open house日劇的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列線上看、影評和彩蛋懶人包

那一年，我們一起追的韓劇： 《愛的迫降》之台韓閱聽人接收分析

為了解決open house日劇的問題，作者詹郁怡 這樣論述：

有鑑於「韓流」在全球的成功，使得全世界陸續出現許多關於韓流的研究，然而，相關研究卻鮮少探索韓國本地閱聽人與跨文化閱聽人對韓劇的解讀差異。此外，以近期的趨勢來說，寬頻網路的成熟以及社群網路的蓬勃發展，接連帶動網路影音需求上升，不但促成OTT（Over The Top）服務盛行，也實現了閱聽人跨國同步收視的普及。本研究以2020年在亞洲享有高人氣的韓劇《愛的迫降》為研究文本，分析在不同文化背景下台灣與韓國閱聽人的解讀差異與原因，並且探討閱聽人同步追劇所衍生的心靈感受與行為模式，藉以了解跨文化閱聽人在同步收視行為上的異同觀點。為瞭解上述現象，本研究採取質化取向的網路文本分析與深度訪談法，分別觀察P

TT中的「韓劇板」以及韓國論壇DC Inside的「愛的迫降板」，並且訪談台灣與韓國兩地各6位閱聽人的收視經驗。透過資料蒐集與分析後發現，可以從六個面向來切入探討台韓兩地閱聽人對於《愛的迫降》之解讀異同，分別為「吸引閱聽人的元素差異」、「文化與象徵意涵之關聯差異」、「『美化北韓與否』的觀點爭辯」、「國外閱聽眾的文化想像」、「『溫柔好男人』的浪漫渴望」與「互文性類型的結構意涵」。其次，針對文化層面的分析，本研究主要以「閱聽人之國族意識」、「英雄救美式的男性魅力性別觀」及「長幼尊卑之文化差異」等層面來作進一步的討論。最後，本研究同時藉由「閱聽人對網路串流平台的依賴」、「同步追劇的情緒變化」、「線上

心得文的愉悅」及「追劇所衍生的消費欲望」的分析，挖掘出閱聽人於跨國同步收視所產生的媒體消費與生活型態轉變。此外，本研究與過往跨文化研究學者Liebes與Katz所提出的解讀型態比較後發現，儘管台韓兩地閱聽人大多依循「參考型」與「批判型解讀」模式，然而當閱聽人在面對愛情戲的詮釋時，經常會將男主角形容得如幻想般的美好，彷彿有種浪漫濾鏡，並從此種幻想中得到愉悅，研究者將此種詮釋型態稱為「幻想型解讀」。本研究也發現，影音串流平台挾帶跨國流通的影視文本，不但將閱聽人帶入跨文化的想像與文化融合的體系，產製出獨特的解讀方式，從而迸發出「混雜化」的文化想像。

洞悉追劇現象：美國和台灣OTT電視千禧世代使用者差異之質化研究

為了解決open house日劇的問題，作者歐海倫 這樣論述：

Binge-watching has become the prevailing mode of video consumption in digital savvy countries. This study defines binge-watching as the video viewing behavior with excessive or intensive consumption of audiovisual content within a short period of time. Although some studies investigated the motivat

ions and outcomes of binge-watching TV series in western countries and among a few Asian nations, none have examined users’ consumption of specific content genres (dramas) on selected video platforms and services (Over-the-Top TV; OTT TV). There is an absence of research in binge-watchers’ psycholog

ical status during viewing and their behaviors (e.g., context and patterns) as well as cross-cultural comparisons among different countries. This study focused on examining drama binge-watching users on OTT TV and comparing Taiwanese and American audiences’ binge-watching processes.This study invest

igated the holistic process of drama binge-watching on OTT TV from user motivations, viewing psychological status, and behavioral patterns to outcomes. It also compared millennial users in the United States and Taiwan in order to identify cultural influences on such binge-watching. This study builds

the theoretic foundation by integrating Uses and Gratifications Theory (U&G; motivation), Flow Theory (viewing psychological status) and Media System Dependency Theory (MSDT; users’ dependency relationship, behaviors, outcomes and cultural influences). This qualitative study conducted in-depth inte

rviews with American and Taiwanese OTT TV drama binge-watchers who were aged 22-30 years old. Through a purposive sampling method with a snowball sampling, this study recruited 21 OTT TV users (11 Taiwanese and 10 American participants). The transcribed interview data was coded thematically.Based on

the interview data, the most salient motivations for Taiwanese and American participants to binge-watch were entertainment and passing time and reducing boredom, answering RQ1. In regards to the psychological status of young OTT TV users’ (RQ2), intense concentration and time distortion were the mo

st prominent while engaging in drama content consumption. For the behavioral patterns (RQ3), most of the participants preferred to binge-watch alone at home mostly during the evening and late night. Netflix was the most used OTT platform accessed through the laptop. Furthermore, the majority of the

American participants were heavy users, while most of the Taiwanese participants were light users. Regarding binge-watching outcomes (RQ4), the most striking outcomes were the affective outcomes relaxation, feeling anxiety and/or guilt and mood change. Information as a cognitive outcome and social i

nteraction as a behavioral outcome were the other prominent effects of the binge-watching behavior. Lastly, in cross-cultural comparisons, binge-watching behavior was quite similar between the Taiwanese and American participants. However, there were some slight differences throughout the binge-watch

ing process that were affected by personal choice, lifestyle and content.There were 3 emerging codes from the collected data: 1) Spatial presence under immersive flow; 2) Parasocial breakup under affective outcomes (had previously not been linked to binge-watching and is associated with grief and lo

ss in regard to TV shows); and 3) Social interaction under behavioral outcomes (the accessibility to discuss with anyone about series). Furthermore, from the data analysis it was evident content played a key role throughout the drama binge-watching process. Interest in the content is essential, henc

e personal choice in regards to genre and story interests, and lifestyle in regards to time availability, will influence what drama to binge-watch. Specifically, content was essential in the psychological status of the immersive flow segment. If the content is not engaging enough, once the viewer is

in the immersive flow segment they will most likely lose focus and multitask or stop watching the drama. Additionally, content has a great impact on the outcomes, especially in regard to the affective outcomes—like relaxation, mood change, and loneliness.Keywords: binge-watching, OTT TV, motivatio

ns, psychological status, binge-watching behaviors, outcomes, Media System Dependency Theory, Flow Theory, Uses and Gratifications Theory