| In 2021,the State Administration of Radio,Television and Television issued a document banning institutions and platforms from broadcasting idol-forming programs,putting an end to the101 series of women’s troupes that have appeared since 2018.2018,as the first year of domestic idols,opened a new stage of public participation in the production of female idols through Produce101,which not only brought economic benefits and social attention,but also exposed the disadvantages that led to irrational consumption of fans.the war of words and fund-raising in the fan circle also seriously affected the public order,and even violated the legal rights of others.From the perspective of digital culture industry,this paper discusses the production mechanism of 101 series female group idols in China,and understands the production of 101 series female group idols as the process of "platform open production and fans participating in production".In the study,first of all,the program setting and competition rules of the three 101 female group idols are studied to show how the platform makes use of the advantages of the Internet platform to open channels for fans to understand idols and give star-making power through the narrative and arrangement of the program.and ask to arouse fans’ subjective consciousness as producers.Secondly,through the participatory observation of Weibo,combined with in-depth interviews with fans participating in the production of idols of the 101 st series of girls,to understand their specific production practices and the emotional motivation behind them.Finally,it makes a systematic reflection on the production mode of the 101 series women’s troupe.Although the platform calls fans "producers" and "founders",there is a deeper manipulation of the platform and capital behind the empowerment.Fans are incorporated into the labor process of idol production by the platform through the way of "opening-empowerment-inquiry" to pay for consumption and publicize labor for the idol’s right to appear.Behind the seemingly simple production logic,the platform still has the right to control the relations of production and the means of production,and firmly holds the dominance of the whole idol production process by controlling content editing,specifying voting rules and so on.Fans are not complete power owners,they are consumers and labourers carefully calculated by capital,achieving compensatory satisfaction under the illusion of participation concocted by the digital culture industry,while in the more hidden algorithm rules of the platform,fans’ feelings are also materialized into data and traffic,which is driven by commercial interests and harms the long-term and healthy development of the women’s idol industry. |
