TikTok青少年:动荡时代的动荡身份

IF 0.3 0 HUMANITIES, MULTIDISCIPLINARY
L. Rogers
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引用次数: 1

摘要

通过对微视频平台TikTok上产生的两种亚文化时尚趋势的研究,本文将考虑Z世代TikTok用户如何重新部署原型“小丑”和“反叛者”的神话功能,以抵制流行的美丽理想。这些短片表演揭示了一群人的镜面世界观,他们习惯了被观看,就像他们习惯了观看别人一样。TikTok的大部分内容都围绕着病毒式传播趋势;通过模仿传播的舞蹈,聚合了普遍相关的人类经历的标签,以及常见的励志旅行和时尚素材。那些脱离这种模式的人会发现自己处于由算法主导的微社区中(游戏邦注:他们自称为“核心美学”),这些社区围绕着更受欢迎的内容形式形成卫星,偶尔会因其怪异或纯粹的超现实主义而获得病毒式传播。“小丑”和“反叛者”在社会空间中仍然被视为有限的角色——这给了他们一定的自由,使他们不受名人文化的视觉支配,但也需要他们做出一定的妥协;根据定义,存在于边缘的人是被排斥和“他者”。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
TikTok teens: Turbulent identities for turbulent times
Through the examination of two subcultural fashion trends spawned on the micro-vlogging platform TikTok, this article will consider how the mythic functions of the archetypal ‘clown’ and ‘rebel’ have been redeployed by Generation Z TikTok users in an attempt to push back against prevailing beauty ideals. These short-form film performances reveal the specular world-view of a demographic that is as used to being watched as it is watching others. The bulk of TikTok’s content revolves around viral trends; dances that spread by mimesis, hashtags that agglomerate universally relatable human experiences and the usual aspirational travel and fashion material. Those that break away from this mould find themselves in algorithmically led micro-communities (self-termed ‘core aesthetics’), which form satellites around more popular content forms and occasionally gain virality themselves for their freakishness or downright surrealism. The ‘clown’ and ‘rebel’ are still seen as liminal characters in the social space – affording them certain freedoms from the visual dominance of celebrity culture but also requiring certain compromises; existing at the fringes is, by definition, to be excluded and ‘othered’.
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来源期刊
Film Fashion & Consumption
Film Fashion & Consumption HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.40
自引率
50.00%
发文量
6
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