「小清新」是如何煉成的？論兩岸陳綺貞樂迷的文化現象

How is the“Twee Pop” Extract ? A Case Study of the Cross-straits Cultural Phenomenon of Cheer Chen Fans

熊方瑜(Fang-Yu Hsiung)

指導教授 ： 簡妙如

國立中正大學/社會科學院/傳播學系電訊傳播研究所/碩士(2016年)

摘要

近年來，兩岸年輕人在生活風格樣貌及價值觀的展現，和以往所認知的積極進取之年輕人形象很不同，因此紛紛被冠上「小確幸」和「小清新」的標籤。本研究以樂壇中「小清新」風格代表的陳綺貞之樂迷為出發，探討「小清新」作為兩岸文化現象，其背後的文化產業運作邏輯、閱聽人日常展演和當代社會結構三者間的互動關聯。

首先，藉由樂迷視角及文化產業的產製模式，拆解陳綺貞如何創造其作為「小清新」風格符碼？整體而言，除了陳綺貞本身獨特的嗓音與創作題材的生活化，更有賴於魔岩唱片「群眾利基」的經營方式。此外，從媒體相關報導文本中，可歸納出兩類的風格符碼：第一，以白衣裙、牛仔褲和音樂不從眾的「獨立」標誌，指涉其清新、簡單、有個性的風格；第二，以哲學、攝影、文字三項符碼構成其作為一個「專注生活的現代文青」之樣貌。

其次，分析樂迷如何透過陳綺貞在日常生活進行風格打造。在外在觀／展的表現上，陳綺貞個人生活樣貌的再現，以及其對於「旅人」意象的建構，皆使樂迷不斷透過觀看與鏡頭前的演繹，將景點感知為「奇觀」，並完成觀看者亦是表演者的雙重身分。至於在內在觀／展的部分，陳綺貞以「自戀」為核心所打造之「真實的『我』」，使樂迷在觀看時得到滿足的同時，亦透過不斷自我檢視與向他者表演，形成一來一往的鏡像文化。

最後，兩岸樂迷在當前的社會結構與生活型態的呈現上，台灣90後在面對未來規劃時較有勇氣跳脫框架，而大陸社會所彌漫的高競爭氛圍，使得大陸90後在界定未來規劃時，較前者要來得保守許多。至於兩岸已步入社會多年的80後樂迷，對婚姻態度的看法亦有所殊異，大陸樂迷普遍已婚且育有子女，台灣樂迷則全為單身，顯示兩岸80後的生活型態其實不太相同。

關鍵字：小清新、陳綺貞、兩岸樂迷、觀展表演典範、感覺結構

關鍵字

感覺結構 ； 觀展表演典範 ； 兩岸樂迷 ； 陳綺貞 ； 小清新

並列摘要

Nowadays, due to the image of life style and value system for young people between Taiwan and China are not as aggressive as before, they are tagged with “Little Happiness” and “Lightly Fresh”. Based on Cheer Chen, the representative of “Twee Pop” in music, and the cultural phenomenon of Twee Pop between Taiwan and China, this paper is trying to figure out the relation among the operation of culture industry, the spectacle/performance of audience and structure of contemporary social structure.

In the beginning, this paper decodes the way of how Cheer Chen creates the “Twee Pop” from the view of fans and the modal of culture industry. Above all, besides the unique voice and down-to-earth creation of Chen, the creation of codes relies on the market operation of Magic Stone Music Co. Also, two kinds of style symbols can be categorized from newspaper: one is the symbols of white clothes, jeans and Indie music, which are representative the style of lightly fresh, simple, and personality. The other one is a hipster who focuses on life that composed from the symbols of philosophy, photography and writing.

Second, how the fans create their style through the lifestyle of Cheer Chen? On the external spectacle/performance of audience through the representation of Chen’s personal life and the constructed image of “traveller,” fans recognize these imageries as spectacles and become both viewers and performers. On the internal aspect, through the “truly self,” which composed from narcissism, made by Chen, ans are satisfied in watching Chen’s performance. At the same time, they continuously examine themselves and perform to others. The examining and performing process take a shape of mirroring culture.

Last, fans of the cross-straits are different at the appearance of contemporary social structure and lifestyle. The 90s generation in Taiwan have more courage to think outside the box on their future plan than in China. And still difference from the 80s generation of cross-straits fans at the marriage attitude, China’s fans are almost married but Taiwan’s fans are all singles.

Keywords: Twee Pop, Cheer Chen, cross-straits fans, spectacle/performance paradigm, structure of feeling

並列關鍵字

spectacle/performance paradigm ； cross-straits fans ； Cheer Chen ； Twee Pop ； structure of feeling

參考文獻

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