Return of Fandom in the Digital Age With the Rise of Social Media

In the digital age, the rise of social media has enabled the fan culture transitioning from “static” consumption to “dynamic” interaction. This is not only a result of the advancement of ICTs, but also a shift in digital communication driven by participatory culture. This chapter explores why social media in digital age have such a profound impact upon fandom. In particular, what is new with these fan communities that social media has done so much to enable. There is a blurring in the lines between fandom producers and consumers in the participatory fandom. Given the new forms of cultural production, fan culture has been enabled by social media and is more powerful than it was ever before. Finally, how the changing relationships between fans and producers have redefined the fandom economy.

Fan Culture with Chinese Characteristics: Participatory Engagement in the Web 2.0 Era

<p>This thesis is centred on participatory fan culture in Chinese social media. It investigates how fans gather through social networks, how they produce creative work, and how they use different platforms to circulate their favourite media and fannish texts. By constructing, reshaping and spreading meanings through participatory practices, fans create their own cultures and gradually develop their own discourses. My theoretical approach can be classified as cultural discourse analysis (Carbaugh,2007; Scollo,2011), and I adopted the snowball sampling method to find interviewees and fan communities in which I have conducted observation to collect data for my analysis. On the basis of John Fiske’s concept of “textual productivity” (1992) and Henry Jenkins’s notions of “media convergence” (2006a) and “spreadability” (2013), the thesis is based on a platform analysis as well as two case studies about the Chinese reality TV show Where Are We Going, Dad?and BBC’s crime drama Sherlock. The platform analysis examines four platforms that Chinese social media fans use most frequently: Weibo, WeChat, Tieba and Bilibili. Through the analysis of the sociocultural contexts, user interfaces and primary features of these four platforms, it became clear that the platforms emphasise differentiated content (e.g. microblogging-style posts, instant text/voice messages, continuous updating posts, video clips and flying comments), and that each platform has its own search and recommendation services to guide users to their target content. By comparing five elements of social media including public posts, direct messaging, group chatting, search tools and information recommendation (Yoder and Stutzman, 2011), the analysis offers insight into the different affordances provided by these four platforms and how Chinese fans employ the platforms to develop fan culture. The two case studies investigate the formation, manifestation and influence of fan cultures on three levels: fan-platform interaction, fannish texts and fan identity. Analysing data collected from interviews and online observation in the Weibo-based fan chat group 刘诺一全球后援会1群(Liu Nuoyi Quanqiu Houyuanhui 1 Qun; “Liu Nuoyi’s Global Fan Community, Group 1”) and the Tieba-based forum爸爸去哪儿康诺吧(Babaqunaer Kang Nuo Ba; “Kangkang and Nuoyi of Where Are We Going, Dad?Forum”), the case study of Where Are We Going, Dad?demonstrates that the Web 2.0 services that fans use maintain an open structure, which attracts fans to contribute new layers of meaning and value. Discussing the fan-platform interaction, fannish texts and fan identities, the case study of Chinese Sherlockfandom demonstrates that Chinese online fans rely on textual productivity to establish their fan identities, and Chinese social media to facilitate the production and spread of fan translation, which not only bridges the language and cultural gap between the Sherlocktexts (the BBC episodes and the original novel) and Chinese fandom, but also connects different types of Sherlockfans online. I also compare the two cases from the perspective of narrative structure by drawing upon Jason Mittell’s “centrifugal and centripetal complex” model (2015) and argue that the different narrative structures lead a different sense of self-recognition for fans, gender dynamics, power differences in fan communities, and that they shape fans’ cultural citizenship.</p>

Fan Culture with Chinese Characteristics: Participatory Engagement in the Web 2.0 Era

<p>This thesis is centred on participatory fan culture in Chinese social media. It investigates how fans gather through social networks, how they produce creative work, and how they use different platforms to circulate their favourite media and fannish texts. By constructing, reshaping and spreading meanings through participatory practices, fans create their own cultures and gradually develop their own discourses. My theoretical approach can be classified as cultural discourse analysis (Carbaugh,2007; Scollo,2011), and I adopted the snowball sampling method to find interviewees and fan communities in which I have conducted observation to collect data for my analysis. On the basis of John Fiske’s concept of “textual productivity” (1992) and Henry Jenkins’s notions of “media convergence” (2006a) and “spreadability” (2013), the thesis is based on a platform analysis as well as two case studies about the Chinese reality TV show Where Are We Going, Dad?and BBC’s crime drama Sherlock. The platform analysis examines four platforms that Chinese social media fans use most frequently: Weibo, WeChat, Tieba and Bilibili. Through the analysis of the sociocultural contexts, user interfaces and primary features of these four platforms, it became clear that the platforms emphasise differentiated content (e.g. microblogging-style posts, instant text/voice messages, continuous updating posts, video clips and flying comments), and that each platform has its own search and recommendation services to guide users to their target content. By comparing five elements of social media including public posts, direct messaging, group chatting, search tools and information recommendation (Yoder and Stutzman, 2011), the analysis offers insight into the different affordances provided by these four platforms and how Chinese fans employ the platforms to develop fan culture. The two case studies investigate the formation, manifestation and influence of fan cultures on three levels: fan-platform interaction, fannish texts and fan identity. Analysing data collected from interviews and online observation in the Weibo-based fan chat group 刘诺一全球后援会1群(Liu Nuoyi Quanqiu Houyuanhui 1 Qun; “Liu Nuoyi’s Global Fan Community, Group 1”) and the Tieba-based forum爸爸去哪儿康诺吧(Babaqunaer Kang Nuo Ba; “Kangkang and Nuoyi of Where Are We Going, Dad?Forum”), the case study of Where Are We Going, Dad?demonstrates that the Web 2.0 services that fans use maintain an open structure, which attracts fans to contribute new layers of meaning and value. Discussing the fan-platform interaction, fannish texts and fan identities, the case study of Chinese Sherlockfandom demonstrates that Chinese online fans rely on textual productivity to establish their fan identities, and Chinese social media to facilitate the production and spread of fan translation, which not only bridges the language and cultural gap between the Sherlocktexts (the BBC episodes and the original novel) and Chinese fandom, but also connects different types of Sherlockfans online. I also compare the two cases from the perspective of narrative structure by drawing upon Jason Mittell’s “centrifugal and centripetal complex” model (2015) and argue that the different narrative structures lead a different sense of self-recognition for fans, gender dynamics, power differences in fan communities, and that they shape fans’ cultural citizenship.</p>

Stadi Derby and the Securitization of Urban Public Space

Stadi Derby is a local football match played in Helsinki, Finland appreciated for its atmosphere and excitement. Simultaneously, the negative characteristics connected to the international football fan culture have become familiar also to those living in the capital area and especially in the surroundings of the stadium. The threat of violence is visible e.g. in the media coverage reporting about the derby. All this has also effect on the way the city dwellers experience the urban public space. In our article, we ask what kind of discourses can be found concerning the relationship between Stadi Derby and the right to public space and what kind of consequences i.e. reactions these discourses create among those city dwellers not involved in the football culture. In order to understand the ways these events and the media coverage over them have effect on urban dwellers we apply securitization theory. We look for speech acts from the media coverage and analyse the ways people respond to these speech acts through material produced via Facebook and a focus group interview. The division between insiders and outsiders to the football culture is clear: The outsiders feel distress, even fear, in consequence of media materials.

K-pop as a Social Movement: Case Study of BTS and Their Fandom ARMY

This study investigates K-pop and K-pop fandom as an ongoing social movement. With popular South Korean group BTS as a case study, I examine how their fans join together and use collective action to create social change. My research answered three primary questions: (1) “How have K-pop fans been involved in societal causes prior to their recent surge in activism in 2020?,” (2) “To what extent does K-pop represent a social movement?,” and (3) “Do either K-pop music or the artists themselves contribute to fan participation in social advocacy, and if so, how?” I find that K-pop fans do constitute a social movement due to their use of extra-institutional tactics, based on John Fiske’s (1992) concept of fandom as “subversive by design,” Henry Jenkins’ (1992) participatory fan culture framework, and Social Movement Theory (King, 2011). I also further Yoon’s (2017) thesis that pop culture can give those who face a lack of resources and authority a means to challenge the status quo, emphasizing K-pop fans’ innovative use of social media mobilization. By explaining how K-pop and its fans can be understood as a social movement, my research rethinks how we consider K-pop fandom and at the same time encourages K-pop fans to continue their activism work and to expand further. Through a literature review and my own observations framed by theories, I conclude that K-pop fans demonstrate potential to be a powerful force for social change.

Dildoshops, Gritty, and Bernie’s Mittens: The Framing of American Politics Through Pop Cultural Memes

An unprecedented number of memes emerged in response to the 2020 U.S. presidential elections. This article offers a thematic analysis of a corpus of memes published on Twitter between November 3, 2020 and January 20 2021 in relation to the U.S. presidential election. By further employing a qualitative discourse analysis and close readings of selected examples, this article explores the stances and intertextual references expressed in the memetic discourse. I illustrate which events users engage with, how they frame them using the elements of American pop culture, and the different functions such memes served for different publics. Central events – such as Donald Trump’s press conference in a Four Seasons Total Landscaping parking lot, Joe Biden’s victory and rumors about the Russian president Putin resigning – were commented upon both with broad references to widely popular franchises such as Star Wars and with multi-layered intertextual references to iconography of meme culture such as the Hockey mascot Gritty. Memes exaggerated events for comedic purposes, providing relief after a long time of tension, as well as possibly trivializing and distorting public perception of events. While meme activity peaked on November 6th and 7th, a singular viral meme of Bernie Sanders emerged after Joe Biden’s inauguration, illustrating a different genre of meme as a response to a different political situation in which the political figure serves a wide variety of purposes in commenting upon popular culture. Such memes served to establish a sense of community, agency, and catharsis after the anxieties many Democratic voters experienced prior to the election. These findings present the growing role of popular and fan culture to political discourse on mainstream social media platforms and their varied and highly flexible expression.

Aktivitas RolePlay (RP) Thailand Idol dan Pengaruhnya terhadap Pembentukan Kehidupan Baru di Dunia Maya

The development of times from time to time was so increasing. Communication technology is one of them who got increased rapidly. This development of communication technology was also certainly in line with the development of human intelligence who got more creative and innovative this day. Social media is a form of media development, that we know them as a “new media”. There is a feature from Line Chat App called Line Open Chat (OC). OC is a group chat feature that made for users to join and reliable with other users who had same interests with anonymously, and one of which is a fans club category. There’s a phenomenon this day that comes from this fan culture in OC, named “roleplay” (RP). RP is a role game in a social media using other’s people characters (usually using an idol’s character). The players usually adapt their activities and life from real life, but in the RP’s world, their entire activities is the life that humans imagine and create for themselves. This phenomenon will form into a virtual community or a network society in a cyberspace, then with times goes by time this phenomenon will referring to a concept of social simulation and create a formation of a new world. This research uses a qualitative case study method.Perkembangan jaman dari masa kemasa semakin meningkat pesat, seperti pada teknologi komunikasi. Perkembangan teknologi komunikasi ini tentunya beriringan dengan perkembangan kecerdasan manusia yang semakin kreatif dan inovatif memanfaatkan media dan teknologinya. Salah satu bentuk perkembangan media tersebut adalah media sosial, yang kini kita kenal dengan sebutan “new media”. Contohnya adalah sebuah fitur dalam aplikasi chating Line, yaitu Line Open Chat (OC). OC adalah salah satu fitur obrolan grup yang dibuat agar para pengguna dapat bergabung dan berinteraksi dengan pengguna lainnya yang memiliki ketertarikan yang sama secara anonim, salah satunya kategorinya adalah fans clubs. Terdapat sebuah fenomena baru yang datangnya dari budaya penggemar ini dalam OC, yaitu roleplay (RP). RP merupakan sebuah permainan peran di media sosial dengan menggunakan karakter orang lain yang biasanya adalah sosok yang diidolakan. Biasanya dalam RP para pemainnya akan mengadaptasi aktifitas dan kehidupannya dari dunia nyata, hanya saja kehidupan ini adalah kehidupan yang dikehendaki dan dibuat sendiri oleh manusia, khususnya dirinya sendiri sebagai pemainnya. Fenomena ini kemudian akan membentuk sebuah komunitas virtual atau network society dalam cyberspace yang lama kelamaan akan membuat sebuah simulasi sosial yang mengacu pada terbentuknya dunia baru. Penelitian ini menggunakan metode kualitatif studi kasus.

Authoethnography in the study of football fan culture. Theoretical and methodological reflections by way of football rivarly research

The article reflects on the use of autoethnography in researching football fan culture. It identifies the benefits and challenges of using autoethnography as a strategy and a research method for understanding football fan culture. Despite numerous examples of the use of autoethnography in football research, including supporter studies, it has yet to be considered from a strictly theoretical perspective on the methodological dilemmas of the researcher–football fan. The article critically analyses the entire process of autoethnographic research, which led to the conceptualisation of a research project on perceptions of football competitions. This paper is the result of a clash between a junior scientist’s original research concept and a more experienced ethnographic researcher’s critical approach and reflects the discussion between them. The authors believe that the conclusions reached may be helpful for researchers in the field of humanities and social sciences considering using autoethnography in their research.