"the daily light"
When the development of the ensemble has come to a powerful rise in internet transmission platforms, how is the ensembleInnovationDevelopment has rapidly become a popular focus in integrating media research. However, behind the noise, most web-based ensemble programmes face multiple dilemmas, such as “remote sightings, upgrading of production teams, regulation of standards of scale, advertising for profit”. A group of so-called original online choreographys rely on the eyeballs of “pathetic players” like “shows”, but rather on “wide-scale watch” in the face of the internet, and do not emerge from the old problems of a series of traditional eclectic eclectic programmes, such as creativity, homogeneity, homogeneity, single form, touch lines, etc。
The “GDP” of traditional television is measured by the ratings, while the “GDP” test for web-based art is the “hit rate”. Just as the ratings are “yellow and green”, so are the hits, and there are not a few online chorus shows that are famous for their appearance. If there is no regulatory resistance, online art is bound to bring about a downturn and fall in popular taste. In its manifestations, the online arts are more than just “televisions on the internet”, but rather new and emerging art that brings instant emotional resonance. The author does not want internet fusion to be a continuation of traditional television drags, retrofittings, and dazzling atmospheres, nor does he want it to be a super-injective, luxurious, self-intellectual term, much less a hotbed for star-shows, high prices, and bottom lines。
There are three cores driven by the positive innovation of online fusion: first, to satisfy the growing desire of viewers to peep, of course, on the basis of a “positive energy peep” (i. E., emotional and meaningful thinking after a “stalking”) that is consistent with the core values of socialism; secondly, to satisfy the user's desire to share, especially cross-screened topic interaction and the sharing of views, which is more direct if available through live webcasts; and thirdly, to satisfy the consumer mentality of viewers seeking to buy cheap, preferentially, so that online art is closely associated with the marketing of goods。
There are five more kinds of high-profile online artsInternet thinkingThe way. First, social thinking, with regular people spending 31 per cent of their socialization time using the mobile end of the network, regardless of parentage, singing, eating, dating, games, experience, entrepreneurship; second, declassified thinking, just as the content of the “turn-over” in the circle of friends is one-sided, with high-end people eager to interpret the ill-known truth of suspense properties; third, nostalgia, where the memory of past and past figures is often the hot spot of society; fourth, extreme thinking, where the natural poaching genes of the network generate the red and fermentation of extremely important personalities and highly selective topics; and lastly, practical thinking, i. E., by focusing on topics of service, savings and convenience。
From 2014 to 2015, there was a trend towards the emergence of a “long declassification” of traditional television programmes. Because of the lack of time and time constraints, the material for traditional television has been picked up again, and stars and various subjects have been shown behind the scenes of the show, and their inner monologues have been amplified on the internet. This “fish-to-fish” model is popular, interactive, complementary and cost-effective. In the future, the “pure web ensemble” era will involve more “new videomakers” with more “non-traditional thinking” and more “from the media” and “from the stage”, and more programmes will be developed for mobile terminal viewing and interaction, such as cellular subscribers。
At the same time, traditional television began to play a big “internet+” concept card, and korea and europe and america began a wide-ranging attempt at cross-screen interactive programming, the most popular of which was the korean web anchor, the lives show, and the six leading korean broadcasters of traditional television were “separated gathering”, or cooking, or make-up, or singing, or teaching. To attract online audiences to vote by monitoring video footage in their own media format; to compete for glamour; in the united kingdom there is the "singing the bar" programme for online dating; and europe has launched the popular programme "favorite holidays" where netizens provide tourism strategies in real time. These programmes have, without exception, set up a system of “cyber-pointing” and “targeting crowd-building”, the core of which is the return of mobile phone users to television terminals through “cross-screen interaction”。
In fact, the core of video art should not be limited to visual wonders, whether it be online or traditional television arts, because beauty is always just a pedal, and value magnification and human care is the ultimate point. The healthy development of web-based arts requires the courage to be “first in the world” innovative and the responsibility to be “manager values”. The innovation of web-based arts is not the blind pursuit of large-scale effects and the joining of big stars, but the development of more “probable models” that fit into social distress. Only by organicizing a sense of value, recreation and the real needs of society can the web become more sustainable
Wang wenzheng, china academy of social sciences
