难以复刻的情感构建——以文图学视角分析“岚”演唱会 = Irreplicable emotional constructions - a study of Arashi's concert in text and image studies

Abstract

2020年在新型冠状病毒的影响下，许多不同类型的线下活动被迫改为线上，而现场演唱会也是其中之一。演唱会对于观众而言最大的吸引力往往是同一空间内的“现场感”，也正是因此线下演唱会的体验及情感生成方式是线上演唱会难以复刻的。 日本男子偶像团体岚（Arashi）出道二十余年，在世界各地有着极高人气，专辑销量及演唱会也多次创下世界纪录。岚至今为止举办过无数次不同规格、不同形式的演唱会，而2020年也举办了两场线上演唱会。本研究将以文图学的视角分析岚线下、线上演唱会以及演唱会电影的主题表现、舞台效果、观众体验、粉丝行为等，并分析比较岚演唱会的情感构建。通过研究观众从观看演唱会，到产生认知、付出行动这一过程，研究发现虽然岚的线下及线上演唱会皆获得了高评价，观众体验也十分优异，但线下演唱会中独一无二、难以复刻的情感建构依旧是线上演唱会无法替代也无法达成的。 In 2020, several types of large-scale events were transitioned online due to the outbreak of the Coronavirus (COVID-19), and concerts are also part of these events. For the audiences, the biggest attraction of concerts is often the feeling of seeing the performances live and being in that same space with the performer, therefore, the experience and emotions constructed of offline concerts are difficult to be recreated in online concerts. Japanese idol group Arashi made their debut in 1999 and has since grown great popularity all over the world, even breaking world records with their album sales and concerts. Since the group’s debut, they have held concerts of different scales and forms, including two online concerts in 2020. This thesis would discuss the emotional attachment, audience experience and behavior of Arashi’s offline and online concerts, as well as concert movie from the perspective of Text and Image studies. Through studying the process from audiences watching concerts to generating cognition and taking action, it was found that while Arashi's offline and online concerts both received high praise, and the audience experience was excellent, the unique and irreplicable emotional construction present in offline concerts remains something that online concerts cannot replace or achieve.