商务传媒学院知识库

青年文化是亚文化中极具独特性、最为活跃的类型，青年又是说唱亚文化最为活跃的群体，说唱亚文化因其对主流文化的质疑、挑战甚至是颠覆，一度被排斥在主流体系之外。近年来，伴随着《中国有嘻哈》和《中国新世代》等综艺节目的播出，说唱亚文化朝着本土化发展被逐步广泛接受。网络综艺节目在与青年亚文化的碰撞中，青年亚文化给网络综艺节目指出新方向，同时其自身风格和意义也产生了变化，青年亚文化从早期对主流文化的“颠覆”、“抵抗”、阶级性等特点在新媒体时期被多元化、强流动、重社交等风格特点所取代。

本文借鉴在伯明翰学派研究成果的基础上，以后亚文化理论为研究框架，运用文献研究法和案例分析法，对说唱亚文化的风格转变和主流认同行进行研究和反思。本研究以说唱文化和青年亚文化群体为研究蓝本，结合《说唱新世代》综艺，分析亚文化综艺节目的风格在新媒体环境及商品消费社会下有了哪些转变特征；在多元价值观念并存的后现代语境中，说唱亚文化通过怎样的互动实现路径最终获得主流群体的认同。在此基础上，得出亚文化风格的新转变为其与主流文化双向和解提供契机，青年亚文化与主流文化共生共荣，以及青年亚文化群体不断演变的趋向这三方面启示，同时提出对出网络视听行业的发展建议。

Youth culture is the most unique and active type of subculture, and youth are the most active group in rap subculture. The rap subculture was once excluded from the mainstream system because of its questioning, challenging and even subverting of mainstream culture. In recent years, along with the broadcast of variety shows such as The Rap of China and Rap for Youth, rap subculture has evolved toward localization to widespread acceptance. In the collision between online variety shows and youth subculture, youth subculture has pointed out a new direction for online variety shows, while its own style and meaning have also changed, and youth subculture has changed from its earlier "subversion," "resistance," and class characteristics against mainstream culture to a diversified and class-oriented one in the new media era. In the new media era, the characteristics of youth subculture have been replaced by the characteristics of pluralism, strong mobility and socialization.

Based on the research results of the Birmingham School, this paper uses literature research and case studies as a framework for the study of post-subculture theories to examine and reflect on the stylistic transformation and mainstream identity of rap subculture. This study takes rap culture and youth subculture groups as the blueprint for the study, and analyzes how the style of subculture variety shows has changed in the new media environment and commodity consumption society, and how rap subculture has finally gained mainstream recognition in the postmodern context where multiple values coexist. On this basis, we draw three insights: the new transformation of subculture style provides an opportunity for two-way reconciliation with mainstream culture, the symbiosis and co-prosperity of youth subculture with mainstream culture, and the evolving trend of youth subculture groups, and also propose suggestions for the development of the online audiovisual industry.