VCD世代或失落世代？香港VCD現象的矛盾性
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Date
2003-07-01
Authors
胡綺珍
張秀敏譯
Journal Title
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Publisher
南華大學傳播管理研究所
Abstract
本文試圖描繪出香港後九七時期的VCD文化版圖。VCD世代的崛起標示出一個數位影音消費的美麗新世紀，其本身便宜、彈性、方便和自主性強的特性與狂野的翻版活動結合，形塑出獨特的香港VCD文化。VCD於其他亞洲城市中所掀起熱潮的發展歷程與香港是很相似的。一方面，將VCD視為舊錄影帶形式的解放與對香港主流媒體霸權的反動，是對VCD文化的正面評價。另一方面，VCD可被視為社會無秩序的一部份。不受管束的翻版VCD、不安定的VCD市場與其相關的中下階級青少年文化─這一切指涉了一個香港當時面臨著政治轉換及遭受亞洲金融風暴而導致經濟下滑時所浮現的失落世代。香港的VCD現象顯示了數位科技革命的矛盾與複雜具備了一體兩面的特性，不能被單純視為進步或退步。
This paper aims at mapping the VCD cultural geography centered on Hong Kong at the post-97 period. Itargues that the emergence of a VCD generation marks a brave new age of digital audio-visual consumption. The inexpensiveness, flexibility, convenience and autonomy of VCDs articulate with wild piracy, which have shaped the specific Hong Kong VCD culture. VCD was overwhelmed over other Asian cities with somewhat similar trajectory like Hong Kong. This is the brighter side of looking at VCD culture as being liberated from the old video format and resistant to Hong Kong mainstream media hegemony. However, VCD can also be seen as part of social disorder for those with pessimism. The unruly penetrations of pirated VCDs and unserttling VCD markets, in association with 10wer-c1ass youth culture, can refer to a lost generation.-at a time when Hong Kong was swinging in the political transition as well as economic downfall stricken by the Asian financial crisis. The Hong Kong VCD phenomenon reveals that the ambivalence and complexity of the digital technological revolution cannot be contained in a single view of either progress or backwardness - they are double-edged.
This paper aims at mapping the VCD cultural geography centered on Hong Kong at the post-97 period. Itargues that the emergence of a VCD generation marks a brave new age of digital audio-visual consumption. The inexpensiveness, flexibility, convenience and autonomy of VCDs articulate with wild piracy, which have shaped the specific Hong Kong VCD culture. VCD was overwhelmed over other Asian cities with somewhat similar trajectory like Hong Kong. This is the brighter side of looking at VCD culture as being liberated from the old video format and resistant to Hong Kong mainstream media hegemony. However, VCD can also be seen as part of social disorder for those with pessimism. The unruly penetrations of pirated VCDs and unserttling VCD markets, in association with 10wer-c1ass youth culture, can refer to a lost generation.-at a time when Hong Kong was swinging in the political transition as well as economic downfall stricken by the Asian financial crisis. The Hong Kong VCD phenomenon reveals that the ambivalence and complexity of the digital technological revolution cannot be contained in a single view of either progress or backwardness - they are double-edged.