网络恶搞——中国当代青年亚文化的重要表征
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摘要
作为中国当代青年亚文化的重要表征之一,网络恶搞已经成为青年人表达自我的一种方式,他们以无所不“搞”的态度将自己对主流文化、父辈文化的不满与反抗融入到一个个恶搞作品中,形成一道独特的青年亚文化景观,引起文化研究学者的广泛关注。
这种年轻的文化现象以飞速发展的网络技术为平台,以朝气蓬勃的年轻人为创作主体,以一切吸引眼球、在社会上引起广泛关注度的事件为素材,以拼贴、戏仿、反讽等诸多后现手法为表现形式,从里到外都洋溢着青春的活力。在诸多网络恶搞作品中,有些作品构思巧妙、充满创意,被奉为经典;有的作品手法拙劣,内容粗俗,成为封杀的对象。
本文将备受争议的网络恶搞现象置于青年亚文化的理论框架内,结合亚文化关键词“抵抗”、“风格”、“收编”以及巴赫金的“狂欢理论”,全面解析青年人是如何通过网络恶搞这一“武器”去挑战父辈文化。这种“抵抗”并不是赤裸裸的攻击,而是致力于对文本层面的后现代式的解读,但对文本得以产生的社会语境的忽略使他们的批判只停留在表面上,因此,他们“去中心化”、“去精英化”的力量到底有多大,他们在抵抗主流意识形态的同时想要重建一个怎样的文化新秩序,不得而知,最后在主流意识形态和商业的双重“收编”之下,这种“抵抗”只能是一种“仪式”化的抵抗,并成为商业浪潮中的支流。
论文的主体大致分为五个部分。第一部分是对网络恶搞现象的概述,分析了恶搞的进化简史与基本分类,为了研究的方便将其大致分为三个时代即前恶搞时代、恶搞时代和泛恶搞时代,并结合青年亚文化的有关内容试图给网络恶搞加以定义:网络恶搞是一种源自日本KUSO文化,并融合了本土幽默、诙谐、戏谑因子的以青年为创作主体的互联网文化,它通过反讽、戏仿、拼贴等后现代手法,对原著进行二度创作,达到对主流文化仪式上的抵抗和娱乐大众的双重目的。论文的第二部分着重评介了青年亚文化的相关理论,即青年亚文化的研究学科化的三个阶段,青年亚文化关键词,青年亚文化的特点等,同时也结合中国的实际情况分析了中国当代青年亚文化的特点,并进一步指出:网络恶搞是中国当代青年亚文化的重要表征之一。第三部分借助青年亚文化的关键词——抵抗、风格、收编并结合巴赫金的“狂欢理论”具体分析了青年人对主流文化的抵抗一场充满消费主义色彩的狂欢盛宴,“笑”是其狂欢的表达,商业化是其最终的归宿。作为一种媒介文化现象,网络恶搞内容的商品化,消费主体的商品化以及生产劳动的商品化决定了它的抵抗只是一种仪式上的抵抗,并没有实际的意义。第四部分是对网络恶搞现象的反思,网络恶搞的商业化、娱乐化、低俗化以及它只重摧毁而无心建设的弊端一直为人们所诟病,在对网络恶搞进行无情批判的同时请不要忘记,作为一种文化现象,“存在即合理”,那些挑战人们道德和法律底线的恶搞作品终究不会长存,能够流传下来并被奉为经典的作品,不但体现了青少年强大的创造力和多元的价值观,更体现了社会对多样性文化的包容与宽容度。
As the representation of contemporary youth subculture in China, network mischief has been a kind of expressive way for the young. They recreate everything in a very comic way on internet. In the process of recreation, they incorporate their dissatisfaction and resistance towards the mainstream culture and the elder generation culture into the works, which forms a special sight of youth subculture. This phenomenon attracts the attention of scholars in culture and we can regard the attention as lead and protection of elder generation culture to young culture.
The young cultural phenomenon regards the network technology rapid developed as base, the vigorous young people as the creative mainstay, events which attract more attention in society as materials, post-modernist ways such as collage, parody and sarcasm as expressive forms and shows a picture of vigor from inside to outside. In many network mischief works, some are full of creativity and have ingenious conception so that they are looked upon as classics. Some are badly written and have vulgar contents so that they are criticized widely.
Based on the theoretical frame of youth subculture, combining the key words of youth subculture such as "resistance"," style", "incorporation" and the "revelry theory" by Bakhtin, this paper carefully analyzes how the young use the network mischief as "arms" to challenge their elder generation's culture. This kind of "resistance" isn't pure attack, while it uses the post-modernist ways to interpret the text meaning. During their interpretation, they neglect the social contexts in which the texts are produced, so their criticism is fated to be superficial. To what extent they can achieve "decentralization" and "absence of elite"? What kind of cultural order they want to establish while they are resisting the main ideology? Nobody knows that. At last, this resistance can only be "ritualization" and become a branch of the mainstream commerce under the double incorporation of the mainstream ideology and of the commerce.
This paper can be divided into five chapters: the network mischief's outline, its brief evolution history and basic category are dealt with in first chapter. In order to facilitate the study, we divide network mischief into three phases: pre-mischief phase, mischief phase and pan-mischief phase. Besides, in this chapter, we try to define network mischief by combining the related contents of youth subculture: network mischief is a kind of internet culture which dates from Japanese KUSO culture, adopts the native humor, jocularity, banter elements and regards the young as the creative mainstay; it recreates the original works by using the post-modernist ways such as sarcasm, parody and collage so that it can achieve its double aims: to resist the mainstream culture ritually and to entertain the public. The relevant theories of youth subculture are introduced in the second chapter. Three phases of discipline concerning youth subculture study, the key words and characteristics of youth subculture are also discussed. Based on our practical situation, this paper analyzes the features of contemporary youth subculture and further points out that network mischief is important superficial characteristics of contemporary youth subculture in China. The young's resistance towards the mainstream culture is analyzed in chapter three on the basis of the key words of youth subculture such as resistance, style, incorporation and the "revelry theory" by Bakhtin. It is a kind of carnival full of consumerism and laughter is its expressive way and commercialization is its destination. As a kind of media-culture phenomenon, commercialization of its contents, of its consuming mainstay and of its production and labor makes it a kind of "ritualized resistance" and no practical meaning. The fourth chapter is about the rethinking to network phenomenon. The network mischief is commercialized, mainly focuses on entertainment and becomes more and more vulgar and it only destroys something and lacks of reconstruction, which is denounced by people. While criticizing the network mischief fiercely, we shouldn't forget that "existence has its own reasons and is appropriate" as a kind of cultural phenomenon. Mischief works which challenge the bottom of moral and laws will not live for long at all and those works which are handed down and respected as classics show not only the great creativity and multi-values, but also society's tolerance and lenience towards various cultures.
这种年轻的文化现象以飞速发展的网络技术为平台,以朝气蓬勃的年轻人为创作主体,以一切吸引眼球、在社会上引起广泛关注度的事件为素材,以拼贴、戏仿、反讽等诸多后现手法为表现形式,从里到外都洋溢着青春的活力。在诸多网络恶搞作品中,有些作品构思巧妙、充满创意,被奉为经典;有的作品手法拙劣,内容粗俗,成为封杀的对象。
本文将备受争议的网络恶搞现象置于青年亚文化的理论框架内,结合亚文化关键词“抵抗”、“风格”、“收编”以及巴赫金的“狂欢理论”,全面解析青年人是如何通过网络恶搞这一“武器”去挑战父辈文化。这种“抵抗”并不是赤裸裸的攻击,而是致力于对文本层面的后现代式的解读,但对文本得以产生的社会语境的忽略使他们的批判只停留在表面上,因此,他们“去中心化”、“去精英化”的力量到底有多大,他们在抵抗主流意识形态的同时想要重建一个怎样的文化新秩序,不得而知,最后在主流意识形态和商业的双重“收编”之下,这种“抵抗”只能是一种“仪式”化的抵抗,并成为商业浪潮中的支流。
论文的主体大致分为五个部分。第一部分是对网络恶搞现象的概述,分析了恶搞的进化简史与基本分类,为了研究的方便将其大致分为三个时代即前恶搞时代、恶搞时代和泛恶搞时代,并结合青年亚文化的有关内容试图给网络恶搞加以定义:网络恶搞是一种源自日本KUSO文化,并融合了本土幽默、诙谐、戏谑因子的以青年为创作主体的互联网文化,它通过反讽、戏仿、拼贴等后现代手法,对原著进行二度创作,达到对主流文化仪式上的抵抗和娱乐大众的双重目的。论文的第二部分着重评介了青年亚文化的相关理论,即青年亚文化的研究学科化的三个阶段,青年亚文化关键词,青年亚文化的特点等,同时也结合中国的实际情况分析了中国当代青年亚文化的特点,并进一步指出:网络恶搞是中国当代青年亚文化的重要表征之一。第三部分借助青年亚文化的关键词——抵抗、风格、收编并结合巴赫金的“狂欢理论”具体分析了青年人对主流文化的抵抗一场充满消费主义色彩的狂欢盛宴,“笑”是其狂欢的表达,商业化是其最终的归宿。作为一种媒介文化现象,网络恶搞内容的商品化,消费主体的商品化以及生产劳动的商品化决定了它的抵抗只是一种仪式上的抵抗,并没有实际的意义。第四部分是对网络恶搞现象的反思,网络恶搞的商业化、娱乐化、低俗化以及它只重摧毁而无心建设的弊端一直为人们所诟病,在对网络恶搞进行无情批判的同时请不要忘记,作为一种文化现象,“存在即合理”,那些挑战人们道德和法律底线的恶搞作品终究不会长存,能够流传下来并被奉为经典的作品,不但体现了青少年强大的创造力和多元的价值观,更体现了社会对多样性文化的包容与宽容度。
As the representation of contemporary youth subculture in China, network mischief has been a kind of expressive way for the young. They recreate everything in a very comic way on internet. In the process of recreation, they incorporate their dissatisfaction and resistance towards the mainstream culture and the elder generation culture into the works, which forms a special sight of youth subculture. This phenomenon attracts the attention of scholars in culture and we can regard the attention as lead and protection of elder generation culture to young culture.
The young cultural phenomenon regards the network technology rapid developed as base, the vigorous young people as the creative mainstay, events which attract more attention in society as materials, post-modernist ways such as collage, parody and sarcasm as expressive forms and shows a picture of vigor from inside to outside. In many network mischief works, some are full of creativity and have ingenious conception so that they are looked upon as classics. Some are badly written and have vulgar contents so that they are criticized widely.
Based on the theoretical frame of youth subculture, combining the key words of youth subculture such as "resistance"," style", "incorporation" and the "revelry theory" by Bakhtin, this paper carefully analyzes how the young use the network mischief as "arms" to challenge their elder generation's culture. This kind of "resistance" isn't pure attack, while it uses the post-modernist ways to interpret the text meaning. During their interpretation, they neglect the social contexts in which the texts are produced, so their criticism is fated to be superficial. To what extent they can achieve "decentralization" and "absence of elite"? What kind of cultural order they want to establish while they are resisting the main ideology? Nobody knows that. At last, this resistance can only be "ritualization" and become a branch of the mainstream commerce under the double incorporation of the mainstream ideology and of the commerce.
This paper can be divided into five chapters: the network mischief's outline, its brief evolution history and basic category are dealt with in first chapter. In order to facilitate the study, we divide network mischief into three phases: pre-mischief phase, mischief phase and pan-mischief phase. Besides, in this chapter, we try to define network mischief by combining the related contents of youth subculture: network mischief is a kind of internet culture which dates from Japanese KUSO culture, adopts the native humor, jocularity, banter elements and regards the young as the creative mainstay; it recreates the original works by using the post-modernist ways such as sarcasm, parody and collage so that it can achieve its double aims: to resist the mainstream culture ritually and to entertain the public. The relevant theories of youth subculture are introduced in the second chapter. Three phases of discipline concerning youth subculture study, the key words and characteristics of youth subculture are also discussed. Based on our practical situation, this paper analyzes the features of contemporary youth subculture and further points out that network mischief is important superficial characteristics of contemporary youth subculture in China. The young's resistance towards the mainstream culture is analyzed in chapter three on the basis of the key words of youth subculture such as resistance, style, incorporation and the "revelry theory" by Bakhtin. It is a kind of carnival full of consumerism and laughter is its expressive way and commercialization is its destination. As a kind of media-culture phenomenon, commercialization of its contents, of its consuming mainstay and of its production and labor makes it a kind of "ritualized resistance" and no practical meaning. The fourth chapter is about the rethinking to network phenomenon. The network mischief is commercialized, mainly focuses on entertainment and becomes more and more vulgar and it only destroys something and lacks of reconstruction, which is denounced by people. While criticizing the network mischief fiercely, we shouldn't forget that "existence has its own reasons and is appropriate" as a kind of cultural phenomenon. Mischief works which challenge the bottom of moral and laws will not live for long at all and those works which are handed down and respected as classics show not only the great creativity and multi-values, but also society's tolerance and lenience towards various cultures.
引文
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