本文從近年來發生的三起與國內粉絲有關的事件入手，試圖突破佔主導地位的詹金斯的「文本盜獵」的脈絡，轉而從中國政治經濟和文化歷史的角度，重新理解中國粉絲的集體行動邏輯。本文認為，中國粉絲從21世紀初期出現開始，便面臨威權-大他者所施加的「合法性」生存的壓力，隨著粉絲和技術的更新迭代，新一代粉絲不僅主動出擊，回應大他者的「合法性」質疑，更逐漸適應資本新型的偶像生產模式，通過情感連結而將偶像捧上象徵界裡的小他者位置。由於需要從商業和文化等角度證明偶像的小他者位置的「合法性」，粉絲不斷地通過「例常行為」和「例外情形」，與其他粉絲，與互聯網其他文化群體言語「開戰」，在這種儀式化的過程中，他/她們成為文化產業的核心，慾望經濟體。本文在最後，試圖將1960年代末出現的紅衛兵運動和粉絲文化做一次對接，希望可以精凖地將兩個不同的時代症候，廓清並且對接。

This article is to re-establish the logic of the collective activities of the Chinese fans in the past few years, and thus to transcend the theoretical hegemony of Textual Poachers by Jenkins. From the start, the Chinese fans mainly composed of the female groups is begging for the legitimacy from the big Other. With the new young generations occupying Weibo as their latest and most effective forum for organizing and mobilizing collective activities, the Chinese fans begin to indulge themselves in establishing the emotional bonds with their idols as the little other in the Symbolic. I divide the collective activities into two kinds: exceptional and routine. Whatever kinds of activities they take, what they want is only to prove their little other valuable, or of legitimacy, and hence what they usually choose is to bot-like voting by # routinely, and to launch the verbal violence and attack exceptionally on whoever insults their idols, even file a report as vindictive revenge. Lastly but not the least, I have a bold attempt to connecting the Red Guards in the 1960s with the Chinese fans, in terms of their cult of personality, the collective psychology.