"European youth-mass-media-ensemble" - Transnationality and entanglement of popular youth culture in Western Germany, France and Great Britain, 1964-1974

相对于大量关于青少年亚文化和问题制造者的史学研究，本项目首次尝试从反映大多数青少年品味的主流现象的意义上揭示所谓流行青少年文化的存在。这种大众化的、高度商业化的、政治上宽松的、代际共识的青年文化，这种特殊的混合文化，不仅被代表和传播，而且特别是由大众媒体为青年人积极创造。在这种背景下，所谓的流行青年文化一直受到外部影响，因此必须在跨国和错综复杂的理论背景下进行分析。该项目基于三个主要假设：关于六十年代流行青年文化欧洲化的想法，很可能出现了一个年轻人的大众媒体共同空间，一个（音频）视觉青年大众媒体合奏-不仅在西欧，而且部分在东欧。此外，可以假定，在青年人的大众媒体这一虚拟的共同空间内，青年流行文化的民族特性一方面被讽刺和定型，另一方面被拉平和相对化。除此之外，该项目还侧重于系统的、具体形式的趋同，以及针对青年大众媒体及其流行青年文化的文化的、具体媒体的差异。最后，该项目承诺为当代历史，媒体史以及青年史和流行文化史提供各种创新。首先，它旨在为年轻人实现大众媒体（包括印刷和视听媒体）的根本历史化，特别是通过质疑和发展历史学及其邻近学科的不同方法工具。此外，必须重新考虑一方面作为集体化空间的Jugend/youth/jeunes概念，另一方面作为青少年身份的中介规范模式。最后，该项目分析了流行的青年文化的相互流动和大众媒体之间的联系，为年轻人的基础上三个国家（联邦共和国德国，英国和法国），以成功地挑战广泛批评的贝克的国家容器的想法。

In contrast to the vast number of historiographical studies on juvenile subcultures and troublemakers, this project is the first to try to reveal the existence of a so called popular youth culture in the sense of a mainstream phenomenon reflecting the taste of a majority of young people. This popularised, highly commercialised, politically eased and intergenerationally consensual youth culture, this special kind of hybrid culture, is not just represented and dispersed but rather actively created especially by mass media for young people. Against this background, the so called popular youth culture has always been open to influences from the outside and must therefore be analysed in a transnational and entangled-theoretical setting. The project is based on three main hypotheses: Concerning the idea of a Europeanisation of the popular youth culture of the long sixties, it is likely that there emerged a common space of mass media for young people, an (audio-)visual youth mass media ensemble - not just in Western but partly also in Eastern Europe. Furthermore, it can be assumed that within this virtual common space of mass media for young people national specificities of the popular youth culture were satirised and stereotyped on one hand and levelled and relativized on the other hand. Apart from that, the project focuses on systemic, format-specific convergences as well as on cultural, media-specific divergences concerning mass media for young people and their popular youth culture. Finally, the project promises various innovations for contemporary history, the history of media as well as the history of youth and popular cultural history. First, it seeks to achieve a fundamental historicization of mass media for young people - both print and audiovisual media - especially by questioning and developing different methodological tools of historiography and its neighboring disciplines. Furthermore, concepts of Jugend/youth/jeunes as spaces of collectivisation on the one hand and mediated, normative patterns of juvenile identity on the other hand have to be rethought. Finally the project analyses mutual flows of popular youth culture and the connections between mass media for young people on the basis of three countries (Federal Republic of Germany, Great Britain and France), in order to successfully challenge the widely criticised idea of Beck´s national container.