德國音樂團體「東京大飯店」為求鞏固其流行地位，時常自我重塑。當我們在探索近年歐洲及其他地區的青年文化潮流時，能看到這樣自我重塑的展現，讓該團體所引領的現象，成為值得被關注的研究主題。我們會探索德國流行音樂的全新意象：其意象不僅對青年族群傳述著特異獨行的酷兒訊息。還能讓我們思考詭譎議題與科技的連結，以Bachmann-Medick的「文化即文本」，將其意象來當作文本閱讀。在這文化研究中，我們會將德語歌曲“ Automatisch ”（樂團2009年專輯） 的官方正式音樂錄影帶和歌詞裡所呈現的意象會當作範例，進行分析，同時討論此歌的現場演出。這首歌曲中，時常出現自動操作的主題，並且緊扣著流行音樂這類型。樂團「東京大飯店」的現場演出，以一種詭譎的方式，如藝術般引人注目地，重新定義人體為科技。樂團「東京大飯店」呈現的意象提出了身體概念的問題，讓我們沉思一種新的後性別身份，尤其從德國觀點來看，在這個「網絡」的資訊科技時代中，這樣的後性別身份已成為歐洲青年文化主要的一環。

To remain popular, the German music band “Tokio Hotel” consistently reinvents itself,1 allowing the phenomenon this group exemplifies to be considered as a research topic of notable interest when locating trends in recent youth culture in Europe and beyond. We will unfold a new kind of imagery in German pop that transmits a queer message to the youth2 and can be read as text in the sense of Bachmann-Medick’s “culture as text”3 concerning the issue of uncanniness and its connection to technology. For this cultural study, the imagery of the official music video of the German song “Automatisch” (from the band’s 2009 album) including its lyrics will be exemplarily analyzed together with a recording of the song’s live performance. In this song automation is thematically used and interconnected with the genre of pop music. Their corresponding live performance displays a compelling artistic redefinition of the human body as technology in an uncanny way. The question of body concepts within the imagery of Tokio Hotel reveals a path to contemplating a new kind of playful postgender identity that becomes a broad part of European youth culture, especially from a German perspective, inside this technical information age of the “cyber.”