在流媒体的技术驱动之下，网络视听类应用成为中国第一大互联网应用，纪录片也随之进入全新的创作生态中。流媒体技术的特质释放了纪录片的文化动力与感知形式，使其成为当今网络视听中不可或缺的媒介系统。网生纪录片根植于流媒体的媒介观念，以开放的姿态吸纳多元文化，形成独特的文化景观，吸引并固化了大量泛用户。同时，媒介失范的行为却如影随形，造成纪录片文化浅薄及边界异化。网生纪录片是时下媒介生态的重要艺术观照，媒介技术的视角为纪录片研究提供了一条向外探求的学理路径。本研究尝试在纪录片传统的研究框架之外，探寻属于非虚构内容的媒介意涵。

研究选择中国流媒体平台主导制作的网生纪录片，以媒介环境学的三个深层理论命题为依托，分析媒介环境在网生纪录片中的具体表征。就整体思路而言，本研究从媒介技术发展到用户惯习改变，从媒介融合路径到机制优势互补，对网生纪录片的媒介特质进行系统梳理。本研究共分五章，具体内容如下：

第一章阐明网生纪录片的历史流变与媒介环境学的理论应用。从新媒介对旧媒介的延伸入手，对网生纪录片的历史发展脉络及媒介环境互动关系进行梳理。同时，将媒介环境学派的理论进行必要地提炼与分析，将适用于网生纪录片研究的媒介理论进行溯源与连接，建构本研究的学术框架与研究路径。

第二章依照媒介环境学首个理论命题，以符号、感知、社会三个环境层次概念，探究网生纪录片的编码特征。吸引力是用户消费的首要前提，新媒介以其固有的物质结构与符号形式使纪录片媒介内容发生逆转，其特征首先体现在“搬演”“赋魅”“运营”的注意力符号建构中；其次，新媒介引发了全新的感知比率，网生纪录片将视觉刺激与听觉沉浸的感官体验不断延伸，形成新的知觉范式；最后，网生纪录片在媒介转向的形塑中，构筑起社会生产的逻辑，即跨越旧媒介的美学经验与介质壁垒，在流量的物质性标准中，不断延伸数字化生存的道路。

第三章以媒介环境学的第二个理论命题为依托，探讨新媒介的偏向性对网生纪录片的审美影响。首先，新媒介将纪录片的感官尺度重构，使其逐渐从均质的视听内容转向为具有浓厚审美偏向的文化产品，并不断聚合受众的媒介期待，生成新的文化动力机制：其一，无序且加速的网生体样态构成了密集化的视听文本；其二，参与式文化生成了双向互动的文化景观。此外，在媒介互动性的影响之下，媒介权力进行重构，用户观念逐渐成为内容偏向的晴雨表。差异化视阈中，网生纪录片趋向于圈层，具象为垂直细分的文化图式。共同体视野下，素人明星的质朴价值观被推至前台，成为参与式文化的聚合偏向。最终，网生纪录片着力增强人际间的情感纽带与主动传播，回归以人为媒的分众化表达策略。

第四章探究媒介环境学的第三个理论命题，即技术锐进与文化平衡的关键问题。首先，伴随网生纪录片新形态而来的是边界漂移的异化与逐渐迷失的审美价值，延异化形态、中介化传播、娱乐化趋向成为遮蔽网生纪录片文化深度的动因。其次，大数据的信息捕捉、同质内容的浮泛生产带来权力垄断，诱发无从索解的伦理向度问题。最后，抱以人文主义愿景，应当消除数字鸿沟，依循适度的创作理论，明晰检查审核机制，培育受众媒介素养，以实现技术与文化的平衡。

第五章展望网生纪录片的发展前景。首先，网生纪录片在个人意识、文化向度、共情心理三个文化策略中，对用户形成感性体悟。其次，从技术发展角度，流媒体对人机关系和社会价值形成拓展。最后，在网生纪录片良性发展的范式书写中，以期通过运行机制、媒介融合、国际传播的高科技、高效能、高质量发展，继而进入到对中国纪录片新质生产力的寄寓与见证之中。

Driven by streaming media technology, online audiovisual applications have become the largest Internet application in China, and documentaries have entered into a brand-new creative ecosystem. The characteristics of streaming media technology have unleashed the cultural force and perception forms of documentaries, making them an indispensable media system in today's online audiovisuals. Rooted in the media concept of streaming media, internet-born documentaries documentaries absorb multiculturalism with an open attitude, forming a unique cultural landscape, attracting and solidifying a large number of pan-users. But at the same time, media misbehavior has also occured. The culture of documentary has become shallow and its boundaries alienated. internet-born documentaries documentaries provide an important perspective for the current media ecology, and media technology offers academic value for the studies of documentaries. This study attempts to explore the media connotation of non-fiction content outside the traditional framework of documentary research.

The study selects internet-born documentaries documentaries dominated by Chinese streaming media platforms, and analyzes the specific representations of the media environment in internet-born documentaries documentaries based on three profound theoretical propositions of media ecology. As a whole, this study systematically examines the media characteristics of internet-born documentaries documentaries from the development of media technology to the change of user habits, and from the path of media integration to the complementary advantages of mechanisms. This study is divided into five chapters, as follows:

Chapter 1 clarifies the historical flux of internet-born documentaries documentaries and the theoretical application of media ecology. Starting from the extension of the new medium to the old medium, this chapter sorts out the historical development of internet-born documentaries documentaries and the interaction of media environment. At the same time, in order to lay the groundwork for this study, theories of the media ecology school are refined and analyzed, tracing and connecting media theories applicable to the study of internet-born documentaries documentaries.

Chapter 2 explores the coding characteristics of internet-born documentaries documentaries in accordance with the first theoretical proposition of media ecology, using the concepts of three environmental levels: symbolic, perceptual and social. Attractiveness is the first prerequisite for user consumption, The new media, with its inherent material structure and symbolic form, have reversed the content of documentary media. It is characterized firstly by the construction of attention symbols of "acting", "empowerment", "operation", Secondly, the new media has triggered a brand-new perceptual ratio, and internet-born documentaries documentaries extend the sensory experience of visual stimulation and auditory immersion to form a new perceptual paradigm. Finally, the internet-born documentaries documentary constructs a logic of social production in the reshaping of media. Crossing the aesthetic experience and media barriers of the old medium, it continues to extend the path of digital survival amidst the materiality criteria of traffic.

Chapter 3 takes the second theoretical proposition of media ecology as a basis to explore the aesthetic impact of the new media's bias on internet-born documentaries documentaries. Firstly, the new media reconfigure the sensory scale of documentaries, gradually shifting them from homogeneous audiovisual content to cultural products with strong aesthetic bias, and continuously aggregating the audience's media expectations, generating a new cultural power mechanism: On one hand, the disordered and accelerated pattern of netizens constitutes a densified audiovisual text. On the other hand, participatory culture generates a two-way interactive cultural landscape. In addition, under the influence of media interactivity, media power is reconfigured. Users’ perception has gradually become a barometer of content bias. Due to such differences, internet-born documentaries documentaries tend to be stratified, symbolized as a vertically segmented cultural schema. In the context of the common community, the simple values of ordinary people are pushed to the foreground and become the aggregation bias of participatory culture. Ultimately, internet-born documentaries documentaries focus on enhancing interpersonal emotional ties and active communication, returning to the human-mediated strategy of segmented expression.

Chapter 4 explores the third theoretical proposition of media ecology, the critical issue of technological advancement and cultural balance. First of all, along with the new form of internet-born documentaries documentaries come the alienation of boundary drift and the gradual loss of aesthetic value, and the tendency of alienation, mediated communication, and entertainment have become the motive of obscuring the cultural depth of internet-born documentaries documentaries. Secondly, the monopolization of power through the capture of information in big data and the generalized production of homogeneous content have invited difficult ethical problems. Finally, with the vision of humanism, the digital divide should be bridged, appropriate creative theories should be pursued, the censorship and auditing mechanism should be clarified, and media literacy of audiences should be improved, in order to realize the balance between technology and culture.

Chapter 5 envisages the prospects of internet-born documentaries documentaries. Firstly, internet-born documentaries documentaries form perceptual empathy for users in the three cultural strategies of personal consciousness, cultural orientation and empathic psychology. Secondly, from the perspective of technological development, streaming media forms an expansion of human-computer relationship and social value. Lastly, with the healthy development of internet-born documentaries documentaries, hopefully, through the high-tech, high-efficiency, and high-quality development of the operation mechanism, media integration, and international promotion, we will soon witness a new era of Chinese documentary.