「東京大飯店」：德國賽伯龐克流行音樂中的後現代身體

Abstract

“東京大飯店”這個流行音樂團體是世界上最成功的年輕德語樂團之一，他們重塑了視覺和音樂的關係 。德國男孩團體“東京大飯店”現象被認為是一個有趣的研究話題在次文化年輕人領域，接著，我們會揭露德國流行音樂的全新面貌：其文字可以以BachmannMedick的文化來閱讀，並且著重在詭譎和科技的連結。我打算檢視樂團在2009年時的，最新專輯“人型生物” 中朗朗上口“Automatisch ”(自動，其一意思為自動自發做某件事或是利用科技做事情)之歌詞，而這歌詞在他們的MV中伴隨著影像還有他們的現場演出。在這首歌，“東京大飯店”的自動是主題是的被交互地運用在流行音樂中。他們的現場演出似乎顯現出一種有趣的藝術重新定義著人的身體就像科技一樣的詭譎 。我會試著找出以下這些問題的答案：什麼樣的策略可以用來閱讀歌詞、MV還有“東京大飯店”的演出？什麼樣的視覺架構從主唱Bill Kaulitz的表演中塑造出來？什麼樣重要的矛盾新型式在歌詞和意象中被塑造為象徵的程度，以及性別擔任什麼角色？意象中的新身體觀念顯現出的問題是非常令人感到興奮的，因為這開啟了有關歐洲年輕一代後性別的新思考模式，這樣的角度展現了年輕世代象徵性抵抗和反動的一種新形式。

The popular music band “Tokio Hotel,” one of the world’s most successful contemporary young German speaking bands, reinvents itself visually and musically over and over again. The phenomenon of this German boy group can be considered an interesting research topic for new trends in youth subculture. In the following, we will unfold a new kind of imagery in the German pop music that can be read as text in the sense of Bachmann-Medick’s ‘culture as text’concerning the question of uncanniness and its connection to technology. We will analyze the German song“Automatisch” of the 2009 Tokio Hotel’s album as exemplary song text in a constellation with the imagery in their official music video as well as the recording of their live performance of the same song. In this song of Tokio Hotel automation and automatization is thematically used as the main subject and interconnected with the genre of pop music. Their corresponding live performance seems to show an interesting artistic redefinition of the human body as technology in an uncanny way. We will try to find answers to the following questions: What strategies can be read in the lyrics, the music video, and the performance of Tokio Hotel? What kind of visual image structure is generated in this new postmodern image of their lead singer Bill Kaulitz? What new important form of ambivalence of meaning is constructed on the symbolic level in the lyrics and the images, and what role does gender play? The question of new body concepts in the imagery of Tokio Hotel\nappears to be particularly exciting because it opens up a way to think about a new kind of playful post-gender identity of the youth in European cultures, a condition that negotiates social relations and boundaries in the technical information age of the “cyber.