Cosplay on Demand? Instagram, OnlyFans, and the Gendered Fantrepreneur

Fan producers engaged in monetization, or what Suzanne Scott has termed “fantrepreneurs,” struggle with legal mechanisms for brand-building given the limitations of both copyright and platform moderation. These challenges have been amplified during the COVID-19 pandemic, which has fundamentally changed the way that cosplayers, or fans who dress up as characters from their favorite television shows or movies, market themselves in an increasingly online space, as opposed to their initial public platforms of conventions. Restricted by digital platforms and their various moderation and monetization methods, cosplayer fantrepreneurs have developed new, multi-platform methods for sustaining their content and community connection. One prominent platform significant to this turn is OnlyFans, which is billed as a “peer-to-peer subscription app,” and allows users to “Sign up and interact with your fans!” Through a sample analysis of 50 cosplayers, this case study considers the approaches of cosplayers on integrating OnlyFans as part of a multiplatform struggle for economic viability. When we contextualize this platform labor in the history of cosplay, we note the hypersexualized labor that has always been central to monetization in this space, and the media franchise exploitation that profits from that labor at the expense of the fan producer, demonstrating the fundamental, gendered exploitation of the trend toward a patronage economy.

An Attachment Perspective on Favorite Media Figures

Anxiously attached individuals tend to report stronger parasocial relationships with their favorite media figures than people with other attachment orientations. Researchers have suggested that these individuals may be inclined to see their favorite media figures as safe and secure attachment figures. The purpose of the current study was to evaluate this possibility by assessing the qualities of people’s favorite media figures, particularly within a television context. A sample of 200 online participants filled out an attachment measure, reported their favorite television figure, and rated several aspects of the television figure’s personality. It was expected that anxiously attached individuals would be drawn to figures that are high in warmth, emotional stability, and sensitivity. Instead, results showed that these individuals preferred figures with greater anxious and insecure characteristics. These results suggest that anxiously attached individuals may not see their favorite media figures as safe and secure attachment figures as previously theorized. Exploratory analyses failed to show significant effects for the second attachment dimension, attachment avoidance, or for the interaction between anxiety and avoidance.

THE CORRELATION OF TELEVISION SHOW AND BULLYING BEHAVIOR IN HIGH SCHOOL OF MAHAPUTRA IN MAKASSAR

Introduction: Bullying is an experience that occurs when the helplessness persecuted by the others behaviour and afraid of the repected bad behaviour and ill do it is repeated. One of causes bullying behavior is a television show, this can occur because television show that is presented is very diverse, so that school children is free to watch their favorite television show. This study aimed to determine the relationship between television show with bullying behavior in student of class XI and XII in SMA Maha Putra Makassar. Method: This study using cross sectional method. The total study populations 130 and samples are 98 respondents with purposive sampling technique. Data analyzed were using the Chi-Square. Result: In this study showed that there is no relationship between television show with bullying behavior in student of class XI and XII in Maha Putra Senior High School Makassar. Conclusions: Level bullying dominant is low level with the bullying often is verbal bullying, and program often that watched is soap opera. Therefore, they are expected to do more introduce of bullying to students.

What’s in It for Them? Teens’ Differential Preferences for Types and Contexts of Televised Aggression

The effect of teens’ exposure to televised aggression depends on the characteristics of the viewer and the portrayed aggression. However, few studies have investigated which teens prefer what forms of televised aggression. Therefore, this study investigated how teens’ trait aggression and sex guide their preferences for types (physical, verbal, and indirect) and contextual features of televised aggression (reward, punishment, justification, graphicness, realism, and humor). A linkage analysis combined survey data of 156 teens (balanced for trait aggression and sex, age 10-14 years) with a content analysis of 4,839 scenes from their favorite television programs. Aggressive teens preferred more physical aggression than less aggressive teens. Trait aggression was not related to preferences for contextual features of aggression. Boys preferred more physical aggression than girls, as well as more realistic, graphic, justified, rewarded, and punished aggression. This study underscores the importance of distinguishing between different viewers and forms of televised aggression.

“They Got Rid of the Naps, That’s All They Did”

Chapter 5 is the second of the two audience reception chapters in the books, which continues documenting a group of young women flow of commentary before, during, and after watching a full season of their favorite television program, America’s Next Top Model. These young women claimed agency in the face of what they interpreted to be racist and sexist media representations, and they subsequently produced counter-narratives to strategic ambiguity. This chapter looks at how the young women flouted the corporate notion of the management of difference in their viewing community by flouting respectability politics, calling out colorism, rejecting code-switching, and, overall, rejecting postrace.

Tumblr's GIF culture and the infinite image: Lone fandom, ruptures, and working through on a microblogging platform

Tumblr's modes of looping and repetition (especially via the circulation of GIFs) offer a potential source of comfort during moments of fannish rupture. By analyzing my own responses to the ending of a favorite television series, I argue that the repetition of Tumblr—the sense of infinity that is engendered by the fact that users may see the same thing reblogged and turning up on their dashboard over and over again—can be understood as offering the potential for working through moments of affective disruption. By assessing Tumblr's sense of endlessness and the reblogging of images and GIF and GIF sets across fan blogs after the finale of the television series Hannibal (2013–15), I consider how the use of a single specific platform can relate to the absence rather than the presence of fan-created objects. In an analysis of fan engagement and attachment, I draw on Freud's work on repeating and working through to study the relationship among repetition, trauma, and the wider media. The repetition engendered by the repeated viewing of GIFs and GIF sets on Tumblr offers comfort and catharsis for fans in periods of mourning. These areas of study inform an analysis of Tumblr as a specific platform for fan engagement and this platform's use as a mechanism for reassurance in the face of moments of rupture.

VALORES PERCIBIDOS EN LA TELEVISIÓN POR ADOLECENTES DE DIFERENTES CONTEXTOS CULTURALES

According to data published in prior research projects, television is emerging as a socializing influence which mediates with family and school in the transmission of values during the socialization of young people. However, there is as yet no consensus regarding what kind of values are actually transmitted and whether or not they coincide with the values that other first-order socializing influences (family and school) aim to transmit to young people. In order to provide information that may help generate knowledge regarding this study aim, this paper seeks to explore the similarities and differences observed in the way that 565 adolescents from Guadalajara (Mexico), Dublin (Ireland), Donostia/San Sebastián and Malaga (Spain) perceive values in the characters from their favorite television shows. Participants were all secondary school students aged between 14 and 19, and the instrument used to record the values perceived in the characters from their favorite television shows was the Value Domain Scale (VAL-TV 0.2). Results were compared in accordance with city and sex. The findings indicate that there are more similarities than differences in the values perceived by adolescents of both sexes from different cities. Nevertheless, one of the cities studied, Dublin, was found to differ more notably from the others; and in relation to sex, adolescent girls from all cities scored higher than boys in the values studied. Finally, the ranking of perceived values was the same for all cities and both sexes, with those referring to openness to change (independence of action and thought) scoring highest in both cases. This was followed by self-transcendence (collective wellbeing), self-promotion (one own interests) and, finally, conservatism (safety and order).Keywords: values, adolescents, television.Resumen:La televisión, de acuerdo a los datos disponibles de investigaciones previas, se erige como un agente socializador que media con la familia y la escuela a la hora de trasmitir valores en el proceso socializador de nuestros jóvenes. Sin embargo, no existe consenso a la hora de asegurar qué tipo de valores son los que trasmite y si éstos, coinciden o no con los valores que los otros agentes socializadores de primer orden (familia y escuela) objeto de estudio, el presente trabajo se ha planteado conocer las diferencias y semejanzas presentadas en la percepción de valores en el personaje de su programa favorito de 566 adolescentes de Guadalajara (México), Dublín (Irlanda), Donostia/San Sebastián y Málaga (España). Para ello, se ha utilizado la Escala de Dominios de Valores (VAL-TV 0.2), recogiendo los valores percibidos en el personaje de los programas favoritos de estudiantes de secundaria de edades comprendidas entre los 14 y 19 años. Además, se han realizado comparaciones en relación a la ciudad y el sexo de los participantes. Los resultados indican que existen más semejanzas que diferencias en los valores percibidos por los adolescentes de diversas ciudades y distinto sexo. Sin embargo, entre las ciudades estudiadas es Dublín, la que en mayor medida se diferencia de las demás y en lo que al factor sexo se refiere, son las mujeres en todos los casos, las que obtienen puntuaciones más altas que los hombres en los valores estudiados. Por último, el ranking de valores percibidos ha sido el mismo por ciudades como por sexos, presentándose en ambos casos con mayor puntuación los valores referidos a la apertura al cambio (independencia de acciones y pensamientos), seguidos de la autotrascendencia (bienestar colectivo), la autopromoción (intereses propios) y en último lugar el conservadurismo (seguridad y orden).Palabras clave: valores, adolescentes, televisión.

VALORES PERCIBIDOS POR LOS ADOLESCENTES E IDENTIFICACIÓN CON PERSONAJES TELEVISIVOS

VALUES PERCEIVED BY ADOLESCENTS AND IDENTIFICATION TELEVISION CHARACTERSThe aim of this study was to examine the relationship between 1238 adolescents from a cross-cultural sample encompassing eight different contexts and their favorite television characters, in accordance with the following aspects: identification or degree of empathy and values perceived in them. Our work was based on the idea that the study of identification and values perception in favorite characters would provide us with important information for understanding the effects of the medium on adolescents. The three variables were then analyzed in order to identify any possible relationship which may exist between them. Two measurement instruments were used: the CHTV.02 and the Val. TV 02. The results revealed statistically significant (although moderate) differences in the sample group as a whole. In conclusion, it can be said that the majority of adolescents tend to favor characters who embody prosocial values.Keywords: Adolescence, television, cross-cultural study, favorite characters, empathy, perceived valuesResumen:El objetivo de este estudio fue examinar la relación que, 1238 adolescentes de una muestra transcultural, pertenecientes a ocho contextos diferentes, establecen con los personajes favoritos de la televisión atendiendo a la identificación o grado de empatía y los valores que perciben en él. Partimos de la idea básica de que el estudio acerca de la identificación y la percepción de valores en sus personajes favoritos nos proporcionan claves importantes para la comprensión de los efectos del medio sobre los adolescentes. Las dos variables se analizarán buscando una posible relación entre ellas. Se utilizaron dos instrumentos de medida: el CHTV.02 y el Val. TV 02. Los resultados han demostrado que existen diferencias estadísticas significativas en el conjunto de los contextos culturales estudiados; no obstante, son moderadas. En las conclusiones hay que señalar que la mayoría de adolescentes se inclinan por personajes que encarnan valores prosociales.Palabras clave: Adolescencia, televisión, estudio transcultural, personajes favoritos, empatía, valores percibidos.