As the main consumer group of mass culture, youth group makes the spiritual characteristics of youth culture very contemporary, and the development trend of mass culture affects the evolution of youth culture. From the disintegration of political ideology after the Cultural Revolution to the construction of contemporary daily life ideology, youth culture has experienced a process from deconstruction to integration. At the beginning of the reform and opening-up, the youth culture deeply influenced by popular culture deconstructed the old politicized ideology, while the contemporary youth culture, relying on the unique integration of popular culture, became the constructor and carrier of the ideology of daily life, with the dual characteristics of rational spirit and secular spirit, and constituted the mainstream of the spirit of the times. "Keywords" popular culture, youth culture, deconstruction and integration of the so-called popular culture, is produced in the industrial society, with the urban masses as the consumption object, spread through the mass media, without depth, model, easy to copy, and mass-produced cultural products according to market rules. The so-called youth culture is "the sum total of unique value judgment, personality tendency, aesthetic taste and way of thinking reflected by the special behavior of young people when they participate in various social activities." Youth group is the main audience of popular culture, so the characteristics of popular culture will inevitably affect the changing track of youth culture. As a social subculture, youth culture is always relative to adult mainstream culture. Before 1980s, youth culture was only a part of adult mainstream culture, and it was a copy of institutional culture. In the period of reform and opening-up, with the drastic social changes promoted by youth development and youth movement, under the background of serious aging of social leaders, youth culture highlights the obvious heterogeneity characteristics that conflict with the dominant cultural norms of adult society. The mainstream culture in the 1980s was basically positioned at the level of serious culture: critical reflection, introduction of innovation, value revaluation and cultural reconstruction. Therefore, although the youth subculture in the 1980s no longer pursued to imitate the official ideology and institutional culture, it still inherited the teacher. Idealism, rationalism and political concern come down in one continuous line with the characteristics of the third generation, which became the remarkable characteristics of youth culture at that time. In the middle and late 1980s, with the arrival of popular culture in Chinese mainland, the heterogeneity of youth culture completely independent of mainstream culture gradually emerged. The divorce between youth culture and adult mainstream culture is inseparable from the deconstruction of cultural character of popular culture. The emergence of popular culture is in the same strain as the development of post-modernism cultural thoughts. The basic characteristics and core spirit of postmodernism are deconstruction and anti-logicism, and transcendence and negation are its basic intentions. Deconstruction and deconstruction of tradition are the primary and basic cultural functions of postmodernism. The philosophical proposition of postmodernism has greatly inspired and excavated people's critical spirit, induced the subjective impulse of value reconstruction, and become the driving force of mass culture. Daniel bell believes that the characteristic of popular culture is to "constantly express and recreate the' self' in order to achieve self-realization, self-realization and self-satisfaction." "It tries its best to expand, looking for all kinds of experiences without restriction and digging around." (3) daniel bell described the phenomenon of popular culture. The infinite expansion of individual experience shows the tendency of popularization and secularization of culture itself, and all traditional idealistic things are refreshed by individual psychology, will, passion and desire. The popularization, secularization and individualization of popular culture make it lack of rationality and depth on the one hand, and make it have the progressive significance of cultural equality and deconstruction of authority on the other. At the end of 1980s, ten years after the reform and opening-up, the whole society felt the pain of reform and the unique value loss, confusion and confusion in the social transition period, the loss of intellectual dignity and the serious loss of intellectual elite culture, which provided a good opportunity for the emergence of popular culture. The hegemonic power and conquering significance of mass culture have gradually disintegrated the knowledge system that many intellectuals have painstakingly managed and thought to be improving. The mass culture with rebellious and dispelling significance has swallowed up and dispelled the elite culture with humanistic spirit as its value goal and the mainstream culture embodying official ideology like a flood. The younger generation who grew up after the reform and opening up lived in a relatively free and inclusive social environment. Not only were they not influenced by traditional culture, but the Cultural Revolution only left a hazy childhood impression in their memory. They are born with a lack of historical memory. After the reform and opening up, a large number of unfamiliar cultural fast food and pop art became their most direct spiritual food, which made the political and ideological discourse system in youth culture ineffective and the youth culture underwent great transformation. While rebelling against tradition, the youth culture in this period did not have new ideal belonging and sustenance. The younger generation in a value vacuum has chosen different attitudes towards life under the same living circumstances. Cui Jian, Wang Shuo and Wang Guozhen became the representatives of youth culture in this period. After the rupture of culture and value lost the true ideals and beliefs of the past, the youth group has lost its meaning of existence. However, as an idealist, Cui Jian felt nihility but was unwilling to be nihilistic, and tried his best to pursue it persistently. However, after losing his true faith, this search became an endless wandering. "How many times have you been walking like this, but how many times a day?" As the "stubborn master" of popular culture, Wang Shuo subverted pure culture and elite culture with an ironic attitude after the failure of the traditional value system. Just as the significance of Cui Jian lies not in his rebellion and catharsis, but in his idealistic impulse. The significance of Wang Shuo lies not in his "dance academy" attitude, but in his deconstruction of tradition and his rebellion against "the past is sacred". Different from Cui Jian's bitter pursuit and Wang Shuo's cynicism, Wang Guozhen used his unique light vocabulary to provide a sweet comfort for youth, and used petty bourgeoisie sitcoms to drive away the pain and emptiness after the failure of value. In the early 1990s, there was a short vacancy in China's ideological and cultural field. The enlightenment works not only had nothing to do with the radical enlightenment position, but also eased the shortage of goods in the cultural market. At the same time, since 1980s, radical innovation movement has been carried out in excitement. The production of traditional cultural products is interrupted, and the demand is expanding in the gathering. People can't stand the state of "rootless" and "suspended", and they urgently need a kind of psychological comfort. Therefore, under the domination of effective demand market rules, it led to the success of nostalgic culture in one fell swoop. The mass media lost no time in producing the images of "homesickness" and "returning to the roots", one is the return from space, that is, the love of home and country and homesickness, and the other is the return from time, that is, the memories of childhood and history and homesickness. It is in this space-time context full of cracks, confusion and dislocation that a strong nostalgia and homesickness surged in China in the 1990s. The hope of "crossing the century" and the hesitation at the end of the century are intertwined, both of which are packaged into attractive commodities and become a popular culture. In youth culture, "spiritual home" and "humanistic spirit" have once again become fashionable words, and youth groups have pinned their homesickness on an elaborate utopia. The cultural nostalgia of youth culture is the rise of "Mao Zedong fever". At this time, "Mao Zedong" has become a cultural carrier with strong subjective color and rich meaning. The worship of Mao Zedong by youth groups is different from the individual worship under the politicized ideology. "Mao Zedong" has become the spiritual idol of the youth group again, only creating a kind of "home" comfort for the youth group. "Mao Zedong" has become the cultural consumer goods of the youth group, and the youth group has only constructed a quasi-historical fashion and completed a spiritual consumption. For the evolution of youth culture in this period, we must contact macro time and space to see it more truly. Since the reform and opening-up, young people have gone through hundreds of years' ideological course of westerners in a short period of more than ten years. The integration of pre-modernity, modernity and post-modernism coexists in contemporary China, which makes people suffer unbearable shocks, shocks and fission. On the one hand, the warm embrace of progressive historical view, modernity and industrialization has formed a unique ideology; On the other hand, in the face of the overwhelming wave of modernization and globalization, I always feel a dull pain in my heart, which coincides with the reflection of modernity and postmodernism in western developed countries. In the conflict and tear between the two dimensions of time and space, people have no choice but to seek comfort from dusty memories, legalize this unconscious cultural and psychological resistance, make a universal plaster and stick it on the cracks and wounds caused by modernization. After the 1990s, the new generation of artists gradually positioned themselves in popular culture in order to cater to public tastes. The cultural products of the new generation directly determine the characteristics of youth culture, separating the new generation from the third generation culture, forming its own unique and distinctive cultural characteristics and forming an all-round rebellion from lifestyle values to cultural paradigms. Youth groups shift their attention from the same experience in social history to the unique experience and life experience of specific individuals, opening up another discourse system and cultural space isolated from the traditional ideological discourse system, thus liberating youth culture from the load of political and moral concepts. While liberating itself, youth culture has also caused the fragmentation of the complete concept of time and space established by youth groups under the traditional ideology, the failure of the value system established under the traditional ideology, and the lack of care and belief in the ultimate sense. Passion for truth, desire for transcendence and rebellion against tradition were born in youth culture. At this time, the Youth League issued a cry of "God is dead". The popularity of Nietzsche's philosophy among young people makes self-rebellion possible and nothingness begins to approach. Pursuing transcendence in a nihilistic attitude and irrational way often leads to going from transcendence to secularism. "After gaining freedom from Mao's strict policies, young people are moving towards a strong consumerist culture. Among all the intergenerational differences, the most striking thing is dress. Young men and women have enthusiastically joined the' image revolution', and the contrast between young women and conservative elderly women is the greatest. " ④ Young people in China, liberated from serious mainstream culture, have moved towards a consumerist culture that advocates image and fashion. "Idolization" has become a popular fashion of youth culture, and the worship of pop culture stars fills the lack of ultimate concern in order to seek temporary comfort. At the same time, promoting individuality has become the main theme of youth culture. "Alternative" has become a beautiful cultural landscape in youth culture. As a fashion, others flaunt unique spirit, or advocate uniqueness in style, or pursue individuality. In short, the other embodies a strong sense of self, which is actually the desire of young people living in post-industrial society to get rid of loneliness in the vast sea of people. In order to get rid of the loneliness of modern cities, some things that are not so pleasing to the eye are labeled as "non-Chinese", so that they can safely take refuge in the big forces that have entered the trend. After finding a sense of belonging, they are ready to act and begin to feel different. At the same time, under the influence of pop culture, young people who regard pop culture as fashion begin to design themselves according to the standards of pop culture, show their nostalgic or melancholy personal temperament in the crowd and label themselves as "different". As everyone knows, this pursuit of individuality actually pays the price of "conformity", and this rebellion against the old rules is actually obedience to the new standards, which fulfills the "pseudo-individuality" put forward by the thinker Adorno. Here, the popularity of the alternative has become a paradox. When the alternative won the name of the alternative with its spiritual maverick, it was suddenly discovered that everyone seemed to be gay with himself overnight, and once firmness and hesitation, choice and betrayal became a relaxed joke.