关系的影响研究. 《新闻爱好者》,(5),91-94.
[13]
张聪, 陈颖, 程远涉(2016). 论弹幕在电视媒体中的应用——基于对弹幕受众的实证研究. 《中国电视》,(10),71-75.
[14]
张宁, 苏幼真(2017). 网络直播间:新部落的建构及其亚文化特征. 《现代传播(中国传媒大学学报)》,(10),128-132.
[15]
张颖(2014). “第二性”的摇摆与归属. 《中国图书评论》,(12),58-61.
[16]
张玉璞(2018). 基于互动仪式链理论的青年弹幕互动仪式作用机制研究. 《当代青年研究》,(3),65-71.
[17]
郑飏飏, 徐健, 肖卓(2015). 情感分析及可视化方法在网络视频弹幕数据分析中的应用. 《现代图书情报技术》,(11),82-90.
[18]
中国互联网信息中心(2021). 中国互联网发展状况统计报告(第48次). 检索于 http://www.cnnic.net.cn/hlwfzyj/hlwxzbg/hlwtjbg/202109/t20210915_71543.htm.
[19]
钟远波(2010). 凝视:作为权力的观看. 《美术观察》,(6),112.
[20]
朱雪燕(2018). 侵入“主流”的青年亚文化弹幕——基于英国伯明翰学派的文化研究视野. 《艺术百家》,(4),60-65.
[21]
Barry, B., & Phillips, B. (2016). Destabilizing the gaze towards male fashion models: Expanding men's gender and sexuality identities. Critical Studies in Mens Fashion, 3(1), 17-35.
[22]
Chen, Y., Gao, Q., & Rau, P. (2015). Understanding Gratifications of Watching Danmaku Videos - Videos with Overlaid Comments. Paper presented at the International Conference on Cross-Cultural Design. August 2, Cham.
[23]
Golan, O., & Martini, M. (2019). Religious live-streaming: Constructing the authentic in real time. Information Communication & Society, 22(3), 437-454.
[24]
Gros, D., Wanner, B., Hackenholt, A., Zawadzki, P., & Knautz, K. (2017). World of Streaming. Motivation and Gratification on Twitch. Paper presented at the International Conference on Social Computing and Social Media. July 9, Vancouver.
[25]
Guarriello, N. B. (2019). Never give up, never surrender: Game live streaming, neoliberal work, and personalized media economies. New Media & Society, 8(21), 1750-1769.
[26]
Johnson, M. R., & Woodcock, J. (2019a). The impacts of live streaming and Twitch.tv on the video game industry. Media Culture & Society, 41(5), 670-688.
[27]
Johnson, M. R., & Woodcock, J. (2019b). 'It's like the gold rush': The lives and careers of professional video game streamers on Twitch. tv. Information Communication & Society, 22(3), 336-351.
[28]
Landreville, K. D., White, C., & Allen, S. (2015). Tweets, polls, and quotes: Gatekeeping and bias in on-screen visuals during the final 2012 presidential debate. Communication Studies, 66(2), 146-164.
[29]
Mulvey, L. (1989). Visual Pleasure and Narrative Cinema, London, UK: Palgrave Macmillan.
[30]
Ruberg, B., Cullen, A. L. L., & Brewster, K. (2019). Nothing but a “titty streamer”: Legitimacy, labor, and the debate over women’s breasts in video game live streaming. Critical Studies in Media Communication, 36(1), 1-16.
[31]
Staudt, K. (2019). Bordering the future? The ‘male gaze’ in the blade runner films and originating novel. Borders in Globalization Review, 1(1), 22-28.
Philip K. Dick (1928-1982), author of numerous science fiction narratives from the 1950s-1980s, some of which Hollywood made into films, grappled with the nature of reality, the meaning of humanness, and border crossing between humans and androids (called ‘replicants’ in the films). The socially constructed female and male protagonists in these narratives have yet to be analyzed with a gender gaze that draws on border studies. This paper analyzes two Blade Runner films, compares them to the Philip K. Dick (PKD) narrative, and applies gender, feminist, and border concepts, particularly border crossings from human to sentient beings and androids. In this paper, I argue that the men who wrote and directed the films established and crossed multiple metaphoric borders, but wore gender blinders that thereby reinforced gendered borders as visualized and viewed in the U.S. and global film markets yet never addressed the profoundly radical border crossing notions from PKD.
[32]
Thorburn, & Danielle, E. (2014). Social media, subjectivity, and surveillance: Moving on from occupy, the rise of live streaming video. Communication & Critical/cultural Studies, 11(1), 52-63.
[33]
Wang, Y. (2017). Convergence rates of latent topic models under relaxed identifiability conditions. Electronic Journal of Statistics, 13(1), 37-66.
[34]
Zhang, G., & Hjorth, L. (2017). Live-streaming, games and politics of gender performance: The case of Nüzhubo in China. Convergence: The International Journal of Research into New Media Technologies, 25(6), 807-825.
In the emerging scholarship on live-streaming sites, the role of gender has been relatively overlooked. This article aims to address this oversight by capturing the controversial rise of nüzhubo (Chinese for ‘female casters’) in the Chinese live-streaming platform, Douyu. Through ethnographic research on Douyu over 2 years, we have witnessed female performers who – motivated by both entrepreneurial spirit and creative agency – have embraced new forms of performative practices in, and around, video game commentary cultures. We begin with a brief contextualizing the gendered nature of media in the history of Chinese video sites and how theories around gender – especially gender performativity – might be adapted. While acknowledging the homogenizing effect of the term nüzhubo, we focus on two performers on Douyu – Hani9 and Nvliu – that are challenging conventional nüzhubo tropes. We argue for a situated notion of gender performativity that also engages with the platform-specific social, cultural and technical infrastructures – ‘platformativity’ to use Thomas Lamarre’s word.
[35]
Zhang, M., Qin, F., Wang, G. A., & Luo, C. (2019). The impact of live video streaming on online purchase intention. Service Industries Journal, 40(4), 1-26.
[36]
Zhang, X., Xiang, Y., & Hao, L. (2019). Virtual gifting on China's live streaming platforms: Hijacking the online gift economy. Chinese Journal of Communication, 12(1), 1-16.
[37]
Zhu, Z., Yang, Z., & Dai, Y. (2017). Understanding the Gift-Sending Interaction on Live-Streaming Video Websites. Paper presented at the International Conference on Social Computing and Social Media. July 9, Vancouver.
PDF(1738 KB)

Accesses

Citation

Detail

Sections
Recommended

/