Instagram旅遊型網美：產消、性別與空間

Abstract

社群媒體興起，進入了許多現代人的生活當中，也影響了許多人的生活甚鉅。其中，Instagram是一值得關注的社群媒體。Instagram上有一群特別的使用者。他們在社群媒體上分享自己的旅遊景點照，他們不僅會去那些看起來漂亮、在視覺上吸引人的景點拍照，同時也透過網路共享了許多拍照構圖、修圖的慣例，這些使用者被台灣大眾稱為「網美」。為了理解Instagram對於現代生活的影響，本研究從產消者（prosumer）的概念，從資訊科技與傳播、性別研究以及地理學這三個面向，提出以下研究發問（一）網美在社群媒體上的實作如何回應到產消概念？這些實作如何影響到網美本身乃至於當代的生活與旅遊經驗？（二）網美在社群媒體上的產消中，在性別面向上突破、自我賦權或受限的可能性為何？（三）線上與線下的網美實作如何影響實際地景？本文透過綜合的質性研究方法，包含訪談法、網路民族誌以及實際的參與式觀察，得出以下的研究發現：Instagram上的旅遊型網美在產消實作在於他們將自我視作一個品牌，因此需要投入大量的心力與時間在旅遊、拍照甚至是對抗污名之上，才能持續經營。這些勞動為網美帶來收益也同時帶來工作的感受，可以進一步回應產消者概念，補足在社群媒體日益發達與普及的情況下，產消者的內涵會因此轉變。而在性別的面向，社群媒體所發展出來的網美實作，雖然會使得女性在某些情況下翻轉了父權中傳統的性別腳本或是可以擁有主導權，這看起來是賦權的，但是仍要注意其中厭女的力量反撲，例如前述網美所要對抗的污名，即屬於厭女的一環，這使得網路上有兩股勢力不斷角力。最後則是回應到網美對於空間的影響，可以看出線上的產消使得線下的場景因而有奇觀化等方式轉換空間的意義，其中不同的生產者會透過符號抽換等方式，使得線下的場景成為能再現於線上社群媒體的舞台。在新北耶誕城的例子裡，政府主導整個活動的規劃，使整體活動逐漸奇觀化；而觀光客也能透過線上或線下的學習，自己創造可以再現於社群媒體上的奇觀。

The rise of social media has been widely involved in the lives of many contemporary people, causing significant impacts on the lives of the majority. Instagram is one of the social media worthies of attention. A remarkable group of users on Instagram share their photos of travel spots on social media. Not only do they visit beautiful and attractive spots to capture photos, but they also share many photos composition and retouching practices through the internet. These users are widely known as 'Influencers” in Taiwan. This study proposes the following research questions to understand the impact of Instagram on modern life based on the concept of prosumer from three perspectives, information technology and communication, gender studies, and geography: (1) How do the Influencers’ social media practices respond to the concept of production and consumption? How do these practices affect Influencers themselves and contemporary life and travel experiences? (2) What are the possibilities of gender-oriented breakthroughs, self-empowerment, or limitations in the social media production and consumption of the Influencers? (3) How does the online and offline Influencers practice affect the real-world scene? Through an integrated qualitative research approach, including interview methods, online ethnographies, and actual participant observation, this study come up with the following research findings: For travel-oriented Influencers on Instagram, their practices of prosumption lies in the fact that they see themselves as a brand and thus need to invest significant effort and time in travel, taking photos and even fighting against stigma in order to sustain their business. These labors bring both benefits and a sense of work to the Influencers, which can further respond to the concept of prosumer and supplement the changing connotation of prosumer under the increasingly developed and popular social media. As for gender, although the Influencers’ practices developed by social media may enable women to reverse the traditional gender script of patriarchy or to take the lead in some cases, which seems to be empowering, however, it is still necessary to be aware of the backlash of misogynistic forces. For example, the aforementioned stigma that the Influencers is fighting against is a part of misogyny, which causes two forces on the Internet to constantly wrestle with each other. Finally, the online prosumption enables the offline scenes to transform the meaning of space by spectacularizing them, where different producers will make the offline scenes become a stage that can be reproduced in the online social media through symbolic swapping. In the case of Christmasland in New Taipei City, the government has led the planning of the entire event, making it a gradual spectacle, while the visitors can create their own spectacles through online or offline learning that can be reproduced on social media.