摘要
《人民的名义》引发了青年网民的观剧热潮,该群体利用表情包、弹幕、同人和鬼畜视频等形式制造“萌点”,以此表达其对主旋律作品的认同与喜爱。这类不同于恶搞的“视觉改写”,也预示着一种区别于抗争政治的“萌化的视觉性”已然形成。网络技术的更新、主旋律的市场化以及国家治理方式的变革,都使这一新的视觉性对主旋律作品的影像再现成为可能。“萌化的视觉性”不仅折射了亚文化对主旋律的态度从抗争走向承认的趋势,更反映了青年网民以娱乐的态度表达政治立场的现实。值得一提的是,“萌化的视觉性”并不全然是一种“退却的政治”,有效预防其转变成虚拟社会中的“图像暴动”,才能避免青年亚文化对主流意识形态的冲击。
In the Name of the People triggered a dramatic upsurge of youth.In the form of expression packs,barrage,Fan and Kichiku videos,young netizens expresses their love and recognition of mainstream culture.This kind of“visual adaptation”,which is unlike KUSO,also indicates that the emergence of a“visuality of meng”which is different from contentious politics.The marketization of Chinese mainstream works and its dependence on ACG culture,the adjustment of the technical governance,and the rise of information power among the young netizens,which all make“visuality of meng”possible for the image reconstruction of the mainstream TV series.“Visuality of meng”not only reflects the trend of the mainstream culture and youth subculture from confrontation to integration,but also reflects the reality that young netizens are expressing their political positions in an entertaining manner.In addition,“visuality of meng”is not a politics of retreat.We must effectively prevent it from transforming into“image riots”,in order to avoid the impact of youth subculture on the mainstream ideology.
出处
《新媒体与社会》
2019年第1期198-210,共13页
New Media and Society
基金
成都市哲学社会科学规划研究项目“新时代网络意识形态新情况及基层政府应对策略研究” (项目编号:2018L19)
中央高校基本科研业务费专项资金项目“‘一带一路’战略与我国社会组织‘走出去’能力建设研究”(批准号:2682017WBR14)的阶段性成果
