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Frodo Is Grea…Who Is That?!?: The FRODO IS GREA…WHO IS THAT?!?: THE PRODUCTION AND CONSUMPTION OF AN ONLINE CELEBRITY PARODY A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ANTHROPOLOGY UNIVERSITY OF CANTERBURY 2007 Yadana J. Saw Abstract My thesis analyses the phenomenon of Figwit, a non-speaking elf extra who appeared for only three-seconds in the first instalment of Peter Jackson’s 2001 Lord of the Rings movie trilogy. Figwit was initially generated as an online parody by female fans of the movie and as a foil to the ‘swooning, drooling girly’ fandom that was being directed towards the movie’s star actors. However, Figwit evolved into a bona fide, albeit minor, celebrity both on and offline as he attracted attention from worldwide media, a small speaking role in the final movie and genuine adulatory fandom as manifested in the production of Figwit merchandise. In my thesis I argue that Figwit’s creation and consequential community formation reflects a dynamic online-offline dialogic in which pre-existing offline and habitus- generated social practices and distinctions, ideal reflexive individuality and celebrity/fandom were dynamically reproduced within online technological frameworks. I also argue that online activity and interactivity is generated by users to strategically express and engage intensified reflexive individuality, affirming sociability and hyper-social distinctions. In this regard I have also argued that these various potentials and imaginaries were significantly enabled by digital architectures and genres of online communication and interactivity. In particular, I discuss the internet’s capacity for searchability, traceability, and rhetorical framing processes that facilitate continuous re-editing authorship possibilities, which are not necessarily replicable in face-to-face interactions. Finally, I argue that reflexive online interactivity and identity expressions may transform into online and offline consequences that may be constructive, divergent or even contradictory. The arguments put forward in this thesis are based on a multi-sited ethnography, which utilises a variety of methodologies including participant-observation, subject interviews, communications and media archiving and analysis, and it draws from a variety of sources both online and offline. 2 Acknowledgements I warmly thank and acknowledge my research participants for generously sharing their time and energy for this thesis. Their humorous, thoughtful and candid responses have undoubtedly enriched this project and I hope that my study has been faithful to their intentions. A special thanks to Bret McKenzie, the silent subject of this thesis whose fine bone structure and notable artistic endeavours have made for fascinating study. I'm so relieved that you saw the humour of being research-fodder for a friend. I promise that Flight of the Conchords will not be my next study area! I also wish to thank my supervisor Dr. Richard Vokes, who has patiently guided and advised me through this project, especially when my progress seemed almost non- existent. I am ever so grateful for your input and support for getting me to the ‘finish line’. I also acknowledge my original supervisor Assoc. Prof. Patrick McAllister for his assistance in the initial stages of this thesis. To my dear friend, ‘boss’ and project manager, Peter Howland, who has been a constant source of intellectual inspiration and pragmatic motivation throughout my intellectual growth. I couldn’t have done this without you and I am ever so grateful for all your help in setting me on this life-changing path. I look forward to that ‘cold one’ and calling you Dr. Howland in the near future. To my closest informant and fellow Figwit-researcher, Stan Alley. Your unwavering support, timely critical observations and patience has been a tremendously selfless and loving act. I cannot wait to return the favour for our future endeavours and look forward to our Figwit-free life together. Thank you so much for being beside me as the timely distraction and sage task-master. I thank my friends and family for their encouragement and support, your involvement in this project clearly illustrates the truly ethnographically complex reality of academic scholarship. Indeed this has not been a solitary endeavour, so to my parents, Oo Micky, the Saw and Alley clans, you may breathe a sigh of relief. Finally, to my Pho Pho and Phwa Phwa, who have instilled in me a love and curiosity for humanity, as well as a determination to follow your heart, this is for you. 3 Contents ABSTRACT............................................................................................................................................2 ACKNOWLEDGEMENTS ..................................................................................................................3 CONTENTS ...........................................................................................................................................4 TABLE OF FIGURES...........................................................................................................................5 CHAPTER ONE: INTRODUCTION ..................................................................................................6 THEORISING ONLINE INTERACTIVITY ..................................................................................................16 THE ANTHROPOLOGY OF FIGWIT .......................................................................................................25 METHODOLOGY .................................................................................................................................30 THESIS STRUCTURE ............................................................................................................................35 CHAPTER TWO: THE EVOLUTION OF AN ONLINE COMMUNITY (THE FELLOWSHIP OF THE ELF EXTRA) .......................................................................................................................39 INTRODUCTION ...................................................................................................................................39 OFFLINE SOCIAL WORLDS ...................................................................................................................42 THE THINKING WOMAN ’S LEGOLAS ..................................................................................................49 FIGWIT LIVES ONLINE AND OFFLINE ...................................................................................................81 SUMMARY ..........................................................................................................................................85 CHAPTER THREE: THE FORMATION OF AN ONLINE CELEBRITY..................................88 INTRODUCTION ...................................................................................................................................88 DEFINING CELEBRITY ........................................................................................................................90 HISTORY OF CELEBRITY – A MARKER OF SOCIAL GOOD .....................................................................93 CONTEMPORARY CELEBRITY – THE MERIT OF SOCIAL GOOD ..............................................................95 ETHNOGRAPHY OF CELEBRITY PARODY ..............................................................................................96 REFLEXIVE INDIVIDUALISM AND IDEAL CELEBRITIES .........................................................................98 A FIGMENT OF IMAGINATION: FIGWIT AS IDEAL CELEBRITY ............................................................111 BUYING FAME : COMMODIFICATION OF CONTEMPORARY CELEBRITY ...............................................116 SUMMARY ........................................................................................................................................123 CHAPTER FOUR: NEW POSSIBILITIES....................................................................................126 INTRODUCTION .................................................................................................................................126 THE ARCHITECTURE OF THE INTERNET .............................................................................................128 ONLINE POSSIBILITIES ......................................................................................................................130 HYPER -DISTINCTION . .......................................................................................................................134 SOCIAL VALIDATION ........................................................................................................................136 COLLABORATIVE INTERACTIVITY ....................................................................................................139 OFFLINE POSSIBILITIES .....................................................................................................................143 SUMMARY ........................................................................................................................................149 CHAPTER FIVE: CONCLUSION ..................................................................................................152 ABBREVIATIONS............................................................................................................................157 REFERENCES ..................................................................................................................................158
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