Mediatized Existence and the Reconstruction of Subculture: The Practical Shift of China’s Youth Internet Subculture in the Digital Era

Chzhan Haichao PhD in Cultural Studies Postgraduate student; Department of Cultural Studies and Socio-Cultural Activities; Ural Federal University named after the first President of Russia B. N. Yeltsin 620000, Russia, region, Yekaterinburg, ave. Lenina, 51, sq. 416 1836393357@qq.com

Introduction

In the context of the rapid development of digital technologies, technological innovation and cultural transformation are intertwined, which affects the ecosystem of subcultures. Algorithmic recommendations and platforms for short videos on the Internet are transforming ways of communication, cultural expression, and patterns of interaction with the dominant culture among subcultural groups. Traditional theories of subcultures, such as the concept of "resistance–incorporation" of the Birmingham School of Sociology, based on Western experience and emphasizing binary oppositions, are insufficient to explain the complexity of the Chinese Internet subculture ^{[1, p. 51]}. In China, the interaction of state ideology, platform economy and youth cultural practices forms a unique cultural field in which the youth Internet subculture acquires features different from those of the West. Rethinking Chinese youth Internet culture in the digital age is an important issue that requires further study.

This research aims to promote the localization and mediatization of subcultural theory, overcome the limitations of traditional approaches, and build a theoretical framework adapted to the Chinese context. It is intended to give a new impetus to the study of subcultures and contribute to a better understanding of the cultural identity and value practices of young people in the digital age. This is important for tracking ideological trends among young people, strengthening social harmony and stability, as well as helping to form life-affirming cultural attitudes among young people and promote harmonious interaction between young people and the rest of society.

The development of the Western theory of subcultures has gone through several stages, among which the classical paradigm is the "politics of style" and the binary logic of the Birmingham School of Sociology. The Birmingham School focuses on the fact that subcultural groups express resistance to the dominant culture through unique styles and symbols, considering subculture as a marginal and protesting cultural phenomenon ^{[2, p. 88]}. According to their point of view, subcultural groups, appropriating and transforming symbols of the dominant culture, create a style filled with rebellious meaning, which serves as an expression of protest against social inequality and oppression ^{[3, P. 224]}. However, this theoretical framework has its limitations: It overemphasizes the opposition between subculture and dominant culture, ignoring the complex interaction and interpenetration between them. In the digital age, the boundaries between subcultures and the dominant culture are becoming increasingly blurred, making binary logic insufficient for a comprehensive explanation of the complex phenomena of subcultures.

The theory of post-subcultures, on the contrary, pays more attention to fluidity and hybridity. With the development of social diversity and the acceleration of cultural flows, subculture ceases to be a fixed and unchanging entity, acquiring dynamic and hybrid features. The theory of post-subcultures emphasizes the subjectivity of subcultural groups, arguing that they are not only passive resisters, but are capable of active creativity and negotiation within the framework of cultural practices ^{[4, P. 128]}. This theoretical approach to research focuses on the internal diversity of subcultures and their interaction with the dominant culture, offering new perspectives for understanding subcultural phenomena.

In China, research on the youth Internet subculture is gradually becoming an important area of scientific interest. Existing research focuses mainly on analyzing specific cases such as "fandoms," "anime culture," and "culture of decline," revealing their cultural content, group characteristics, and interactions with society. However, the media technology perspective remains underdeveloped in these studies. Most works often ignore the important role of technological factors, such as platform algorithms and digital infrastructure, in the formation and development of the youth Internet subculture. In fact, digital technologies not only provide new channels and platforms for the dissemination of subcultures, but also profoundly influence the ways of expression, content production and models of group interaction within subcultures ^{[5, P. 128]}. Thus, strengthening the media technology perspective in research is important for a comprehensive understanding of the Chinese youth Internet subculture. This study focuses on the interaction of technological innovations and subjective practices in the formation of Internet subcultures. The study focuses on local Chinese cases, combining an analysis of political regulation and platform rules to explore the complex interactions between the state, platforms, and users, as well as their impact on the reconstruction of subcultures. This localized approach provides new experiences and insights for the development of subcultural theory.

Methods

Based on a cultural perspective, this study applies a multidimensional comprehensive analysis combining theoretical research, case analysis, policy interpretation, and technological analysis to deeply explore the practical turnaround and theoretical reconstruction of China's youth Internet subculture in the digital age. Firstly, based on the analysis of classical Western theories of subcultures and in combination with the theory of mediatization, a framework of "mediatized existence" is proposed, which allows us to build a theory adapted to the Chinese context. Secondly, representative phenomena of Internet subcultures are selected, their logic of distribution on digital platforms, cultural forms and interaction with the dominant culture are analyzed, which makes it possible to reveal the practical turn of subcultures. At the same time, taking into account national cultural policy and platform rules, the mechanisms of influence of political regulation on the reconstruction of Internet subcultures are being investigated. In addition, from a cultural point of view, the role of digital technologies in the formation, dissemination and development of subcultures is studied, as well as the interaction of technology and culture is analyzed. Using these methods, this research aims to comprehensively reveal the transformation of the youth Internet subculture in the digital age, providing theoretical innovations and empirical support for a localized reconstruction of subcultural theory.

Results

1. Theoretical framework: Mediatized existence and reconstruction of subcultures

(1) The key logic of mediatized existence

Firstly, technological affordance transforms subcultural expression. Technological affordance refers to the opportunities and perspectives provided by technologies that open up new spaces and ways for the expression and dissemination of subcultures ^{[6, p. 43]}. The emergence of short video platforms has provided subcultural groups with a convenient and effective distribution channel. With the help of short videos, subcultural groups can vividly and figuratively present their ideas, emotions and values, overcoming the limitations of traditional media. For example, "vulgar culture", as a subcultural phenomenon with pronounced regional specifics, has spread rapidly thanks to platforms for short videos. The brevity, conciseness and entertaining nature of such videos allowed "vulgar culture" to quickly attract the attention of viewers, contributing to its spread.

Algorithmic recommendations further enhance the effect of spreading subcultures. Algorithms, based on the interests and behavior of users, accurately recommend relevant content, which makes it easier for subcultural groups to find like-minded people ^{[7, P. 55]} and form more cohesive subcultural communities. This precise selection of content not only promotes communication and interaction within subcultures, but also expands the audience, allowing subcultures to go beyond narrow circles. However, algorithmic recommendations can also lead to the formation of information bubbles, which puts subcultural groups at risk of self-isolation ^{[8, p. 67]}. Thus, the question of how to use algorithmic recommendations, avoiding the negative impact of information bubbles, requires further study.

Secondly, platform rules, such as moderation mechanisms and traffic allocation, have a hidden disciplinary effect on the production of subcultural content. Platform rules play an important role in the development of the youth Internet subculture. Platform moderation mechanisms carry out hidden censorship of subcultural content, determining what can be shown and what will be restricted or deleted. Such discipline is not completely repressive towards the subculture, but to a certain extent directs its development in the right direction for the moderator ^{[9, P. 7]}. For example, strict moderation of content related to vulgarity, violence, or pornography on some platforms helps protect the mental and physical health of young people.

The traffic distribution mechanism is a way to stimulate and direct subcultural content from platforms. Platforms use algorithms to distribute traffic, which allows high-quality content to gain more popularity opportunities, thereby encouraging subcultural groups to create more outstanding works. However, the traffic distribution mechanism can also cause certain problems, such as the excessive adaptation of subcultural groups to the algorithms of platforms in order to increase traffic, which leads to unification and a decrease in the quality of content. Platforms need to find a balance between commercial interests and cultural value in their traffic distribution mechanism in order to promote the healthy development of subcultures.

(2) Three dimensions of subcultural reconstruction

First, in terms of cultural form, subcultures have gone from "self-development and self-expression" to "transcending and integrating."

Traditional subcultures were often characterized by a high degree of isolation and exclusivity. Subcultural groups existed within their own narrow circles, forming a cultural form of "self-entertainment and self-expression." However, in the digital age, the boundaries between subculture and the dominant culture are gradually blurring, and subcultures are beginning to move towards "transcending and integrating" ^{[10, p. 114]}. For example, "national-style music" was initially popular in narrow circles, but with the development of digital technologies and promotion on platforms, it gradually reached a wide audience, becoming part of popular culture. This "transcending and integrating" not only enriches the content of the dominant culture, but also provides subcultures with broader opportunities for development.

Secondly, the subjective practices of youth groups have shifted from "resistance" to "complicity."

In traditional theories of subcultures, youth groups were often viewed as opposition to the dominant culture, expressing protest against social inequality and oppression through subcultural practices. However, in the digital age in China, the subject practices of youth groups have undergone significant changes. They are no longer passive resisters, but to a certain extent become active accomplices. For example, in the Dib Campaign event, youth groups actively participated in spreading patriotic discourse through online platforms, demonstrating their love for the country and identification with the official ideology. This transformation of identity reflects the more complex interactions between youth groups and the dominant culture in the digital age.

Thirdly, discursive strategies focus on the appropriation of subcultural symbols and their use by official ideology.

The appropriation of subcultural symbols has always been one of the key strategies of subcultural practices. In the digital age, such attribution is becoming more frequent and diverse. At the same time, the dominant ideology actively uses these symbols, blurring the line between itself and subcultures. For example, "Internet memes", as subcultural symbols with a wide potential for dissemination, are often filled with politicized content. This interpenetration simultaneously enriches the content of subcultural symbols and provides new ways to spread official ideology.

2. Localized reconstruction of subculture theory

(1) Overcoming the "resistance–incorporation" paradigm

Within the framework of the traditional theory of subcultures, the "resistance–incorporation" paradigm has been widely used to explain the relationship between a subculture and the dominant culture. According to this paradigm, subculture challenges the order of the dominant culture through unique styles and practices, while the dominant culture uses various methods to integrate subculture into its system, depriving it of its initial resistance. However, in the context of the Chinese youth Internet subculture, the explanatory power of this classical paradigm has obvious limitations. There is a unique dynamic here, combining "soft resistance" and "active complicity," as well as a threefold interaction between the state, platforms, and users that redefines the boundaries of subcultures.

On the one hand, in China, the Internet youth subculture is not exclusively opposed to the dominant culture, but rather is in a relationship of "soft resistance" and "active complicity" with it. Such relationships reflect more complex patterns of interaction between youth groups and the dominant culture in the digital age. From the point of view of "soft resistance", youth groups create unique cultural symbols, discursive systems and behavioral models in the online space. These cultural expressions are not a direct or aggressive opposition to the values of the dominant culture, but rather express their demands and positions in a more hidden and subtle form. This does not undermine the seriousness of the dominant culture and does not deprive it of a leading and dominant role ^{[11, p. 4]}. For example, the spread of popular Internet memes, which at first glance represent light and humorous forms of entertainment, may conceal the reflection of young people about certain social phenomena. The irony of memes is not a denial of dominant values, but rather a search for space for individual self-expression within the dominant culture.

In terms of "active participation" with the development of time, youth groups demonstrate a strong sense of social responsibility and cultural mission. They actively participate in the dissemination and development of the dominant culture, combining elements of their favorite subcultures with the values of the dominant culture ^{[12, p. 100]}. For example, in some patriotic Internet projects, young authors use forms of subcultures such as anime art and rap music to express love for the country and popularize the national spirit. These works not only find a wide response in subcultural circles, but also receive recognition and support from the dominant culture. This active participation reflects the desire of young people to express their unique cultural identity, while at the same time entering into a dialogue with the dominant culture, demonstrating a more rational and open approach.

On the other hand, the threefold interaction between the state, platforms, and users redefines the boundaries of subcultures. The boundaries of the youth Internet subculture are no longer solely determined by subcultural groups and the dominant culture, but are the result of complex interactions between the state, platforms, and users. The state, as a macro-level regulator, directs the development of subcultures through the development of a number of policy guidelines and regulations. For example, the "Clean and Clear Space" campaign aims to address issues such as vulgar and harmful content in Internet subcultures, in order to create a positive online cultural environment and channel subcultures in line with Chinese traditional values.

Platforms play a key role in the dissemination and development of subcultures. Platforms use their own rules and algorithms to manage and direct subcultures. The content moderation mechanisms of platforms determine which subcultural materials can be widely distributed, and traffic distribution algorithms affect their visibility and audience reach. Some platforms, in an effort to attract users and increase traffic, support innovative and positive subcultural materials, helping to promote them to a wider audience. At the same time, content that may cause controversy or does not correspond to the positioning of the platform is restricted or blocked.

Users, as creators and distributors of subcultures, directly influence the direction of subcultural development through their cultural practices. Through their interests, creative activities, and social interaction, users express their desires and needs. Different user groups understand and interpret subcultures in different ways. Their interaction and collision in the online space enriches and transforms the content and forms of subcultures. This threefold interaction makes the boundaries of subcultures more dynamic and open, providing more opportunities for their development. Subcultures are no longer limited by the traditional framework of narrow and marginal groups, but expand their development space through interaction with various forces, forming more diverse and complex symbiotic relationships with the dominant culture ^{[13, p. 60]}.

(2) The Chinese Way of Mediatization: theory and practice

Against the background of the global digital wave, the development of the youth Internet subculture in China follows a unique path of mediatization, which is manifested in two key aspects: the dual impact of technological affordance and cultural policy, as well as the possibility of transformation from a "subculture" to a "new dominant culture."

Firstly, it is the dual impact of technological affordance and cultural policy. In China, technological affordance and cultural policy jointly influence the development of the youth Internet subculture. Modern information technologies such as 5G, big data and artificial intelligence create broad and effective platforms for the generation and dissemination of the youth Internet subculture ^{[14, p. 80]}. For example, platforms for short videos, using algorithmic recommendation technologies, can accurately recommend content related to various subcultures based on data about the viewing history and user interests. This significantly reduces the barriers and costs of spreading subcultures, allowing niche subcultures to quickly find like-minded people in the online space and achieve viral spread. The development of live streaming technologies provides subcultural enthusiasts with the opportunity to interact in real time. For example, in the field of anime culture, broadcasts of virtual idols allow fans to interact with them through tribute comments and donations, which enhances a sense of belonging and involvement among subcultural groups.

At the same time, cultural policy plays an indispensable role in guiding and regulating the development of the youth Internet subculture. China is developing a number of policies and regulations, encouraging cultural innovation and supporting the creation and dissemination of high-quality subcultural content. For example, subcultures with traditional cultural content are supported, such as "national-style music" and Hanfu culture (Hanfu: Han national dress), which helps them reach a wider audience. At the same time, strict regulatory and control measures are applied to subcultural content that may have a negative orientation, such as propaganda of violence or extremist ideas. For example, relevant authorities inspect content in areas such as online anime and games to ensure that it conforms to Chinese dominant values, creating a favorable ecosystem for the development of subcultures desired by the authorities. This dual impact gives the youth Internet subculture in China unique characteristics and development trajectories. Research needs to take into account the interaction of technology and politics in order to better understand the patterns of development of the youth Internet subculture. Technology provides new tools for the implementation of cultural policy, and cultural policy, in turn, sets the direction for the application of technology in the field of subcultures, exerting mutual influence and stimulating the development of each other.

Secondly, the possibility of a transition from a "subculture" to a "new dominant culture." As the Internet youth subculture constantly merges with the dominant culture, the possibility of its transformation into a "new dominant culture" gradually becomes apparent. Such a transformation is not a simple inclusion of a subculture into the dominant culture, but rather represents the integration of a subculture into the system of the dominant culture while preserving its uniqueness, forming a more diverse cultural landscape ^{[15, P. 179]}. For example, the "Gochao" ("Chinese Chic") culture, which originally originated in the narrow circles of a subculture with a national flavor, is characterized by the innovative use of traditional cultural elements and fashionable self-expression. Over time, the Gochao culture became popular not only among young people, but also received attention and support from the dominant media. Many well-known brands have released Gochao-style products, from clothing and cosmetics to food and electronics, making Gochao elements ubiquitous. In this process, the Gochao culture has preserved its key essence – the love of traditional culture and innovative heritage, while integrating elements of the dominant consumer and commercial culture. This has turned it into a widely accepted and beloved cultural phenomenon, gradually acquiring the features of a new dominant culture.

This transformation from a "subculture" to a "new dominant culture" is essential for stimulating cultural innovation and cultural development. It overcomes the barriers between the traditional dominant culture and subculture, providing a continuous stream of inspiration and material for cultural innovation. The creativity and energy of subcultural groups, merging into the dominant culture, can stimulate innovative changes in it, helping it better adapt to the demands of the time and society. At the same time, the formation of a new dominant culture enhances cultural inclusivity and diversity, stimulating exchange and integration between different cultural groups, as well as enhancing cultural cohesion and identity throughout society.

Conclusions

The Chinese youth Internet subculture in the digital age is characterized by a mediatized existence, where technology, politics and subjective practices jointly stimulate its transformation. Subculture is no longer limited to a marginal position, but reproduces values through interaction with the dominant culture. This reconstruction not only enriches the content of online culture, but also provides youth groups with new spaces and opportunities for cultural identification and value practices. Thanks to this study, we gained a deeper understanding of Chinese youth Internet culture in the digital age, and also proposed new approaches and methods for the localized reconstruction of subcultural theory.

With the constant development of Web 3.0 technologies, innovations such as the metaverse and blockchain will have an even deeper impact on Internet subcultures. It is necessary to pay more attention to the development trends of these technologies, studying their specific mechanisms of influence on the formation, dissemination and development of subcultures, as well as new characteristics and trends of subcultures in the context of these technologies. In the context of globalization, the international spread of the Chinese youth Internet subculture is important. It is necessary to explore how to bring the Chinese youth Internet subculture to the international arena, demonstrating cultural creativity and promoting the interchange and integration of Chinese and foreign cultures.