摘    要

依托粉丝经济的网络IP剧引爆中国市场，致使“现象级”的热播剧频出。IP剧的受众广泛，其中以粉丝受众最为瞩目。粉丝与文化工业长期处于收编与抵抗的对峙状态，但也不乏利益的合谋。互联网语境下的技术赋权，使得他们以参与式生产填补了以往单一的消费图谱，并以独特的功能性角色建构了网络IP剧的参与机制，代表了“产消”融合情境下最为活跃的文化参与者之一。然而，在技术乐观的背后，文化工业“商品化”的实质暗示着粉丝在娱乐消费文化景观中的尴尬境地。

目    录

导言··········································································4

一、网络IP剧中的粉丝受众·····················································4

（一）IP概念辨析·····························································4

（二）IP剧中的多重粉丝·······················································5

1. 忠于原著文本的原著粉·····················································5

2. 应援明星的明星粉·························································6

3. 追剧的剧粉·······························································6

（三）IP剧粉丝的参与机制·····················································6

1. IP生成的助力者··························································6

2. 参与性生产的实践者·······················································7

3. 网络粉丝社群的建设者· ··················································9

二、粉丝在文化产业中的角色定位··············································10

（一）创意生产者与狂热消费者················································10

1.参与文化下的文化生产者················································10

2.粉丝经济下的文化消费者················································11

（二）商品化受众与免费劳动力················································11

1.受众商品化：粉丝是商品吗？·············································11

2.被剥削的劳动力和被赋权的参与者········································12

三、关于粉丝的再思考·························································13

（一）“产消”融合中的文化参与··············································13

（二）文化认同中的个性存在 ·················································14

（三）娱乐消费景观中的尴尬处境··············································15

四、结语·····································································16

参考文献·····································································17

致谢·········································································18