以「購物」之名：從網絡集體創作看「再造香港」

Abstract

置身資訊化社會，人們於獲得媒體文本製作技術的門檻大幅降低的狀況下，怎樣以網絡集體創作方式，並將其作品上傳至網絡平台如YouTube表達其政治訴求？本文期望探討普羅市民介入政治方式的範式轉移，即從假手於文化中介人或政客，到自己親身上陣。換句話說，當社會菁英不再壟斷論述話語權，無法擔當文化身分的代言者之際，人們可以怎樣生產屬於自己的文化政治論述？這道問題於香港的語境演繹如下：「香港人」如何從下而上論述「香港」？「香港」如何由阿巴斯(Abbas 1997)眼中的「消失」，到馬傑偉(2013)聲稱的「重現」，再到本文主張於網絡世界裡「再造」？為回答以上問題，本文以雨傘運動流動占領「鳩嗚」衍生的網絡創作「日日去鳩嗚」為例，藉著追溯這系列音樂錄像如何在高登討論區被生產，以及其生產模式如何能以禮物經濟論去理解，從而探討網絡集體創作跟香港人身分認同的關係。

Within the era of information society, the threshold of accessing new media production skills and technologies is far below than decades before, people are now much freer to voice out their opinions through making different new media creations and uploading their works to online platform like YouTube. This paper investigate the changing paradigm of political engagement of the common mass from employing cultural agencies and politicians to do it by their own. In other words, how the people make their cultural political discourses and statements without the monopoly of social elite? This question can be rephrased as follow in the context of Hong Kong: How the ＂Hong Kongese＂ narrating Hong Kong from bottom-up? How ＂Hong Kong＂ change from what Abbas (1997) called ＂disappearance＂ to Eric MA's (2013) ＂reappear＂, and then what this paper argue, ＂re-making＂ within the internet? To answer the above questions, this paper take the example of ＂Gau Wu＂, the ＂fluid occupation＂ in the city started from the later stage of Umbrella Movement. This protest strategy made some netizens in the Golden Forum created a series of MV of ＂Gau Wu Everyday＂. Through investigating the production process of this kind of works, with the perspective of ＂gift economy＂, this paper try to figure out the relation between internet collective creation and Hong Kong identity.