本文提出了“影视剪辑up族”这一概念，用以理解并阐释在新媒介环境下生发的一种较为新近的网络亚文化形式，即以影视视频的剪辑及网络传播为主要实践方式的线上亚文化形式。“影视剪辑”指的是对包括电影电视剧在内的影视作品进行的剪辑拼贴实践，它通常能产生新的意义，进而或解构颠覆或延展丰富原文本的意义。而“up族”指的是基于up主（即视频上传者）所上传的视频及其网络传播所形成的、以虚拟互动和社交为特点的线上社区。本文首先从网络信息发布者称谓的变迁出发，在“X主”的变化中考察了up主与版主、吧主、po主的主要区别，探究了up主与作为信息载体的媒介之间的关系，粗略勾勒了up族亚文化的形态，并进一步明确了影视剪辑up族的概念及特点，界定了研究的边界。影视剪辑up族的出现和发展绝非是偶然的，而是媒介技术和环境发展到一定程度的产物。媒介技术的进步为影视剪辑up族这一特殊网络亚文化的形成和发展奠定了必要的基础：除却在技术层面上，从生产、传输和储存等方面实现了影像文本的易得性和可编辑性，还在社交层面上使线上交互成为可能，为虚拟部落化提供了条件。影视剪辑up族的亚文化实践并不依赖物理空间中的身体行为来实现，基于影视剪辑视频的虚拟互动是其唯一表现形式。尽管媒介环境和社会生活经验发生了变化，但作为亚文化图腾的风格并没有消亡。影视剪辑up族的风格依托影视剪辑视频的样态进行表达，因此剪辑即是风格。在新的媒介环境下，影视剪辑up族的风格具有了新的要素，即虚拟自我、传播内容和非典型角色期待。最后，影视剪辑up族通过对大众文化符号的再生产和基于影视剪辑实现的符号狂想，实现了符号反叛、情感的表达、对少数群体的话语赋权以及对传统权威的冲击，建构出了一个异质平行的、对现实具有补偿性的文化和情感空间，即影像异托邦。这亦是影视剪辑up族作为亚文化的社会和文化意义所在。从论文的整体来看，对影视剪辑up族这一较为新近的亚文化现象所做的分析描述和意义阐释，对新媒介环境与新的亚文化形式之间关系的探讨和分析是本文的创新之处。同时，通过新的亚文化形式对伯明翰学派亚文化研究理论所进行的补充和修正，也较有新意。
The dissertation has proposed the concept of “film & TV editing upload virtual tribe” (FEUVT) to understand and interprete a relatively new form of internet subculture that emerged and developed in the new media environment. Film and TV editing refers to the practice that clips and collages videos from films or TV dramas to create different meanings in order to subvert or extend the original text. And upload virtual tribe refers to the online community that forms on the basis of virtual intereaction about the videos uploaded by the uploaders. The research first explores the relationship between uploaders and the media as the information carrier. After sketching the outline of upload virtual tribe as a form of internet subculture, the dissertation further defines the form and features of FEUVT.The emergence as well as development of FEUVT was never accidental, rather it is the product of media technology and environment, to which, the advancement of media technology has provided indispensable foundation. On the technical dimension, media techonology has rendered filmic text editable and readily available while on the social dimension online socialization as well as virtual tribalization has been realized by media techonology as well.FEUVT does not rely on bodily behaviors for practice, virtual interaction based on filmic videos is its only form of subcultural practice.Though media environment and social life experience have greatly changed, the style of subculture, which is its totem, does not perish. The expression of the style of FEUVT relies on the modality of the filmic text, clipping and collaging are thus its style. In the new media environment, the style of FEUVT has acquired new elements, namely the virtual ego, dissemination content and untypical role expectation.Finally, the FEUVT has realized the reproduction of popular cultural symbols and the symbolic chimera. And FEUVT has constructed a heterogenous cultural space that parallels and compensates the real world, the filmic heterotopia, which is also the embodiment of the social as well as cultural significance of the FEUVT as a form of subculture.The dissertation has supplemented the theories of Birmingham school with its main contribution lying in its interpretation of FEUVT, a relatively new cultural phenomena.
