Europeanised identifications among football fans. The analysis of discussions in online message boards.

2021 ◽  
Author(s):  
Regina Weber ◽  
Alexander Brand ◽  
Arne Niemann ◽  
Florian Koch
Author(s):  
Kristina Heinonen

Consumers are increasingly consuming, participating, contributing, and sharing different types of online content. This is influencing the marketing activities traditionally controlled and performed by companies. The aim of this chapter is to conceptualize the activities consumers perform in social media. Social media denote content created by individual consumers such as online ratings or verbal reviews, online message boards/forums, photos/video sites, blogs, tags, and social networking sites. A conceptual framework for consumers' social media activities is developed and qualitatively substantiated. Social media activities are based on the motives for the activities, including information, social connection, and entertainment. The chapter contributes to research on social media and online communities by describing user behavior and motivations related to the user-created services. Managerially, the study deepens the understanding of different challenges related to users' activities on social media and the motivations associated with those activities.


Author(s):  
Scott Kushner

Practices of collecting are constrained by media circumstances. To show how changing media circumstances can occasion changes in collecting practices, this article explores one case study, an iOS app developed by a Phish fan to allow streaming audio of fan-made recordings of Phish concert performances. Such practices are part of a history of unofficial music collecting that parallels the history of recorded sound. This case study shows how one collecting community’s practices evolved in the context of changing media conditions: from cassette tape to CD-R to MP3 to streams (and a parallel motion from print to online message boards to app). This progression illustrates the ways that different ways of listening to and accessing recorded music afford different possibilities of collecting music, different links between listener and music, and different relationships among listeners. More precisely, Phish concert recordings, which lent themselves to collection when circulated on cassette, are no longer available to collect when they circulate as streaming media, because streaming is characterized by a relationship of access rather than possession. Among devoted fans, streaming recordings provoke a cultural emphasis on knowledge about music, rather than accumulation of recordings. My argument is rooted in prevailing theories of collecting, which situate collecting as a component of consumer culture emerging from the capitalist expansion stimulated by 19th-century mass production. Ultimately, I argue that when an object of collecting is displaced by changing media conditions, new collecting practices emerge to fill the void.


Author(s):  
Sanjukta Ghosh

In the last 15 years, as many as 11 young Americans of Indian descent have won the Scripps National Spelling Bee. This pattern of one small community's dominance in academic competitions has been seen not just in the spelling bee but also in geography bees, math competitions, and science Olympiads. This has led mainstream media to resurrect the notion of the “Model Minority,” with Indian Americans becoming the new holders of this eponym. This chapter analyzes the discursive construction of Indian Americans as racial emblems in media reports and online message boards. Using Eduardo Bonilla-Silva's notion of “color-blind racism” and Edward Said's theory of Orientalism, the chapter discusses how these children have become exemplars of racial assimilation even as they are indelibly marked as “forever foreign,” and why Indian-Americans feel the compulsion to attempt to conquer “the master's tools.”


Author(s):  
Stefan Aguirre Quiroga

The popular perception of the First World War has remained an inherently white mythic space in which white men fight against other white men and where minorities, when and if they are featured, are given an anonymous secondary role and are subject to the will and motivation of their white heroic leaders. This article will be considering the white mythic space of the First World War by focusing on the video game Battlefield 1 (2016) and investigating the backlash by players on online message boards against the inclusion of soldiers of color in the game’s multiplayer features. In the online discourse, these players diminish the role that minorities played in the First World War and although the presence of minorities in the historical First World War is to a minor extent acknowledged, their space in the video game is nonetheless denied. I argue that this backlash is based on a rejection of the inclusive collective memory as portrayed in Battlefield 1, supported by racist arguments against the backdrop of the white mythic space of the First World War and that their rejection of the presence of minorities in Battlefield 1 can be constructed as a continuation of the denial of agency for soldiers of color by white individuals that took place during the First World War and the postwar period.


2016 ◽  
Vol 21 (1) ◽  
pp. 91-111 ◽  
Author(s):  
Jamie Cleland ◽  
Rory Magrath ◽  
Edward Kian

This article analyzes 5,128 comments from thirty-five prominent football fan online message boards located across the United Kingdom and 978 online comments in response to a Guardian newspaper article regarding the decision by former German international footballer, Thomas Hitzlsperger, to publicly come out as gay in January 2014. Adopting the theoretical framework of inclusive masculinity theory, the findings demonstrate almost universal inclusivity through the rejection of homophobia and frequent contestation of comments that express orthodox views. From a period of high homophobia during the 1980s and 1990s, just 2 percent of the 6,106 comments contained pernicious homophobic intent. Rather than allow for covert homophobic hate speech toward those with a different sexual orientation, 98 percent of the comments illustrate a significant decrease in cultural homophobia than was present when Justin Fashanu came out in 1990.


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