【正文】 two， the influence of audience ratings on the production of TV plays． It studies the influence of the audience ratings on some main chains in TV play production， such as fixing a price， selecting the topic， investing， and evaluating the quality of TV plays， and analyzes the disadvantages of taking audience ratings as the only standard in judging the TV plays and the deep—rooted reasons why there is few fine TV plays， which reflect the rich historical culture of China and the Chinese socialist cultural renaissance． Part three， the factors and mode analysis affecting the guide of American TV play production． It introduces the influence of the production， trade， profitability, and judge mode of American TV plays on the production and judge of Chinese TV plays ， and the enlightenment， and points that some domestic popular TV media makes the TV play production over mercialized under the guidance of stressing only on audience ratings，departing from the socialite responsibility a national media should take． Profits and massive hot—money lead to disorder petition in the domestic TV and film market， SO that few fine TV plays are produced． The audiences look forward to the works which is inspiring， and dynamic， reflecting the social focus． Part four, how the TV play production units cope with audience ratings standard． Taking supremacy of audience ratings as judge standard，“pleasant to watch”is in the first place． while“what to watch’’is inferior． As the future and interest of the investors， and the directors and writers are linked to audience ratings， some of the TV playmakers have no regard for the social responsibilities， drifting with the current and taking audience ratings as the only standard． The problem of giving the domestic TV plays and the audience wrong guidance in the case of monopoly by popular media and incorrect audience ratings is criticized in the dissertation， and at the same time， how the military TV plays cope with the audience ratings is discussed． Part five， thinking and the method about improving the standard of audience ratings． With the rise and challenge of the new media，the survey pattern of audience ratings begins to be adjusted． The author put forward his own thinking， suggestions and solutions in how to make maximum use of the leaver of audience ratings， to improve the standard of audience ratings， and to perfect the regulatory controls from the third part beside the society, government and the industry which is in the same interest chain to make the statistics of audience ratings more fair, scientific and perfect． Conclusion： The dissertation shows the basic conclusion of the study and inadequacy, and the need of informing the industry of audience rating investigation． Key words： audience ratings， TV play 緒論 在我國(guó)，電視劇有著最大的收視群體、覆蓋面最廣的收視率。就如何善用收視率杠桿，改進(jìn)收視率標(biāo)準(zhǔn)，完善社會(huì)、政府、行業(yè)等利益鏈條外第三方的監(jiān)管手段，使收視率調(diào)查統(tǒng)計(jì)數(shù)據(jù)向公正、科學(xué)、完善的方向發(fā)展，提出自己的思考、建議及解決方法。第五章：改進(jìn)收視率 標(biāo)準(zhǔn)的思考與方法。在收視率至上的節(jié)目評(píng)判標(biāo)準(zhǔn)下，“好看”是第一位的，“看什么”則退居其次，投資人和編導(dǎo)者的前 途、利益和收視率掛鉤，致使一些從業(yè)人員對(duì)社會(huì)責(zé)任的漠視，隨波逐流，唯收視率馬首是瞻。觀眾呼喚反映社會(huì)焦點(diǎn)問(wèn)題、催人奮進(jìn)、傳達(dá)『 F 能量的作品問(wèn)世。介紹了美國(guó)電視劇的生產(chǎn)、交易、盈利、評(píng)價(jià)模式對(duì)中國(guó)電視劇生產(chǎn)與評(píng)價(jià)的影響和啟示，分析了國(guó)內(nèi)一些強(qiáng)勢(shì)電視媒體在“唯收視率”的導(dǎo)引下，使電視劇生產(chǎn)過(guò)度商品化，背離了國(guó)家媒體應(yīng)肩負(fù)的社會(huì)責(zé)任。就收視率對(duì)國(guó)產(chǎn)電視劇制作中的一些主要環(huán)節(jié)，如定價(jià)、選題、成本投入以及質(zhì)量評(píng)判所起的影響進(jìn)行研究，著力分析收視率作為評(píng)判電視劇優(yōu)劣唯一標(biāo)準(zhǔn)的種種弊端，以及造成難以催生反映我國(guó)豐富歷史文化和社會(huì)主義文化復(fù)興進(jìn)程優(yōu)秀電視劇 的深層次原因。簡(jiǎn)述了收視率計(jì)算、采集、調(diào)查 、統(tǒng)計(jì)的基本方法和途徑，分析了造成收視率誤差的客觀原因，披露了收視率造假的一些主要方法和發(fā)生的案例，交代了有關(guān)國(guó)內(nèi)收視率調(diào)查市場(chǎng)寡頭競(jìng)爭(zhēng)后的壟斷格局及產(chǎn)生問(wèn)題的背景，概括了我國(guó)近年來(lái)電視劇市場(chǎng)和生產(chǎn)、發(fā)行、播出情況，說(shuō)明我國(guó)電視劇市場(chǎng)目前處于嚴(yán)重的生產(chǎn)過(guò)剩狀態(tài)。 ................ 28 5． 5 加大精品劇的制作采購(gòu)，規(guī)避收視率風(fēng)險(xiǎn) ............. 28 5． 6 完善監(jiān)管政策，加以市場(chǎng)制衡 ...................... 28 5． 7 開拓新的播出渠道，避免搶過(guò)“獨(dú)木橋” ............. 29 5． 8 提倡綠色收視率 .................................. 29 5． 9 改變市場(chǎng)格局，收視率調(diào)查市場(chǎng)重新洗牌 ............. 29 5． 1 0 新技術(shù)下的細(xì)分市場(chǎng)分流：三網(wǎng)融合及數(shù)字化新媒體 . 30 5． 11 小 結(jié) ......................................... 31 結(jié)語(yǔ) ................................................... 31 參考文獻(xiàn) ............................................... 32 致謝 ................................................... 32 摘 要 本文在我國(guó)大力發(fā)展文化產(chǎn)業(yè)的背景下，就風(fēng)靡影視行業(yè)的收視率對(duì)國(guó)產(chǎn)電視劇及電視觀眾產(chǎn)生的影響為研究對(duì)象，把在我國(guó)收視率調(diào)查市場(chǎng)對(duì)峙著的雙雄：央視．索福瑞和 AC 尼爾森兩家收視數(shù)據(jù)調(diào)查公司作為主要研究案例，對(duì)“唯收視率 在當(dāng)前電視劇評(píng)判和決策過(guò)程中所起的負(fù)面作用和消極影響予以剖析并提出應(yīng)對(duì)解決的方法，以便在今后的理論導(dǎo)引和工作實(shí)踐中，加以警醒和糾正，真正起到電視媒體在弘揚(yáng)國(guó)家主流價(jià)值觀、加速文化創(chuàng)新、繁榮影視產(chǎn)品市場(chǎng)進(jìn)程中應(yīng)起的作用。 .................... 14 2． 2． 2 強(qiáng)勢(shì)收視率下的“以點(diǎn)論價(jià)” ................ 14 2． 2． 3 相互博弈，去賭觀眾 ........................ 14 2． 3 對(duì)電視劇投入成本的影晌 .......................... 15 2． 3． 1 圈外人及游資的涌入，哄抬了價(jià)碼 ............. 15 2． 3． 2 以明星博取收視率，制作成本暴漲 ............. 15 2． 4 電視觀眾結(jié)構(gòu)變化對(duì)收視率調(diào)查結(jié)果的影響及其對(duì)電視劇選題的效應(yīng) ................................................ 16 2． 4． 1 總收視時(shí)長(zhǎng)呈下降趨勢(shì) ...................... 16 2． 4． 2 中老年觀眾收視率呈上升趨勢(shì) ................ 17 2． 4． 3 適齡人群收視率變化導(dǎo)致節(jié)目制作的轉(zhuǎn)向 ....... 17 2． 4． 4 對(duì)電視劇選題的影響 ........................ 18 2． 4． 5 收視率失衡導(dǎo)致相同題材跟風(fēng)問(wèn)世 ............. 18 2． 4． 6 狗血橋段刺激觀眾神經(jīng)。收視率標(biāo)準(zhǔn)對(duì)國(guó)產(chǎn)電視劇的影響研究 On the Influence of the Standard of Audience Ratings on the Domestic TV Play 目 錄 摘要 .................................................... 1 Abstract ................................................ 5 緒論 .................................................... 6 1 收視率與中國(guó)電視劇市場(chǎng) ................................. 7 1． 1 收視率的定義 ..................................... 7 1． 1． 1 收視率的計(jì)算 ............................... 7 1． 1． 2 收視率的采集 ............................... 7 1． 1． 3 收視率的調(diào)查 ............................... 7 1． 1． 4 收視率與收視份額 ........................... 8 1． 1． 5 收視調(diào)查網(wǎng)的數(shù)量分布 ....................... 8 1． 2 收視率的誤差 ..................................... 8 1． 3 收視率的造假 ..................................... 9 1． 3． 1 收視率造假的手法 ........................... 9 1． 3． 2 收視率造假的案例 ........................... 9 1． 3． 3 收視率防偽技術(shù) ............................ 10 1． 4 當(dāng)前電視劇市場(chǎng)一瞥：世界最大的電視劇生產(chǎn)國(guó) ....... 10 1． 4． 2 寡頭競(jìng)爭(zhēng)：央視索福瑞和 AC 尼爾森 ............... 11 1． 4． 3 硝煙散盡，一家獨(dú)大。 ...................... 12 1． 5 小結(jié) ...............................