本研究對象以喜愛自拍的青少年為主,先從媒體資料初步釐清出青少年自拍次文化脈絡,歸納出問題意識方向,再運用質性訪談方式來探索青少年自拍經驗的心理動機與經驗意義。在自拍次文化的研究上,除了將整個青少年自拍次文化視為現代青少年的一種拼貼式的新生活風格外,主要研究重心放在青少年自我認同、網路相簿中的人際交流與群體認同、影像的性別再現與照片觀看模方式三個面向為論述主軸,以了解青少年何以投入自拍的活動,並認同自己為自拍族的一員,進而成為使自拍成為青少年次文化的重要表現與認同象徵。 研究結果如下: 當青少年自拍次文化被捲入大眾媒體的監控下,無疑地是被貼上了標籤,他們面對了媒體將自拍視為青少年搞怪形象、色情符碼與精神病例感到無奈,並提出他們的經驗與看法來為之正名與申辯。事實上,青少年參與自拍的動機不外乎是:生活樂趣與即時記憶、同儕牽引與友誼聯繫、自我角色呈現。且自拍也具備下列重要意涵:新休閒方式、情感宣洩、增加朋友,尤以自由化的特殊空間為重。 主流文化的引導、媒體的論述、青少年的認同與社會實踐,變成一相互影響的組合。本研究將青少年對自拍次文化所產生的認同建構,依照三個部份來論述: (一) 自我認同:青少年游移在理想我、現實我、社會我中,經由自拍完美影像與他人評價來確立人格的統整,但不免有認同混淆與認同替代的情況發生,而自拍空間的特殊性卻也使青少年更加勇於表達自我,強化自信。 (二) 群體認同:次文化的象徵價值建構來自於青少年的群體認知,透過自拍照的交換與收藏,促進了彼此文化歸屬與群體認同。網路相簿的呈現,是自拍照交流的現代化,以展現出青少年「同中求異 異中求同」的現象。 (三) 影像觀看與再現:透過檢視再現的自拍影像,發現自拍青少年仍舊複製性別刻版印象判準,但藉由性別扮裝的遊戲也顯示自拍青少年對性別角色的反動。至於觀看主體差異使自拍照的觀看跳脫以往主體和客體二元的固定模式,產生多元的微妙關係。 最後,套用Hebdige所說的話來作總結,自拍次文化既不是一種確認,也不是一種拒絕。它是一種獨立與心懷異志的宣言。它同時是對於自身的無權力的不服從與順服,它是一種希望被注意的表演,但是拒絕被用污名的方式理解(羅世宏,2004:427)。
This research aims at the teenagers who like to take pictures by autodyne. It first defines teenage autodyne subculture from materials in the media, sums up the directions of the research and then employs the methods of qualitative analysis to explore the psychological motive and meaning of teenage autodyne experience. Apart from regarding teenage autodyne subculture as one modern youngsters’ mosaic-like new life style, the study is threefold: the teenagers’ self-identity, interpersonal relations and the peer-group identity, and the representation of image on sexuality and the modes for viewing the photographs in online photo albums, in order to understand how teenagers take part in autodyne activities, identify themselves as part of the autodyne group, and make autodyne a significant presentation and an symbol of teenage subculture. The findings are as follows. When the teenage autodyne subculture is involved in the mass media under the monitoring, without doubt, it is labeled. It is regarded as an act out of mischief, a pornographic symbol and mental illness, which discourages teenagers much. Therefore, they share their experiences and views to justify themselves. In fact, they participate in autodyne activities for the following reasons: the joy of life and immediate memory, mixing with peer group or friends, presenting self-role. In addition, autodyne contains the following important meanings: the new recreative style, expressions of feeling, making more friends, and above all, a liberalized unique space. This research contains three parts. (1) Self-identity: Teenagers who waver in the ideal I, the reality I, and the society I establish their personality by the perfect image through autodyne and others’ appraisal. It is inevitable that confusing identity and identity substitution take place. Yet, the freedom for autodyne encourages teenagers to express themselves and strengthen self-confidence. (2) Peer-group identity: The construction of subcultural symbolic value results from young people’s commun consciousness. The exchange and collection of photos promotes mutual culture and Peer-group identity . The appearance of online photo albums demonstrates the modernization of autodyne photo exchange and the phenomenon “differently striving for/with the center and simultaneously seeking common ground where differences exist” found in teenagers. (3) Image viewing and its the representation: By penetrating inspection of the representation of the autodyne image, it is discovered that teenagers still duplicate the traditional sexual stereotype. But on the other hand, they reverse the gender role by sexual make-believe game. Viewing the subjective differences makes it possible to transcend the subject and object dualism, giving rise to a multiplicity of relations.