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Thèse Année : 2023

Beyond “keeping it real”: mediatization, legitimation and strategic negotiations of Chinese rap music

Au-delà de "keeping it real": médiatisation, légitimation et négociations stratégiques dans le rap chinois

超越“keeping it real”: 中国说唱的媒体化,正当性和战略谈判

Résumé

In the summer of 2017, the broadcast of the TV show The Rap of China introduced Chinese rap music and its artists to a mass audience of young people and created a cultural frenzy all over the country. The quick evolution of rap music, switching from a subcultural music style flourishing in the shadows of the music industry to a mainstream fad embraced by millions of fans, later collided with a political backlash that took away rappers from the media stages at the beginning of 2018. However, only a few months after their official critique, rappers started to progressively reappear in the media, dedicated TV shows multiplied and rap music seemed to be accepted again, up to the stages of the most mainstream programs. But something had changed: the once challenging and rebellious attitude of rappers suddenly gave place to a less rough and edgy posture, more aligned on the cultural directives stated by the Chinese authorities. While most of the existing literature on the topic focuses on the concept of authenticity and denies it to Chinese rappers and Chinese rap shows, this research aims to analyze the impact of the mass mediatization of rap music in its second occurrence, after the 2018 ban. The objective is to retrieve the previous works and expand the reflection beyond the concept of authenticity by reversing the perspective and questioning the construction of the cultural legitimacy of Chinese rap music. To put it simply, this research aims to provide elements to answer the following question: how did rap music become officially acceptable in China? By gathering a corpus of interviews conducted with rappers and a media anthropology of the dedicated entertainment shows broadcast between 2017 and 2020, this PhD unveils the challenges, the strategies and the negotiations at stake between media, authorities and rappers, to display a palatable rap that could be safely shared to a mass audience. It hence highlights the constant articulations of popular music and cultural regulations and broadens the use of cultural studies applied to Chinese popular culture.
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2017年的夏天,一档名为《中国新说唱》的电视节目将中国说唱及其艺术家介绍给了广大青少年观众,即在全国掀起一股文化热潮。原本只是音乐行业阴影下蓬勃发展的亚文化音乐瞬间成为坐拥百万粉丝的主流时尚,这种说唱音乐的快速演变与2018年初禁止说唱歌手出现在媒体上的政治禁令有所冲突。然而,几个月的正式歇业后,说唱歌手们又渐渐重回媒体,参加的电视节目成倍增加,说唱音乐似乎再度被接受,登上了最主流节目的舞台。但有些事情发生了变化:曾经挑衅又叛逆的说唱歌手变得不再那么粗暴前卫,而这更符合中国当局规定的文化指令。 尽管现存文献在该主题上更侧重于真实性概念,并否认它对中国说唱歌手和中国说唱节目的影响,本研究旨在分析2018年禁令后,第二次回归的说唱音乐大众媒体化的影响。目标是通过相反视角和质疑中国说唱音乐文化的合法性构建来收集已有文献,并扩充关于真实性概念的思考。简而言之,本研究旨在回答以下问题:说唱音乐是如何被中国接受的?通过收集二十多个说唱歌手的采访和2017年到2020年间播出的相关综艺节目的媒体人类学研究,该博士论文揭示了媒体、当局与说唱歌手三者间的挑战,战略和谈判。以此展示可接受的说唱传播给大众。它因此突显了流行音乐和文化规范的不断表达,并拓宽了文化研究作用于中国流行文化的用途。
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Dates et versions

tel-04476273 , version 1 (24-02-2024)

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  • HAL Id : tel-04476273 , version 1

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Grégoire Bienvenu. Beyond “keeping it real”: mediatization, legitimation and strategic negotiations of Chinese rap music. Library and information sciences. Communication University of China 中国传媒大学, 2023. English. ⟨NNT : ⟩. ⟨tel-04476273⟩
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