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https://nccur.lib.nccu.edu.tw/handle/140.119/132648
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| 題名: | 從中國有嘻哈到中國新說唱：軟實力政策、網路市場與嘻哈次文化的共生
Cool Patriot: the Symbiosis of Soft Power Policy, Internet Market, and Hip-Hop Subculture in China |
| 作者: | 戴瑜慧
Tai, Yu-Hui |
| 貢獻者: | 中國大陸研究 |
| 關鍵詞: | 嘻哈 ; 軟實力 ; 流行文化 ; 民族主義
Hip-Hop ; Soft Power ; Popular Culture ; Nationalism |
| 日期: | 2019-09 |
| 上傳時間: | 2020-11-17 16:30:29 (UTC+8) |
| 摘要: | 網路與娛樂是當代文化產業的關鍵，如何建立網路娛樂生態系汲取人們的注意力成為網路巨頭的競爭關鍵。中國網路視頻公司愛奇藝在2017年推出綜藝節目《中國有嘻哈》，迅速爆紅成為年度現象。此節目反映政治邏輯、市場邏輯以及小眾次文化共生的文化生產模式，具有龐大的市場潛能與青年文化影響力。但是具有叛逆色彩與社會性的嘻哈文化，如何與中國政府的正能量和中國夢論述共生與接合（articulate）？2018年初，中國政府在歌手PGONE性醜聞事件後展開整肅。但節目組在調整方向後獲得允許繼續製作第二季《中國新說唱》。本研究透過文本的比較分析，理解審查的邊界移動以及小眾文化如何與政治邏輯和市場邏輯共生和轉化。主要有四項研究發現：第一，節目名稱從嘻哈改為說唱。透過重新命名，取消音樂來自西方反叛根源的聯想，重新賦予在地化的想像。第二，第一季的內容以避開爭議為原則，但第二季則主動推廣「中國風」說唱。第三，嘻哈的社會性被取消，愛國潮服才是酷帥。第四，第二季主打新疆說唱，透過營造少數民族、港澳、臺灣、海外華人與外國人的參與，製造天下一家的和諧形象。但當「嘻哈」被重構為「說唱」，反叛被替換為正能量，以酷帥面貌贏得火紅關注的節目也避免不了對自身的解構。
Internet and entertainment are the key to the contemporary cultural industry. The network-made variety show has also become the front line of China`s Internet industry. The fierce competition and the Chinese government`s emphasis on soft power policy allowed Iqiyi company to obtain a valid reason for producing a Hip-Hop program. The program [The Rap of China] has become the most prominent cultural phenomenon in China in 2017. But in January 2018, the sex scandal of the champion PG ONE set off the Chinese government`s purge of hip-hop culture. Through the text analysis of the first season [The Rap of China] and the second season [China New Shuo Chang], this research aims to analyze how the hip hop Internet program has transformed in China. What has changed in the definition of ＂hip-hop with Chinese characteristics?＂ How does the show swing between ＂rebellious＂ and ＂patriotism＂? How does the border shift from the first season to the second season? There are four main findings in this study: First, the terminology of the music genre has changed from ＂hip-hop＂ to ＂Shuo Chang＂. By renaming, it canceled the association of music with its Western roots, and localized it by relating to another Chinese music genre. Second, the content of the first season was based on the principle of avoiding disputes. However, in the second season, it actively promoted the ＂Chinese style＂ Shuo Chang which has elements from Chinese culture and Chinese Communist Party. Third, hip-hop music was cool because of its rebellious attitude, especially the criticism about racial, class, social inequality. Nevertheless, the program gave ＂coolness＂ a new definition that encompasses the characteristics of wearing tidal suits, behaving nicely, being positive and patriotic. Fourth, the second season created the image to the world that there is no social controversies and the CCP is a popular regime by focusing on the participation of competitors from Xinjiang, Taiwan, overseas Chinese, and foreigners. But when ＂hip-hop＂ was redefined to ＂Shuo Chang＂, the rebellion was replaced by positive energy, and the program that was known for its cool looks could not avoid deconstructing itself. |
| 關聯: | 中國大陸研究, 62(3), 25-61 |
| 資料類型: | article |
| DOI 連結: | https://doi.org/10.30389/MCS.201909_62(3).0002 |
| DOI: | 10.30389/MCS.201909_62(3).0002 |
| 顯示於類別: | [中國大陸研究 TSSCI] 期刊論文
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