当下数字视听用户不再是单纯的观看者，甚至从“积极的受众”正逐步转型 为“主动生产者”，通过不同动因的情感补偿来参与媒介实践。本研究以恋爱综艺受众为研究对象，以传播实践中的情感补偿机制为研究目的，采用问卷与访谈法对 190 名恋爱综艺受众的观看与参与行为及人格特质、领悟社会支持水平和主观幸福感方面的心理特征展开研究，尝试对这类媒介消费行为的内在动机和心理机制做出总结。

根据“观看-参与”行为程度的不同，研究首先将恋爱综艺受众划分为了“高观看-高参与”“高观看-低参与”“低观看-高参与”与“低观看-高参与”四组进行差异性检验，研究发现，不同互动模式的恋综受众在人格特征、领悟社会支持、主观幸福感方面均呈现显著性差异。经过多分类 logistic 回归性分析可知，情绪稳定性与主观幸福感对恋综受众不同程度的观看-参与行为产生显著的正向影响，是影响其观看和参与程度的重要情感动力。在其他条件不变的情况下，与“低观看-低参与”的恋综受众相比，情绪稳定性越高的受众更倾向于“高观看-低参与”，主观幸福感越强的受众更倾向于“高观看-高参与”。随后我们对参与调查的 10 位受众进行了深度访谈，对问卷数据体现出的差异进行进一步的挖掘。

综上所述，本研究主要得出 4 个结论： 恋综受众的消费特征：恋爱综艺节目一边为受众制造恋爱的甜蜜幻想，另一边又真实呈现出亲密关系中情感的脆弱与纠葛，情感丰沛的恋综受众深处其中呈现出内省式观看与低投入式参与的行为特点。恋综受众的心理特征：情绪稳定性强，主观幸福感高的恋综受众在观看-参与行为上更加积极地进行数字化情感补偿，情绪稳定性和主观幸福感构成恋综受众数字代偿的重要情感动力。不同婚恋状态恋综受众的差异：单身的恋综受众在恋综节目提供的情感补偿机制中观看-参与行为并非最积极，他们对待恋爱情感的态度更加随性，优先专注自我的成长。恋综节目的数字代偿机制：恋综受众在观看与参与节目的数字媒介实践中始终存在着不同程度、不同节目类型和不同情感状态的情感补偿机制，由恋综受众的情感动力、情感反思和情感实践共同构成以恋综节目为情感窗口进行的“数字代偿机制”。

Digital audiovisual users are no longer mere viewers but gradually transform from active audiences to active producers, participating in media practices through emotional compensation of different motives. This study uses questionnaires and interviews to examine the viewing and participation behaviors of 190 audience members of relationship variety shows, as well as the psychological characteristics of personality traits, perceived social support levels, and subjective well-being, in an attempt to summarize the intrinsic motives and psychological mechanisms of such media consumption behaviors. Based on the different levels of "viewing-participation" behavior, the study first classifies relationship variety audiences into four participation interaction patterns: high viewing-high participation, high viewing-low participation, low viewing-high participation, and low viewing-high. There were significant differences in personality characteristics, perceived social support, and subjective well-being among the audiences with different interaction patterns. A multi-categorical logistic regression analysis revealed that emotional stability and personal
well-being had significant positive effects on the different levels of viewing and participation behavior of the audience and were important dynamic drivers of their viewing and participation levels. All other things being equal, audiences with higher emotional stability tend to be more likely to be "high viewers-low participants" than those with low viewers-low participants, and those with more increased subjective well-being tend to be more likely to be "high Watching-high engagement." Given the differences in the data, we conducted in-depth interviews with 10 participants to explore their emotional motivations further. In summary, this study presents four main findings:
（1） Consumption characteristics of romance variety audiences: romance variety shows create sweet fantasies of love for audiences on the one hand and present the emotional fragility and vulnerability of intimate relationships realistically, and emotionally rich romance variety audiences show introspective viewing and low-involvement participation behavioral characteristics. （2） The psychological characteristics of the audiences with high emotional stability and subjective well-being: the audiences with increased emotional peace and subjective well-being are more active in digital compensation, and emotional strength and personal well-being constitute important dynamic drivers for digital payment. （3） Differences between audiences with different marital statuses: Single audiences were not the most active in the viewing-participation behavior of the emotional compensation mechanism provided by the romance programs and were more focused on self-growth. （4） Digital compensation mechanism of fetish programs: The digital compensation mechanism of fetish audiences is always present in the digital media practice of watching and participating in programs with different degrees, types of programs, and emotional states, and the emotional dynamics, reflections, and methods of fetish audiences together constitute the "digital compensation mechanism" using fetish programs as expressive windows. "The digital reparation mechanism comprises the audience's emotional dynamics, reflections, and practices.