Terms and Conditions

2019 ◽  
pp. 109-143
Author(s):  
Suzanne Scott
Keyword(s):  
Web 2.0 ◽  
Culture Industry ◽  
User Generated Content ◽  
Media Industries ◽  
Test Cases ◽  
Fan Culture ◽  
Convergence Culture ◽  
Key Issues ◽  
Participatory Practices

This chapter investigates how media industries’ partial and conditional embrace of fan culture and participatory practices subtly colors perceptions of which fans are (in many cases, quite literally) valuable within a post–Web 2.0 media landscape driven by user-generated content. In order to interrogate both the legal and ideological “terms and conditions” that govern sanctioned modes of fan participation within the convergence culture industry, this chapter focuses on two key issues. First, it considers how fan labor has been industrially co-opted, contained, and commercialized through a series of test cases. Second, it addresses the growing prominence and industrial reliance on enunciative fan production through an analysis of AMC’s fan aftershow The Talking Dead, considering how the show temporally (rather than legally) censures fan production, stressing “correct” interpretations that economically and ideologically reinforce industrial interests.

“Get a life, will you people?!”

2019 ◽  
pp. 51-75
Author(s):  
Suzanne Scott
Keyword(s):  
Hegemonic Masculinity ◽  
Culture Industry ◽  
Fan Culture ◽  
The Past ◽  
Convergence Culture ◽  
Fictional Representations

This chapter considers how the reframing of fans as a power demographic over the past decade recuperates the figure of the fanboy into hegemonic masculinity. Drawing on both journalistic and fictional representations, this chapter suggests that fangirls have been systematically erased from this narrative of the “empowered” fan within the convergence culture industry. In tracing how this narrative of “fan empowerment” has devolved into concerns about “fan entitlement” in recent years, this chapter contends that these discourses still benefit the most privileged fans within the convergence culture industry (white, straight men), while offloading critiques of fan culture onto the most disempowered within this decade, marginalized fans.

Introduction

2019 ◽  
pp. 1-24
Author(s):  
Suzanne Scott
Keyword(s):  
Social Justice ◽  
Political Correctness ◽  
Digital Age ◽  
Analytical Framework ◽  
Status Quo ◽  
Culture Industry ◽  
Fan Studies ◽  
Fan Culture ◽  
Convergence Culture

This introduction briefly introduces the book’s topic and historical scope and establishes “the convergence culture industry” as an analytical framework. This portmanteau of Henry Jenkins’s “convergence culture” and Adorno and Horkheimer’s “the culture industry” is positioned as a polemic, but nonetheless one that can help us understand the gendered mainstreaming of fan culture and attempts to standardize fan identities and practices in the digital age. As the title of the introduction suggests, it also situates this moment within fan and geek culture (and the privilege of white, straight, cis-gendered men in it) within a broader array of antifeminist pushbacks against “political correctness” and “social justice warriors.” Accordingly, the introduction concludes with a consideration of whether systemic attempts to remarginalize female fans within both fan culture and fan studies might be productively, if allegorically, framed through the GOP’s “War on Women,” emergent “Men’s Rights” and alt-right movements, and nostalgia for a lost status quo.

A Fangirl’s Place Is in the Resistance

2019 ◽  
pp. 25-50
Author(s):  
Suzanne Scott
Keyword(s):  
Culture Industry ◽  
Rapid Expansion ◽  
Fan Studies ◽  
Fan Culture ◽  
Convergence Culture ◽  
Do So

This chapter historicizes the foundational relationship between feminism and the field of fan studies and considers the ways in which this relationship has been threatened by the mainstreaming of the field alongside the mainstreaming of fan culture. To do so, this chapter returns to two of the field’s structuring theoretical binaries (incorporation/resistance and affirmational/transformative) to argue that while these categories are essentialist, they are also essential to understanding which fans (and by extension, fan studies) are embraced within the convergence culture industry. Finally, this chapter explores anxieties among some feminist fan scholars that the rapid expansion of the field and the mainstreaming of fan culture might create a “postfeminist turn,” in which the interests of industry are centered.

scholarly journals Motif dan Kepuasan Penggunaan Website Informasi Berbasis User Generated Content (UGC) Pada Website Zomato.com

Performance ◽  
2020 ◽  
Vol 27 (1) ◽  
pp. 1
Author(s):  
Abdul Lathif ◽  
Mohamad Syahriar Sugandi
Keyword(s):  
Social Interaction ◽  
Web 2.0 ◽  
Information Seeking ◽  
Virtual Communities ◽  
User Generated Content ◽  
Mood Management ◽  
Probability Sampling ◽  
Uses And Gratification ◽  
Self Actualization ◽  
Motif Information

Berdasarkan perkembangan teknologi yakni generasi web berbasis web 2.0 menjadi latar belakang kemunculan media yang berbasis user generated content memiliki karakteristik yang berbeda. Perbedaan karakter dan fitur setiap media dengan perkembangannya menimbulkan motif dan kepuasan yang beragam. Penelitian ini bertujuan untuk mengetahui gratification sought dan gratifikasi obtained serta nilai selisih dari keduanya pada pengguna website Zomato.com yang berbasis UGC di wilayah Jakarta. Penelitian ini menggunakan teori uses and gratification 2.0 sebagai kerangka kerja dan jurnal Shao (2008) sebagai motif acuan media berbasis UGC. Metode penelitian ini yakni metode survei deskriptif dengan teknik pengumpulan data survei yang dilakukan pada 100 responden di wilayah Jakarta. Pengambilan sampel penelitian ini menggunakan teknik secara non probability sampling. Pernyataan hasil survei diolah secara univariat dan statistik deskriptif. Hasil penelitian ini menunjukan motif harapan tertinggi penggunaan website Zomato.com yakni self-expression dengan persentase 14,72% dan motif harapan terendah yakni virtual communities dengan persetase 13,71%. Sedangkan motif kepuasan, persentase tertinggi yakni motif information seeking 15,48% dan motif terendah yakni motif virtual communities 12,64%. Nilai selisih dari gratification sought dan gratifikasi obtained didominasi oleh penurunan rata-rata tiap motif-nya seperti information seeking, self-expression, mood management, entertainment, self-actualization dan virtual communities. Sedangkan motif social interaction mengalami peningkatan nilai rata-rata.

scholarly journals The Implementation of Knowledge Management Based On Web 2.0 on Social News Site Hipwee

2019 ◽  
Vol 4 (1) ◽  
pp. 61
Author(s):  
Mufida Cahyani
Keyword(s):  
Social Media ◽  
Knowledge Management ◽  
Web 2.0 ◽  
Network Effects ◽  
Content Management ◽  
User Participation ◽  
Online News ◽  
User Generated Content ◽  
Organizational Participation ◽  
Social Media Platforms

The emergence of various kinds of social media applications does not only affect the way people communicate, but also penetrates into the realm of online mass media. Social media platforms that carry the concept of web 2.0 namely user generated content and network effects make it easy for a news to become viral in a short time, regardless of the validity and accuracy of the news. Web 2.0 itself is a direct application of the concept of Knowledge Management (KM) which emphasizes collaboration and user participation, but in a broader domain, it is slightly different from KM which emphasizes internal organizational participation. Hipwee as one of the social media-based online news sites applies both concepts to its content management. The purpose of this study was to analyze the extent of the application of KM in relation to Web 2.0. The method used to explore data through interviews with Hipwee managers and direct observation to the office location and also the Hipwee site. The results obtained are that the adaptation of the KM concept has not been applied to Web 2.0 on the Hipwee site, namely the concept of data mining, while the Web 2.0 concept has been applied to KM, namely unbounded collaboration, user generated content and network effects.

Physiotherapy 2.0: Necessity is the mother of innovation

2021 ◽  
Author(s):  
Tobba T Sudmann ◽  
Keyword(s):  
Web 2.0 ◽  
End Users ◽  
Participatory Culture ◽  
Ease Of Use ◽  
User Generated Content

The first part of the title paraphrases Web 2.0, which refers to websites that emphasize user-generated content, ease of use, participatory culture, and interoperability for end users. The eight physio sci-fi stories can be appreciated as fragments of Physiotherapy 2.0, where users are understood to be physiotherapists, co-workers, patients, citizens, or other stakeholders, who take initiative and responsibility for launching physiotherapy 2.0.

From Poaching to Pinning

2019 ◽  
pp. 184-220
Author(s):  
Suzanne Scott
Keyword(s):  
Real World ◽  
Culture Industry ◽  
The Political ◽  
Fictional Characters ◽  
Beauty Culture ◽  
Convergence Culture ◽  
Curatorial Practice ◽  
Modes Of Engagement

If the prior four chapters survey the ways in which female fans and their creative practices have been marginalized or contained, then this one contemplates the ways in which geek girls are hailed within the convergence culture industry through fashion and beauty culture. Centrally, this chapter examines the political possibilities of conceptually moving from poaching (as a mode of feminist intervention) to pinning (as a feminine curatorial practice on sites like Pinterest) alongside efforts to route female fans towards postfeminist or neoliberal modes of engagement. The second half of this chapter addresses the growing intersections between fan fashion and cosplay as a fan practice (e.g., constructing costumes inspired by fictional characters and embodying those characters in real-world spaces such as fan conventions) by historicizing and contextualizing “everyday” or “casual” cosplay merchandising trends offered by fancentric retailers (Her Universe, Hot Topic, etc.) and considering these items as a form of fannish “drag.”

One Fanboy to Rule Them All

2019 ◽  
pp. 144-183
Author(s):  
Suzanne Scott
Keyword(s):  
Culture Industry ◽  
Perceived Ability ◽  
Convergence Culture

Chapter 5 discusses how professionalization runs apace differently for fanboys and fangirls within the convergence culture industry. Through an analysis of emergent authorial archetypes like the “fanboy auteur” and the “fantrepreneur” and how they model fannish consumption, this chapter considers who can more or less easily trade on their fan identities for professional gain. Specifically, this chapter theorizes the industrial and fannish appeal of these figures as “moderators” for the evolving relationship between industry and audience, and their perceived ability to speak fans’ “language.”

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