中国80代的消费文化特征.pdfVIP

中国“80 代”的消费主义特征 论 文 摘 要 2004年中国文坛最惹眼的是“80后”作家群的全面登场，文学评论和媒体 报道都呈现出众声喧哗的状况，而“70后”作家则几乎销声匿迹，这并不正常的 状况，命名的武断是重要原因。本文认为，认真研究“70后”、“80后”作家成长 的社会文化背景，是值得进行的基础工作，并将“70后”和“80后”并称为“80 代”。 本文认为“80代”的成长期和整个国家的市场经济和消费社会转向的变革期 基本重合。1998年开始，80代对变形金刚的怀旧从网络开始蔓延，成为近年来引 人注目的文化现象。变形金刚的出现恰逢其时，是“80代”为数甚少的既具备流 行性又具备经典性的怀旧对象与情感投射物。 由于变形金刚引进国内的情况特殊，与国外纯粹商品化的操作方式有所不 同，所以变形金刚对中国“80代”有更大的文化影响力。如今深刻影响“80代” 日常生活和价值取向的文化价值和意识形态观念，都可以在变形金刚这样一部动 画片里找到基本的元素，这些基本元素融合了已若游丝的中国传统文化观念在中 国“80代”意识领域潜移默化的作用，构成了“80代”精神面貌的基本结构。 变形金刚作为“80 代”的图腾标志，塑造了他们消费主义的精神结构，而 “80 代”对变形金刚的意义再生产，令他们有可能不再作为跨国资本设计的消 费意识形态的被动承受者，而成为恰恰成为设计的起点。在全球各地、在生产到 消费的各个层面、在资本生态链的每个环节，都可以找到Kidults以渐进的无意 识的方式颠覆现有规则的例子。娱乐或将致死，却仍然具有颠覆性的力量。 关键词：变形金刚、80 代、消费文化 5 中国“80 代”的消费主义特征 ABSTRACT In 1983, TAKRA Co., Ltd, Japan launched toys and cartoons of Transformers in alliance with Hasbro Inc.(HAS). The toys became the most popular toys in China soon after the Transformers Cartoons which were translated by Shanghai TV Station, and the major fans were those 80 generation who were born between 1975 and 1985. From 1998, the retrospection of Transformers by 80 generation has overwhelmed everywhere from the internet to be an outstanding culture figure during these years. As far as my aspect, the period of 80 generation’s growth basically matches that revolution period of the Socialist market economy and the consumerism. The appearance of Transformers coincidentally met the time and luckily became one of the rare icons of retrospection and emotion reflection, also popular and classic. The Transformers is more powerful in culture influence to the 80 generation, which is diff