近年來「懷舊」成了流行新趨勢，尤其在邁入商業繁榮的後現代消費社會中，懷舊變的更加複雜多元，許多過往回憶都在商業巧手下重見商機。為此，本文以70年代「校園民歌」為研究對象，試圖以深度訪談與次級資料分析法來檢視，多年後重新出現於音樂市場上的校園民歌，是在什麼樣的社會脈絡與文化產業運作邏輯下被「生產」與被「消費」，其間又面臨到何種限制。 本研究揭示70年代校園民歌對四、五年級生這群民歌世代們有著特別情感意義，尤其沉寂數十年後，加上他們在經濟上皆已擁有足夠消費能力，於是成了流行音樂產業重新覬覦的對象，並以懷舊對他們進行集體記憶的召喚，藉以遂行文化的彈性資本積累。任何有關校園民歌的歌曲、歌手、記憶與情感都被重新拿出來消費，使之成為懷舊經濟下的商品。然而，最後卻也在過度生產與缺乏創新的情況下，面臨無法再吸引民歌世代進行消費，又無法開創新消費族群，而落入懷舊經濟的限制中逐漸消退。 In recent years, ＂nostalgia＂ has become a new business trend, especially in the post-modern consumer society. It becomes more complex and diverse, many memories are now operated by capitalists for business sake. This thesis takes the Taiwan's ＂Campus Folk Songs＂ which were popular in the 70s as the research object, employing the in-depth interviews and the analysis of subordinate information to examine the re-emerging of the ＂Campus Folk Songs＂ in the music market after so many years, and explore what kind of limits it has been confronted. This study argues that the Fourth and Fifth graders have a special emotional attachment for the 70`s Campus Folk Songs, especially these songs have been disappeared from the market for decades. These generations have accumulated enough economy power for consumption, so they became the target audience of the music industry to sell these old melodies. The music industry utilizes the collective memory of nostalgia to induce the elder generations to consume the music, a repertoire contains any form about campus folk songs has been introduced, including the original singers' concerts and the reformatted record copies. However, eventually the Campus Folk Songs have been trapped by the limits of nostalgia economy, that is, over-consumption through over-production and lacking the necessary innovation by the music industry, making the 70's oldies another victim of the post-modern ＂hit and run＂ nostalgia cultural economy.
