韩流对中国粉丝文化的影响——以《PRODUCE 101》第一季和第二季为中心
The Influence of Korean Wave on Chinese Fan Culture — A Case Study of Seasons 1 & 2 of PRODUCE 101
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韩流自20世纪90年代进入中国以来，凭借偶像文化和粉丝经济的高度发展，深刻影响了中国年轻群体的文化消费方式。韩国选秀节目《PRODUCE 101》以“全民制作人”模式为核心，通过社交媒体和粉丝投票机制，成功塑造了一种高度互动的粉丝文化。本研究以该节目第一季和第二季为对象，探讨其在中国的传播过程及对粉丝文化的影响。基于詹金斯的“参与式文化”与“文本盗猎者”理论，分析中国粉丝如何从被动观看者转变为内容生产者，并通过粉丝行为，文化创造等方式深度参与偶像成长。该节目推动了中国本土选秀节目的发展，如《偶像练习生》，《创造101》，并催生了“C位”，“全民制作人”等新兴文化词汇。随着商业资本的深度介入，粉丝文化呈现出数据造假、资源浪费等商业化倾向，亟需引导其向更理性、可持续的方向发展。在这一背景下，《PRODUCE 101》不仅重塑了中国粉丝文化，也推动了韩中文化交流，并为中国文化产业提供了新的发展路径。
Abstract
Since the 1990s, the Korean Wave (Hallyu) has exerted a profound influence on the cultural consumption patterns of Chinese youth, driven by the rapid rise of idol culture and the fan economy. The Korean audition program PRODUCE 101, centered on the concept of “national producers,” cultivated a highly interactive fan culture through social media engagement and real-time voting. This study takes the show’s first and second seasons as its primary focus and investigates its dissemination in China as well as its impact on local fan culture. Drawing on Henry Jenkins’ theories of “participatory culture” and “textual poachers,” the paper explores how Chinese fans evolved from passive viewers to active content creators, participating deeply in idol development through voting, fan campaigns, and secondary cultural production. The program also spurred domestic Chinese audition shows such as Idol Producer and CHUANG 101, and introduced neologisms like “C-position” and “national producer” into fan discourse. However, with increasing commercial involvement, fan culture shows signs of over-commercialization, including data manipulation and resource waste, raising concerns over sustainability. Against this backdrop, PRODUCE 101 not only reshaped the practices of fan culture in China, but also facilitated cultural exchange between Korea and China, offering new developmental models for China’s cultural industry.