{"title":"Within a Carnivalesque Space: The Textual Identity of Danmu and the Rise of Mass Writing","authors":"Hui-min Deng, Di Zhan","doi":"10.1080/10632921.2022.2030271","DOIUrl":null,"url":null,"abstract":"ABSTRACT Danmu is the Chinese pinyin of 弹幕, which is often used to describe the interactive, on-screen commenting system featured by both sub-cultural bullet-screen platforms and dominant video-sharing platforms. While the transformation of the power relationship between the public and the official and between viewer and author has received considerable scholarly attention, less attention has been paid to how the danmu system has affected the textuality of contemporary online audiovisual texts. Based on the Bakhtinian carnival, this paper explores the textual structure and signifying mechanism of danmu. It argues that danmu has dual textual identity, the paratext of online videos and the textual component of bullet-screen videos respectively. Danmu allows viewers to not only make comments on online videos but also reconstruct them. Such interactive construction of online audiovisual texts represents the rise of mass writing.","PeriodicalId":45760,"journal":{"name":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5000,"publicationDate":"2022-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/10632921.2022.2030271","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 1
Abstract
ABSTRACT Danmu is the Chinese pinyin of 弹幕, which is often used to describe the interactive, on-screen commenting system featured by both sub-cultural bullet-screen platforms and dominant video-sharing platforms. While the transformation of the power relationship between the public and the official and between viewer and author has received considerable scholarly attention, less attention has been paid to how the danmu system has affected the textuality of contemporary online audiovisual texts. Based on the Bakhtinian carnival, this paper explores the textual structure and signifying mechanism of danmu. It argues that danmu has dual textual identity, the paratext of online videos and the textual component of bullet-screen videos respectively. Danmu allows viewers to not only make comments on online videos but also reconstruct them. Such interactive construction of online audiovisual texts represents the rise of mass writing.
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How will technology change the arts world? Who owns what in the information age? How will museums survive in the future? The Journal of Arts Management, Law, and Society has supplied answers to these kinds of questions for more than twenty-five years, becoming the authoritative resource for arts policymakers and analysts, sociologists, arts and cultural administrators, educators, trustees, artists, lawyers, and citizens concerned with the performing, visual, and media arts, as well as cultural affairs. Articles, commentaries, and reviews of publications address marketing, intellectual property, arts policy, arts law, governance, and cultural production and dissemination, always from a variety of philosophical, disciplinary, and national and international perspectives.
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