Danmaku: The Revolutionary Video-Sharing System From Asia - Essay Sample

Abstract

The danmaku is a video-sharing website feature in Asia that allows live comments to be overlaid onto a video directly and immediately upon being enrolled or uploaded. Danmu in Chinese or danmaku, a Japanese word means “bullet curtain” in the literal sense. The interphase refers to a sharing system where the viewing audience can directly plaster comments on an uploaded video. Danmaku was, for the first time, popularized by a Japanese-based animation, comic, game video portal (ACG) Niconico. The company later prompted Chinese ACG websites, including AcFun and Bilibili.

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For the audience to start writing a comment at the danmaku, they needed to connect their mobile phones to the Wi-Fi of the cinema. They would automatically be directed to an inputting dashboard. Their comments would subsequently scroll across the display in real time. At times, comments got so thick to a level that resembled a “barrage of bullets,” aka danmaku. In this report, danmaku functions in building youth subculture and attracting audiences will be analyzed. It can however be ascertained that youth subculture strongly stretches its wings on Bilibili.

Introduction

Through time, digital video sites assay on new ways of building a platform to promote user engagement as well as enabling users to connect among themselves through multiple channels and means. The prevalence is too high that the widespread creation of danmaku technology aroused many academic concerns. Bilibili has been exceedingly popular among the Chinese ACG fans. The website has rock-ribbed users comparable to other video portals as danmaku bears a social component. The site is more lively than other ACG online communities on account of fans often examine back to view on how others have commented upon their favorite compilations. Despite anything, on the contrary, Bilibili hasn’t constituted a firm business model.

If we assay towards pursuing the practical possibilities on the demonstration of Bilibili film-viewing experiences ideally, it is essential to attain probable connections between theoretical conceptions and the cultural moments concerning the contemporary audience’s cinema-watching habits. In expounding on youth subculture on Bilibili as far as danmaku is concerned, a report compiled “The ‘danmu’ phenomenon and media participation: Intercultural understanding and language learning through ‘The Ministry of Time’” will be looked. The context strives to explain the roles of danmaku on the gradual beginning of youth subculture ion Bilibili. We will start with an analysis of our methodology, which thence follows the chronological sequence.

Method:

In analyzing the danmaku, we combined discourse analysis and content analysis methods of research. The “coding and counting” method was employed, in classifying the entire danmaku corpus by subject as well as selecting the most illustrations of the reactions and interests of the spectators in a quantitative manner. The analysis then proceeded in studying this selection globally through the use of the ideal setup of “Computer-mediated Discourse Analysis,” characterized by a lingual approach and through the adoption of “Discourse Analysis techniques” in studying online interactions.

This combination enables understanding of emergent issues as well as their statistical relationships, not to mention the underlying development behind the digital discourse such as culture, ideology within our research topic. The first step was to recognize the most frequent topics that are discussed among the Chinese audience. For this to be achieved, the corpus was envisioned in two weeks three times, identifying the interpositions that refer to the same theme. A provisional inclusion criterion was established, where: “if they constituted more than 1% of the 1,590 danmaku we collected, an analysis item was taken and ideally registered for coding. In testing the technique reliability, a pilot study that focused on the first fifteen minutes of an episode was conducted, which thence resulted in four different topics having more than sixteen danmaku.

Typically the same method of sampling was applied to the unexpended corpus obtaining 15 topics in total with 550 danmaku. The audience was anonymous. 1,040 non-representative danmaku, dealing with issues that didn’t merit more than sixteen comments was discarded. A majority of the selected 550 danmaku happened simultaneously in specific frames, talking about their content. In contrast, others disseminate throughout the episode having been updated with a visual stimulus, but are related to thematic content and have been counted collectively.

Having the original danmaku in Chinese, while some encumbrance from Spanish, we translated the danmaku selected was translated into English. The first author was a danmaku user as well as a constant follower of videos within the platform, thereby being familiar with the Chinese register employed in this setting. When in doubt, the author consulted specialized dictionaries, such as “Moegirlpedia.” In verifying the translation quality, the quoted danmaku was checked by a Spanish-Chinese translator. The 550 danmaku, as well as the fifteen topics into five categories by the use of an inductive approach, were classified. In reducing subjectivity, the first author translated and coded the doubtful shards with the second author for discussion purposes. Coding was conducted 3 times to achieve correspondence between the two authors.

Contextualization:

Progressively, the Chinese government targeted younger people by bolstering propaganda campaigns via social media. Through to the close of the year, several government agencies accounted more than running 17,380 accounts, roiling out “positive energy” on short videos in accordant to an issue about internet development. Bilibili has been an accessible model for authorities having its appeal to the younger generation of anime, games and comics, and comics.

Bilibili is a China-based video streaming company primarily engaged in cyberspace among other related businesses. It operates its business in four segments; the mobile game service, the advertising, live broadcasting, and VAS (Value-added services). Mobile Game Service mainly operates the solely distributed mobile games as well as mobile operating games developed jointly by third-party developers. Advertising segment, on the other hand, is primarily utilized in display advertising systems business. The Live broadcasting and VAS segment being operational, maintaining live broadcasting channels as well as sell virtual items. The Other segment is engaged in product sales through the e-commerce platform, not to mention holding offline functioning activities. Bilibili mainly operates a business within the domestic market.

Discussion and Analysis:

Extensive literature from the text supports the fact that audiovisual materials supplied with subtitles i.e., films and television series, foster learning of foreign language learning. Several studies have also investigated the rewards of standard or inter-linguistic subtitles that translate the original script into the native language of the audience, not to mention intralinguistic subtitles that transcribes the original soundtrack. The study, as such, has paved the way into a more dynamic and complex environment of bilingual, free, overlaid dynamic, commentary, and fan-made subtitles.

In an informal context, the Chinese youth reconstruct meanings via media representation, either rejecting or confirming their previous stereotypes and knowledge about Spain. They successively understand and respond to as well as carry out composite activities such as identifying and comparing sociocultural differences and similarities, placing China into a particular context and building collective intelligence concerning the projected reality. Such practices provide good exemplars for promoting and enhancing intercultural competence. By the fact that danmaku is unclear also facilitates collaboration, as this prevalence inhibits the responsibility of giving correct answers or rather get concerned about one’ s image.

Despite anything, on the contrary, the study also extends an innovative and exciting contribution to digital literacy and media as a whole. Products of popular culture, i.e., “The Ministry of Time,” merely are not for entertainment, but rather embody shared knowledge, values, and customs of the other, evoking reactions from adolescents. According to the study, social networks, including other virtual environments, alleviate intergroup dialogue. This helps in cultivating intellectual curiosity as well as develops a civil path along with studying different cultures and people throughout the world.

With the prevalence of the emergence of subculture with the aid of Bilibili, a much more interactive subculture can be noted. Interactive video, as of the case, transforms the linear storytelling curve by letting the audience take the bulls by the horns. Interactive video forms today are limitless. The audience can get quizzes, gamified content, clickable menus, control over the viewing perspective, interactive storylines that let the viewer choose their adventure. No matter the form, all interactive channels shares will power to create alongside the audience. This prevalence is different from the traditional linear video that saw limited audience participation in watching.

In the main, interactive video offers an unprecedented world of opportunities, not only creating creative possibilities but also tailoring content for supposedly to match different audiences, better educate prospects, and generate leads. Interactive content stands in capturing valuable data as of what individuals are most interested in based on the behavior of the audience. According to routine, interactive content outmatches linear video on several metrics, allowing lower dwell time, better ROI (Return on investment), and higher engagement. It also inclines to be memorable compared to linear video, as interactions make audiences more linked to the content.

By transforming film screenings from ‘regular or mainstream’ modes to live-events, being part of presently becoming important and having technological accidents enhance the aspect of testing. Conceiving its role in atmosphere generation of practically being thereby relocating operations to the Chinese cinema culture, Danmaku is representative of viewer construction of agency affiliated with the ACG subculture in its original setting, as well as audience engagements alongside the formation of an alternative to offline spaces for sharing films and provoking a sense of belonging in specific audiences.

Through the Danmaku systems, the audience participates collectively in a movement replete of mingled ‘postmodern deconstruction’ and ‘modern construction’ of film meanings. Consequently, instead of putting Bilibili to a discussion as either a postmodern or a fixed structure, fluid neo-tribal development, in terms of mainstream definitions of subcultures, can be explored as an alternative space moving to and fro between postmodern and modern notions of audience response.

Conclusion

The role of danmaku stems from a much more significant impact on Bilibili arising from its interrelatedness of the two. Bilibili users are powerfully attracted by the advertisement-free-fashion of the site and the engaging community as a whole. The culture of the bullet screen stands as a sign of deference and paying testimonial to the videos fellow users create or upload. Bullet comments become inseparable from the video as they are more enjoyable and funnier with explanations of the bullet flying across the screen.

The rewards to bullet comments are apparent through our texts. Similar to ordin...