Self-Reported Fandom in Offline and Online Spaces: the Television Viewing Behaviours and Fandom Characteristics of Selected Young Women in Johannesburg

Home , Idols South Africa, KykNet

o Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.

o NonCommercial — You may not use the material for commercial purposes.

o ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original.

How to cite this thesis

Surname, Initial(s). (2012). Title of the thesis or dissertation (Doctoral Thesis / Master’s Dissertation). Johannesburg: University of Johannesburg. Available from: http://hdl.handle.net/102000/0002 (Accessed: 22 August 2017).

Self-reported Fandom in Offline and Online Spaces: The Television Viewing Behaviours and Fandom Characteristics of selected Young Women in Johannesburg

Aimee Rebecca Viljoen

201404354

Submitted in Fulfilment of the Requirements for the Degree of

Masters in Audiovisual Communication in the

Department of Journalism, Film and Television

in the

Faculty of Humanities

at the

University of Johannesburg

Supervisor: Dr Nadia Van Der Merwe

Co-Supervisor: Dr Phyllis Dannhauser

Date: 31 October 2019

ABSTRACT

This dissertation aims to fill a gap in research on the television viewing practices and subsequent fandom behaviour of selected, female, South African television viewers. In a society where online interaction in a variety of participatory groups, like fandoms, have become an international norm, South Africa is still struggling to get its citizens connected to the online sphere. This is in part due to a lack of internet infrastructure as well as grossly high data costs compared to other developing countries. Consequently, South African television viewers’ ability to interact and compete in online television fandoms comes into question. The aim of this study was thus to establish whether selected South African television viewers conform to traditional models of fandom and television consumption or if there is a need for a uniquely South African model.

This study followed a descriptive, interpretive approach to research, based on grounded theory, using a mixed methods approach in the form of 55 online surveys which made up the quantitative data, and a subsequent 15 one-on-one interviews, which provided rich qualitative data. The population group from which the 70 sample participants were drawn, are women between the ages of 19 and 25 living in Johannesburg, South Africa.

This study argues that the fandoms, within this sample group, can be classified as “micro fandoms” which means that these fandoms consist of between two to six participants, who are usually family members and close friends, who interact in small fandom groups within an offline space. The preferred medium of fandom interaction for these groups was identified as an in person discussion or discussion via WhatsApp and WhatsApp Status. The participants in this study also indicated that, despite having access to internet technology, high data costs and a fear of ridicule and backlash within the online sphere prohibited them from taking part in online fan groups and discussions. The participants showed a preference for an in person discussion of television programmes and other fan content, and this usually went hand in hand with prevalent communal television viewing practices. This study thus contrast “micro fandoms” with international “macro online fandoms”.

ACKNOWLEDGEMENTS

There are a few people I would like to thank for all their help, support and guidance throughout the process of writing this thesis. Firstly, to my supervisor, Dr Nadia Van der Merwe, thank you very much for your words of encouragement and all your help and guidance throughout this process. Secondly, to Emmerentia Breytenbach, thank you for all the work you put into editing my thesis in such a short amount of time. Finally, thank you to my fiancé, Chris, and my mother, Lorraine, for all your support throughout these two years. You never stopped pushing me to get this done and you are always so encouraging and so proud of everything I accomplish. I could not have done this without you. Finally, to my unborn daughter Rebecca, I am sorry for all the late nights I had to pull on you. I know you were probably just as tired as I was by the end, but we did it baby girl!

ii TABLE OF CONTENTS p.

ABSTRACT i

ACKNOWLEDGEMENTS ii

CHAPTER 1: INTRODUCTION AND ORIENTATION 1

1.1 Introduction and orientation to study 1 1.1.1 Central research question and sub-questions 2 1.2 Background literature and theoretical framework for this study 3 1.2.1 South African television viewers and their viewing habits 3 1.2.2 Studies on media fandom and fandom theory 4 1.2.3 Theoretical/conceptual framework 5 1.3 Research Methodology 6 1.4 Study Structure 9 1.5 Conclusion 10

CHAPTER 2: LITERATURE REVIEW 11

2.1 Introduction 11 2.2 Audience Studies and Television Audiences 12 2.2.1 A brief history of audience studies 12 2.2.2 New technology and changing television practices 14 2.2.3 New technologies and second screen viewing 18 2.2.4 The television viewing trends of South African audiences 20 and other Third World countries 2.3 Studies on media fandom and fandom theory 24 2.3.1 Participatory Culture and the Origins of Fandom and Fandom Studies 26 2.3.2. New media technologies, cyber-fandom and user-generated content 30 2.4 Theoretical framework for this study 34 2.5 Conclusion 37

CHAPTER 3: METHODOLOGY 38

3.1 Introduction 38 3.2 Methodological orientation 41 3.3 Population group and sampling 43 3.4 Data Collection Methods 44 3.5 Pilot Study 48 3.6 Data analysis 49 3.7 Reliability and Validity 52 3.8 Conclusion 53

CHAPTER 4: ANALYSIS AND FINDINGS 54

4.1 Introduction 54 4.2 Results of the online surveys 55 4.2.1 Television viewing practices of selected South African viewers 55 4.2.2 Level of internet access among study participants and its effect on the television viewing platforms the participants have access to 59 4.2.3. The participants’ fandom characteristics compared to Jenkins (2017) and reasons for a lack of online interaction 63 4.2.4. The participants fandom characteristics as compared to Stamps (2014) 70 4.3 Findings of the one-on-one interviews 79 4.3.1 Television viewing practices, fear of online interaction and the ‘micro fandom’ 81 4.3.2. Micro-fandoms, face-to-face fandom and the use of WhatsApp in local fandom discussion 85 4.4. Conclusion 91

CHAPTER 5: DISCUSSION AND CONCLUSION 93

5.1. Introduction 93 5.1.1 The television viewing practices of selected female, South African, viewers 94 5.1.2 The impact of internet connection and data prices on South African fandoms 96 5.1.3 South African fans: traditional fandom, ‘ideal online fandom’ and a fear of ridicule 97

5.2. Contribution to existing research 100 5.2.1 The start of a South African fandom model 101 5.3 Recommendations for future research 104

REFERENCE LIST 107 APPENDIX A 118 APPENDIX B 129 APPENDIX C 158 APPENDIX D 159 APPENDIX E 240 CHAPTER 1: INTRODUCTION AND ORIENTATION

1.1 Introduction and orientation to study

Internet technology and social media have significantly advanced what Henry Jenkins (2017) refers to as “participatory culture”, a culture in which ordinary people are able to participate, discuss and interact on a variety of different platforms without physical or temporal constraints. Fandom, and fan culture, are excellent examples of participatory culture, where fans form part of communities where people share opinions, creations and admiration for their favourite television programme or cultural artefact (Jenkins, 2016). The word “fan” is derived from the word “fanatic”, referring to people who are “temple servants”, devotees and a part of a cult (Sullivan, 2013:193). Fans are generally defined as “individuals who maintain a passionate connection to popular media” and who “assert their identity through their engagement” with these forms of popular media. Fans also experience social affiliations around “shared tastes and preferences” (Jenkins, 2006).

New media technology allows fans to communicate and share on a variety of platforms in what Jenkins (2006) refers to as “convergence culture”; also referred to as second screen theory, a “paradigm shift – a move from medium specific content toward content that flows across multiple media channels” (Jenkins, 2006:243). In this technology-driven world, traditional fandoms have become “digital fandoms” and these fandoms do not only require fans to enjoy and appreciate the chosen cultural artefact, but to also “create additional contents about it” online (Baki, 2014:18). Nożewski and Trzcińska (2016:15) and Pearson (2010:83) argue that the digital revolution has had a profound impact upon fandom, empowering those who have access to the internet- based platforms through which fandom now operates, and disempowering those who cannot interact and create fan content online.

Fans with an abundance of internet technology and internet connection can participate freely in any multitude of fandoms while fans in technologically underdeveloped countries, like South Africa (Bakari, 2017), are left out. South Africa was found to have one of the largest telecommunications markets on the African continent, with almost 20.3 million mobile phone users (Broadcast Research Council of South Africa, 2017). In a population of approximately 55.9 million people, there are over 21 million internet

users, which means that 40% of the South African population is making use of growing internet technology (Goldstuck, 2017). However, despite these high levels of interaction with media technology, South Africa is still struggling to get its citizens connected to the online sphere. Thus, South African television viewers’ ability to interact in online fandoms merits discussion. This raises the question: Do South African television viewers conform to traditional models of fandom1 or is there a need for a uniquely South African model?

1.1.1 Central research question and sub-questions

Against this backdrop, the central research question for this study is: How do female television viewers in Johannesburg, between the ages of 19 and 252, interact with television programmes and the fandoms surrounding those programmes, in offline and online spaces?

The research problem has been examined through consideration of the following sub- questions:

1. How do selected female television viewers consume, and interact with, local and international television programmes in online and offline spaces?

2. How do selected female viewers make sense of their fandom and what aspects of their television viewing habits indicate that they are or feel part of a sharing and interactive “community” surrounding their favourite programmes?

3. What type of user-generated content do these female viewers create and share, linked to their favourite programmes, either in an online or offline space and how do they distribute it within the fandom?

1 Traditional fandom characteristics refer to the characteristics of participatory culture as set out by Jenkins (2017). 2 The Broadcast Research Council of South Africa (2017) identified women between the ages of 15 and 35, in Johannesburg, to be the most active television viewers.

1.2 Background literature and theoretical framework for this study

A Nexus search conducted in 2018 showed that studies done on South African fans and fandoms are limited, as well as studies on South African television viewing habits pertaining to the online sphere. While there have been studies on South African fandoms surrounding football teams (Fletcher, 2009; Onwumechili & Akindes, 2014), there have not been any studies analysing South African fans who interact with media content and fandoms online. The following section will broadly discuss fandom theory as well as how internet technology has changed the way fandoms interact.

1.2.1. South African television viewers and their viewing habits

In a survey conducted on 37.1 million South Africans by the Broadcast Research Council of South Africa (2017), it was found that television viewing is the most prevalent form of media consumption in South Africa for viewers fifteen years and older. It was also found that 90% of viewers watch television daily, with the most avid viewers being women between the ages of 25 and 35, who make up 28% of the viewing population, and women between 15 and 25, being 24% of the viewing population. Furthermore, 97% of television viewers indicated that they watch television at home or at someone else’s home, with the next most-used form of media consumption being the mobile phone, which comes in at 9%. The largest group of television consumers appeared in the metropolitan areas, which makes up 42% of the country’s television viewing population.

Only a few studies have been done on the television viewing habits of South Africans as it pertains to the online sphere, although there has been research regarding the effect of South African television content on the country’s youth. Larry Strelitz (2005:56) notes that there is “a complete absence of qualitative [local] research examining the complex ways local and global media are incorporated into everyday lives of young people”. Studies done by Larry Strelitz (2005) on the consumption and cultural meanings of television shows for 15 to 20-year-olds living in Durban, South Africa, found that South African youths clearly had a preference for locally produced television content compared to international programming and that “this general preference for local television raises questions around the effects of media consumption on identity formation”. In 2011 Smith furthered the work done by Strelitz

(2005) on Durban youth and found that the “youths’ consumption of media is mediated by various socio-economic determinants as well as cultural and institutional practices”.

This study aims to further the research done on South African television audiences by concentrating on fandom practices and the use of television media as part of fandom, with specific emphasis on the practices of female viewers between the ages of 19 and 25 years.

1.2.2. Studies on media fandom and fandom theory

Fandom studies fall within the field of audience research/cultural studies and focus on media fans and fan culture. Audience research, also referred to as the ethnographic turn, became increasingly popular in the 1980s when there was a surge in qualitative audience studies within the field of communication research. Henry Jenkins is one of the most renowned theorists within the field of fan studies. Jenkins (2017:3) argues that fandoms exhibit the same characteristics as participatory culture groups, in the sense that they allow participants to participate with low barriers to artistic expression, and members feel they can contribute to the group and that their contributions are appreciated.

With the growth of participatory culture also came the era of user-generated content (UGC) which existed long before the growth of internet technology, but which has become more prevalent and easier to distribute because of the internet and social media. UGC refers to any form of cultural artefact created by everyday citizens within participatory groups which has been “made publicly available over the internet; reflects a certain amount of creative effort; and content that is created outside of traditional professional routines and practices” (Napoli, 2010:78). It has been established that fandoms engage in the same type of behaviour, which McCudden (2011:19) calls “poaching”, but which can also be referred to a “remix”. Remix culture has become a norm within fandoms, and it includes practices such as fan videos, “mash ups”, or cutting and mixing of their favourite scenes in commemorative YouTube videos, fanfiction and gifs (a format for image files that supports both animated and static images). The practice of remix or UGC has become so intertwined with fandom that Tim Stamps (2014) suggests that one cannot be considered a true fan without being part of the remix culture.

According to Jenkins (2006), the defining line within the field of fan studies is between “predigital and digital” era fandoms. The changing technological sphere has led to a “convergence culture” where television viewing, interacting on social media and watching programming on any number of different platforms are all happening at once (Spanò, 2016:626). Hence, the advent of digital and internet technology has had a profound impact on the way fandoms operate and has transformed fandoms into “digital fandoms” where fans can be part of a unifying group, regardless of place of living, age or gender (Baki, 2014:13). According to Stamps (2014:36), fandom communities have members who feel that they can “influence the community”; however, in a digitally competitive world where underdeveloped countries struggle to keep up with ever changing digital and internet technology, is this statement realistic?

1.2.3. Theoretical/conceptual framework

Fandom studies was used as the basis for this research with specific emphasis on the theories of Henry Jenkins (2017) and Tim Stamps (2014). Jenkins’ model of participatory culture has become the basis of most fandom studies as it describes the inner workings of traditional fandom groups. Jenkins (2017) identifies several characteristics of participatory culture which can be applied to fandom. He states that participatory groups have “relatively low barriers to artistic expression and civic engagement”, they express “strong support for creating and sharing one’s creations with others”, there is a level of “informal mentorship whereby what is known by the most experienced is passed along to novices”, and members feel that their contributions matter and they feel a sense of social connection to the rest of the group.

5 normative behaviour to be integrated in the “uniformity of normative behaviour of the community as a whole”. This means that if fans can conform to all four stages, they are considered to be “ideal online fans” (Stamps, 2014:20). The four stages are, firstly, the “engaged fan” who is engaged with a cultural object and also recognises himself/herself in other fans; secondly, the “advocate fan” who shares the same opinions as the group; thirdly, the “purchasing fan” who consumes and shares knowledge about the fandom and also engages in purchasing fandom merchandise. The final stage is the “super fan”. This fan engages in all the above-mentioned levels and is fluent in the fandom “language” and norms. What makes the “super fan” unique is that this fan “preaches” and spreads knowledge and love for the specific fandom, hence inviting others to part take. The participant responses were firstly applied to the theory set out by Jenkins (2017) to establish whether South African television viewers conform to the basic characteristics of fandom, after which Stamps’ (2014) model of ideal online fandom was applied in order to assess the online engagement and competitive ability3 in the sphere of online fandom of the female viewers in Johannesburg.

1.3 Research methodology

This study followed an interpretive approach to research as it aimed to do an in-depth examination of the television viewing habits of a group female South Africans and how they make sense of and interpret their television viewing behaviour, especially that which is associated with traditional fandom practices. This is a mixed-method study, using both qualitative and quantitative techniques to study and analyse the selected television audience. Quantitative data was collected in the form of a survey wherein participants answered predominantly closed-ended questions relating to the frequency and nature of their television viewing habits and behaviour relating to traditional ideals of fandom and interactive fan characteristics. The study also has qualitative aspects as it aimed to describe and interpret the audience’s self-reported television viewing

3 The participants’ competitive ability refers to the extent to which the participants in this study are able to interact with online fandoms, whether they are able to voice their opinions and if their opinions are heard and whether they are able to gain access to international online fandoms and actively engage in these groups at the same level as their international counterparts.

6 behaviour and consequent fandom behaviour using one-on-one interviews to gain - better understanding and in-depth analysis of the findings of the survey.

In the South African establishment survey of October 2017, the Broadcast Research Council of South Africa looked at the media usage of 37.1 million adults across the country. The survey found that women between the ages of 15 and 25 were the most active television viewers and that these viewers lived in the large metropolitan areas of South Africa. Hence, the target population explored and from which the sample was selected was young women between the ages of 19 and 25 years who reside in the Gauteng province of South Africa. It therefore focused on the category of “young adult’” with the exclusion of minors. Johannesburg was identified as having the largest number of television viewers among South Africa’s metropolitan areas and was thus the location from where the population group was selected.

From this population group a sample of 55 participants were selected to part take in the survey, which has been identified as the average sample used in similar studies (Agirre, Arrizabalaga & Espilla, 2016; Smith, 2011;). Non-probability sampling was employed using snowball sampling, which is common for studies of this nature (Smith, 2011; Stamps, 2014; Tager, 2010), to find participants within the 19–25 age group using social media and word of mouth. The reason for this form of sampling was determined by he large population group from which a sample needed to be collected. Although snowball sampling lies on the “margins of research practice”, Atkinson and Flint (2001) argue that snowball sampling “offers real benefits for studies which seek to access difficult to reach” or urban populations. Furthermore, “trust may be developed as referrals are made by acquaintances or peers rather than other more formal methods of identification”, and snowball sampling has also been found to be economical, efficient and effective over a wide range of study fields. The original aim was to collect 100 online surveys, however the seclusion of the population group which needed to be studied as well as the newness of the research topic both had an impact on the number of participants that the researcher was able to find. It also affected the length of time required to achieve a sample size of 100 participants. Hence the sample size was reduced to 55 participants for the online survey section of this research.

Sampling for the survey segment of the research was conducted by identifying social media sites related to the most viewed local and international television programming.

Participants were asked to participate on these social media sites and asked to spread the word though platforms such as Twitter, WhatsApp and Facebook. The social media sites on which a notice of the study was posted was a combination of Facebook community pages consisting of communities within the Johannesburg area, which included the Weltevreden, Randburg, Sandton and Westdene Facebook community groups. A notice of the study was also posted on fan pages of various international programmes, namely Game of Thrones (2011-) and Shameless (2011), which were identified as the most watched programmes on Showmax (Chanel24, 2017) but these programmes are also available on DSTV. The use of social media sites is most efficient because of the high rate of cell phone usage in South Africa, where it has been established that 18.58 million smartphone users use their smartphones mostly to access the internet and social media sites (Statista, 2018; The Broadcast Research Council of South Africa, 2017). Hence, by contacting participants via social media sites, participants could be accessed immediately, wherever they were, and they could easily share the study information with friends and family via social media. In the survey phase participants were asked to provide links to their social media feeds or examples of their posts on different fan pages, to allow the researcher to observe the participants’ behaviour and interaction online. Other participants were selected by the researcher and contacted via email to participate in the study. From the survey sample a second, smaller sample was selected, using selective sampling as themes arose for one-on-one interviews. A sample of 15 participants was collected from those who, in their surveys, displayed the most characteristics of traditional fandom practices or those who displayed unique interactions with television programming and the fandom surrounding it.

A descriptive, interpretive approach was followed when analysing the collected data. The quantitative data was transformed into graphs whose statistics formed the basis for the analysis of the post-survey qualitative data collection. The one-on-one interviews were recorded and transcribed, after which the findings of the interviews were categorised and tabulated, through grounded theory, according to the characteristics of television viewing and fandom practices as identified by Jenkins (2017) and Stamps (2014), with contradicting findings sorted separately from existing patterns. The reliability of the study, “the extent to which results are consistent over time and represent and accurate representation of the total population under study”

(Golafshani, 2003:598), was improved by focusing on the largest population of South African television viewers; namely women in Johannesburg, aged 19–25, in order for the results to be representative of a larger group of South African television viewers and fans. The validity of the study, “whether the research truly measures that which it was intended to measure” (Golafshani, 2003:599), was insured through the use of methodological triangulation, “a process of qualitative cross-validation” (Oliver-Hoya & Allen, 2006), to validate its findings by comparing two different methods of data collection, one-on-one interviews and surveys.

1.4 Study structure

The study was broken down into five separate chapters as follows:

Chapter 1: Introduction and orientation- This chapter introduces the purpose of the study as well as previous research and assumptions on which the study thesis is based. This chapter will also introduce the central research problem and research questions of this study.

Chapter 2: Literature Review- In this chapter, fandom theory and research on South African television viewing behaviour are discussed, along with research on the television viewing behaviours and television viewing practices of American audiences and those of other African countries.

Chapter 3: Methodology- This chapter discusses the research methods, population group and sampling methods used in the study.

Chapter 4: Analysis and Findings- In this chapter, an analysis of the online surveys and subsequent one-on-one interviews are discussed, and findings explained using v- graphs in the case of the online surveys and cross-tabulation for the results of the interview portion of this research.

Chapter 5: Discussion and Conclusion: This chapter does a re-cap of the main findings discussed in the analysis and findings chapter with emphasis on answering the research questions. This chapter also highlights the unique contributions this study has made to fandom research, as well as provides recommendations for future research on the topic.

1.5 Conclusion

Hence, this study does an in-depth analysis of the television viewing practices and consequent fandom behaviour of women, between the ages of 19 and 25, living in Johannesburg, South Africa. As stated above, very little research has been done thus far on both the television viewing practices and the fandom practices of South African audiences. The purpose of this study was therefore to compare the television viewing practices and fandom practices of South African audiences to that of international audiences in order to determine whether South Africa is able to compete in the competitive online fandom sphere, or whether our lack of internet connection and high data costs have caused us to fall behind. This was done by comparing the findings from this study to the traditional characteristics of participatory culture, and in turn fandom culture, as identified by Jenkins (2017), as well as comparing the fandom behaviour of the sample group to that of ‘ideal online fandom’ as described by Stamps (2014). This was done to establish whether South African television fans adhere to traditional fandom characteristics, to ascertain whether a fandom culture is present within this society, and then to establish whether South African fans can and do compete in the online fandom sphere despite various drawbacks. From this comparison to previous fandom research, a new understanding of a uniquely South African fandom climate was gained, with emphasis on the way the participants in this study have adapted and created their own techniques for fandom interaction.

CHAPTER 2: LITERATURE REVIEW

2.1 Introduction

Tim Stamps (2014:8) argues that “cultural object[s] are living social institutions which are, at the same time, a materialistic object such as a novel and a work of art”. He further states that “[M]embers are active within the social institution to protect the appearance of the cultural object”. According to this statement, cultural objects, such as television series, should be considered not only as inanimate objects which people consume for casual amusement, but that these objects form strong connections and communities between the people who create and consume them. Hence, a television fandom is not just a collection of ‘geeky’ individuals who share common interests surrounding a specific programme ‒ fandoms are living organism that function to protect the dignity of the artefact of its focus and does anything in its power to keep that artefact from gathering dust. This is the belief around which today’s fandom theorists structure their arguments and it becomes increasingly clear in a world where growing internet and media technology is creating better, more interconnected ways for fans to stay in touch and to keep their fandoms alive, especially in the online sphere.

In the previous chapter the impact of growing media technology on fandom was briefly discussed, as well as the negative impact a lack of this technology can have on fandoms in technologically underdeveloped countries like South Africa. If the life force of fandoms is to keep their cultural artefact ‘alive and kicking’ then surely fans need to be able to compete and share knowledge with one another in an increasingly digital world. In the following chapter a discussion of relevant fandom theory will be given, especially discussing from where fandom originated and how fandoms function, or are expected to function, in today’s digital world. Because all television fandom originates with the actual television programme and thus the act of watching television, or whichever video platform is preferred, a study of how audiences watch and consume television content, both internationally and locally, will provide deeper insight into the effect of different levels of media access on television viewers and the fandoms surrounding their favourite programmes. Due to continually changing media technology, evolving television viewing practices will also be discussed, as well as

11 their impact on fan life. Finally, a discussion of the unique television viewing practices of South African audiences and those of other Third World countries will be discussed with a separate section containing the theoretical framework for this study.

2.2 Audience Studies and Television Audiences

This section will discuss audience studies as it applies to television audiences and studies done on television viewers and their viewing habits. Television viewing, and the meanings attached to that viewing behaviour, has been the topic of focus for many scholars especially today, when new media technologies, online video platforms and second screen viewing may be completely changing the way audiences interact and make sense of television programming. The following sections will be looking at previous research done on television audiences and their viewing behaviour on an international scale, as well as focusing on the research done on South African audiences. The effect of new media technology will also be discussed as well as its use and effect on television viewing behaviour.

2.2.1 A brief history of audience studies

Audience studies can be separated into two broad categories, namely message-based studies and audience-based studies. The first focuses on the power of the media text over the audience, which is perceived as being incapable of withstanding the effects of media messages and which mainly analysed the content of media messages, and the second being ethnographic in nature, which means the direct study of audience behaviour, thus allowing for the audiences’ active participation in the meaning-making process of the media they consume and not just thinking of them as passive absorbers of information. This trajectory in audience research is clearly explained by David Morley and Charlotte Brunsdon (1999:116):

The different styles and strategies of research may be characterized as a series of oscillation between different, sometimes opposed points in this ‘chain’ of communication and command. On the one hand, message-based studies, which moved from an analysis of content of messages to their ‘effects’ on audience; and, on the other, audience-based studies, which focused on the social characteristics, environment and, subsequently, ‘needs’ which audience derived from, or brought to, the message.

This shift from message-based to audience-based research took place during the 1980s when there was a sudden increase in mass communication research, otherwise known as the “ethnographic turn”, where scholars attempted to understand the world as it is experienced by media users. These “audience researchers” aim to see and understand the world as it is seen and understood by the participants themselves (Hermes, 2010:1). This form of research is known as “audience studies”, which refers to the “systematic study of any audience for any purpose”, with many of the studies focusing on the observation of television audiences and their viewing behaviours, including the study of television audiences (Webster, 2008:1). This study falls within this field of audience research as it looks at the television viewing behaviours of selected female, South African, television viewers.

Within the field of audience research, there has been a trend among the scholars of audiences evolving from the belief that media audiences are passive consumers of media texts to the belief that media audiences have an active role in the understanding and creation of media messages. Roscoe, Marshall and Gleeson (1995:88) argue that the passive audience paradigm was first challenged by the uses and gratifications theory, which assumes that viewers actively select programming for a specific reason, to satisfy a specific personal need, thereby indicating the shift from a passive to an active audience paradigm, where the audience is seen as actively involved in evaluating and choosing what ideologies and messages they take from the media. In the 1980s and 90s reception theory adopted the active audience paradigm by looking at how audiences receive and interpret messages and what influence their circumstances, surroundings and mindsets can have on the way they interpret and receive media messages. Most of the application studies of reception theory were done of soap operas due to the soap opera genre’s ability to “illustrate how elements in a text enhance viewers' involvement and pleasure” (Pitout, 2001:402).

A third approach to audience study is ethnography which aims to “investigate and describe a particular culture ‒ its beliefs, customs and behaviour ‒ by means of intensive fieldwork” (Pitout, 2001:411). This study also assumes that the audience is active in their use and understanding of television and other forms of media, especially with reference to the television viewer’s active interaction with programme content, both in an online and offline space.

Livingstone (2005:10) states that the media landscape has changed drastically within a single generation. The use of various media technologies, often at the same time, has launched a large-scale investigation into the uses and effects of these media technologies on its users. According to audience studies researchers Livingstone (2005) and Pitout (2001), media audiences actively choose what they want to watch for very specific reasons and the growth of participatory culture has also illustrated that audiences now have an active role in the creation and distribution of media products (Jenkins, 2006). The following section will further discuss the way changing media technologies has affected television viewers’ viewing patterns and consequently the audiences’ participation in both online and offline communities surrounding their favourite television programmes.

2.2.2 New technology and changing television practices

Television viewing practices have started to change drastically with the growth of media and internet technology. Landabidea and Loos (2015:1) in their paper, Contemporary meanings and experiences of television in the digital age, state that “television was an everyday reality for millions of people” and arguably “remains one of the most important features for media-related leisure”. They compare the television viewing practices and perceptions of television viewing and leisure time of different age groups, especially concerning the way in which younger generations seem to embrace new media technologies such as Netflix and watching programmes on laptops and tablets, compared to traditional forms of television consumption, which meant the entire family coming together in front of the television to watch a programme together. They state that “television is being buffeted by shifts and motions that challenge its traditional centrality” (ibid.). Whilst its centrality in viewers lives remains the same, in terms of the amount of time and attention spent on television viewing, television’s “position and status in the media ecosystem is changing, and so are the ways viewers understand and experience it” (Landabidea & Loos, 2015:53).

A study done by MARU Matchbox (2017:4) in the United States of America showed the following:

Streaming Enabled4 TV ownership, including both smart TVs and video streaming devices, has reached the majority of US online adults (56%) in 2017, up 56% from 2015. In comparison, regular TV ownership dropped from 92% to 85%. The reason for this drop in regular television ownership is equated to the prevalence of new streaming technologies, smart televisions and increased availability of online video content (Matchbox, 2017:4). This means that “to watch TV has fundamentally changed – among all American adults who own some type of TV, less than half (46%) of the time watching TV is spent on “linear programmng”5 and 20% of television viewing time is spent on watching online video content (Matchbox, 2017:5).

Hence, it is in these “contested, negotiated and complex domains that we should continue to investigate the meaning and function of television for audiences” (Landabidea and Loos, 2015:55). This change in television viewing behaviour, from linear television content to online video content, is especially interesting from a South African perspective, as most South African families still conform to the traditional model of television viewing, mostly due to lower levels of internet connectivity and access to platforms such as Showmax and Netflix, with the whole family coming together at a scheduled time to watch a programme together, most likely on one of the major SABC channels. The South African Broadcasting Corporation is a public broadcasting channel which provides five television stations, the most popular of which are SABC 1, SABC 2 and SABC 3 (Broadcast Research Council, 2018). According to a survey in September of 2018 on the most popular primetime shows on SABC 1 and SABC2, daily scheduled programme Uzalo (2015-) has 10 251 231 viewers who watch the programme during its scheduled timeslot on SABC1 and Muvhango (1997-) has 5 579 937 viewers who watch the programme during its scheduled timeslot on SABC2 (Broadcast Research Council of South Africa, 2017. Hence, for a very large part of the South African population, watching television programmes on a scheduled time every

4 “Those who own a smart TV or a video streaming device” (MARU Matchbox, 2017:3) 5 “Linear TV is a real-time television service that broadcasts scheduled programs, conventionally over the air or through satellite/cable, not streamed to a specific user. Nearly, all broadcast television services count as linear TV” (Muvi, 2019).

15 day, supplied via analogue line by a public broadcaster, is still a dominant viewing tradition. However, the question arises whether there any indications that South African television audiences’ behaviours are also changing to conform to new available technologies. And if so, what effect does the way that selected young, South African women consume television have on their interaction with the programmes, and the fandoms surrounding it, both in an online and offline space?

As discussed above, television viewing has become increasingly intertwined with other forms of media technology. This is what Curtin (2009) calls “matrix media”, a world where television viewing has become a complex combination of online video content, traditional television viewing and online interaction. This fragmentation of the audience across multiple platforms has led many theorists to believe that the traditional notion of the “audience” is no longer applicable (Agirre, Arrizabalaga & Espilla, 2016:134). Traditional notions of television viewing behaviour are also being challenged due to new media technology such as Netflix, Hulu and Showmax.

According to Raju Mudhar, television and technology reporter from the Toronto Star, “entertainment is fast becoming an all-you-can-eat buffet” (Matrix, 2014:119). What Mudhar means by this is that online television platforms, such as Netflix, allow viewers a much wider, easily accessible range of programming, which they can choose to watch on a personalised schedule, or they can choose to watch an entire television series in one day. This is what is referred to as “binge-watching”, which Matrix (2014) calls “the Netflix Effect”. Not only has new media technology made television viewing more accessible and easier to consume, it has also created an entire generation of “binge-watchers” who can start and finish an entire series in one day. “When House of Cards and Orange is the New Black premiered in 2013, huge percentages of Netflix subscribers watched back-to-back episodes, devouring a season of content in just days” (Matrix, 2014:119). Matrix (2014:119) also states that not all television viewers in that age group are part of the digital age or have access to online media sites such as Netflix, however those who have “are not content to abide by traditional weekly and seasonal programming schedules”.

This binge-watching trend is prevalent among the 18-34 age demographic, and after binge watching a programme many of the viewers “took to social media to post their (largely positive) reviews” (Matrix, 2014:119). Based on the account that people

16 between the ages of 18-34 are the most prevalent binge-watchers, the effect of binge- watching and the extent to which young South African women binge-watch, became an important point of study for this research as the population group was young women between the ages of 19 and 25. It would be beneficial to establish a rough estimate or understanding of how regularly young women in Johannesburg binge-watch series. The questions that arise are whether they watch these series online or whether these programmes are downloaded illegally and, most importantly, if these women also “take to social media” after watching these programmes.

Research done on households in the United States of America in 2013 showed that 63% of households used services like Hulu, Netflix and Amazon Prime to stream programmes online (Matrix, 2014:119). In South Africa, Showmax and Netflix seem to be the most prevalent platforms for online video streaming, next to illegal downloads which is very common in South Africa (Brothwell, 2016). According to Vorster (2017), South Africa only has a 27% social media penetration, mainly due to high data costs and lack of online infrastructure. It is because of this that 58% of television viewers prefer watching programmes on Showmax, with 42% on Netflix. DSTV, a South African broadcasting service, includes Showmax in their television bundles for any DSTV users who have an internet connection, while Netflix, an international media service provider, requires an additional payment per month on top of the payment users already pay for the internet. It is important to note that it is participants over the age of 25 who prefer Showmax, which begs the questionas to whether the younger South African generation, on whom this study focused, agree with the preference for Showmax or if they prefer other online streaming platforms; and further, how their use of Showmax, a South African platform, impacts on their interaction in an international fandom and online sphere. It has been established that new technologies have allowed viewers, even South African viewers, to enjoy a multitude of programmes on different online and offline platforms. However, with the coming of new technologies viewers also adopt new viewing behaviours. The next section will be looking at second screen viewing and how different media devices is changing traditional television viewing behaviours.

2.2.3 New technologies and second screen viewing

According to Compton (1983:59) “the latter part of the twentieth century has become known as the Electronic Age”. In 1983 Compton (1983:59) already found that in America, an estimated 97 percent of American homes had more than one television set. Today, even in South Africa, the concept of television has expanded to include various other media devices, such as cell phones, tablets and laptops. Wilson (2016:1) refers to the idea of a changing media ecosystem as the age of the “second screen”, which is defined as “the use of smartphones, tablets, and laptops while watching television” (Van Cauwenberge, Schaap & Van Roy, 2014:100). This “second screen” viewing is not taking place in isolation. The use of second screens, and furthermore social media, match the rise and fall of television viewing intensity and it can thus be concluded that the use of second screens and social media, at most times, goes hand in hand with television viewing (Anguilar, Rojano & Batlle, 2015:540). This means that there is a strong correlation between the timeslots viewers watch television and the intensity of second screen use, as viewers use second screens more frequently when they are watching programmes on television or other online platforms.

In the article, In the living room: Second screens and TV Audiences, Wilson (2016) aims to understand the ways in which changing technology has “unsettled our understanding of audiences as they disperse across platforms”. Instead of raising negative debate about the dispersing of media consumption, Wilson argues that new digital technologies “promise to revolutionise TV viewing by connecting viewers across space via applications (apps) and social media sites”. The United Kingdom Communications Industries, in their Communications Market Report (Ofcom, 2013) state:

[S]mart phones and tablets are creating a nation of media multi-taskers, fragmenting attention across multiple screens: Our research shows that increasingly families are gathering in the living room to watch TV just as they were in the 1950s ... Unlike the 1950s family, however, they are also doing their own thing. They are tweeting about a TV show, surfing the net or watching different content altogether on a tablet. Wilson (2016:1) further states that this “growth in second screen use while viewing television has captured the imagination of broadcasters…and advertisers, eager to cash in on the social TV phenomenon”. Hence, the growth in internet and television viewing technology not only allows viewers and fans of programmes to be more

18 involved in the programming by engaging with it on a multitude of platforms, but it also allows greater for the creators and broadcasters to get feedback from their views, to advertise and sell merchandise and to expand the online community surrounding the programme.

Wilson (2016:26) suggests that audience ethnographers should do further studies to help researchers understand the impact second screen viewing has on “the dynamics between those viewing TV together as well as on the relationship to the programmes themselves”. This introduces the questionof the extent to which South African audiences, especially the target population, are taking part in second screen viewing practices. No research has yet been done on the second screen and online television viewing practices of any aspect of the South African population and it is thus an important research focus, especially in terms of how second screens are or are not used by selected female South African viewers, to interact with media content and fandoms in an online space.

Van Cauwenberge, Schaap and van Roy (2014:100) raise an interesting question, one which is also in line with the questions presented above regarding South African audiences and their reasons for second screen use. The question states “What do multi-screen television viewers use their second screens for? Do they follow up on something relating to the television program that they are watching, or are they perusing other activities?” This question relates strongly to the research question of this study. Are young, female television viewers in South Africa also taking part in the practice of second screen viewing, and if yes, are they using those second screen to take part in some form of fandom practices, whether it be chatting to friends about the programme, posting comments about the programme online or even dropping spoilers as the show goes on? Van Cauwenberge, Schaap & van Roy, (2014:100) did research in the United States of America, specifically during the 2012 U.S. presidential debates, and they found that American audiences used second screens while watching the presidential debates on television. The second screens were used 46% for “monitoring broadcast media reactions”, 41% to check the facts of the candidates claims, 39% to follow the live reactions of political reporters and 32% for monitoring social media reactions.

Ando, Pizza and Corsini (2016) also did an analysis of second screen use, with specific reference to the difference between the way Italian and American university students consume television. Their aim was to investigate the students’ media habits in relation to their experiences, practices and the meanings associated with the consumption of media content. Like Wilson (2016), they agree that “nowadays television consumption is intended as a complex experience encompassing different kinds of practices and devices” (Ando, Pizza, Corsini, 2016:300). They conclude that:

[T]hese transformations can have different meanings: they could be seen as television content diversification and freedom from schedule; as looking for ad hoc programmes according to audience needs and expectations; as a redefinition of content quality and broadening of taste hierarchies; as multiplication of television consumption experience within a ‘multiTV’ scenario; and as sharing and social empowerment of connection with others. (ibid.:301).

The above-mentioned scholars focused on the television viewing behaviours and changes in media consumption of a broader audience group which mostly focuses on international audiences; however, these experiences do not necessarily describe the behaviours and changes happening in South Africa. The following section will discuss the television viewing habits of South African citizens as well as the limited research done on South African television audiences, specifically as it pertains to their use of the “second” screen and other new media and internet technologies.

2.2.4 The television viewing trends of South African audiences and other Third World countries

A Nexus search conducted by the researcher in 2018 ilustrated that studies done on South African audiences and their television viewing behaviour was extremely limited. Studies on the effects of new media and internet technology were practically non- existent. There has, however, been research regarding the effect of South African television content on the country’s youth as well as studies looking at South Africans’ use and motivation for watching certain local and international soap operas.

In a survey of 37.1 million South Africans by the Broadcast Research Council of South Africa (2017,) it was found that television viewing was the most prevalent form of media consumption in South Africa for viewers fifteen years and older. It was also found that

90% of viewers watched television daily, with the most avid viewers being women between the ages of 25 and 35, who make up 28% of the viewing population, and women between 15 and 25, at 24%. Furthermore, 97% of television viewers indicated that they watch television at home or at someone else’s home, with the next most used form of media consumption being the mobile phone, at 9%. The largest group of television consumers appeared in the metropolitan areas, which makes up 42% of the country’s television viewing population.

In terms of television access, South Africa only started experimenting with television broadcasting in 1971 when the SABC started doing experimental broadcasts. However, television was not officially introduced in South Africa until 1976 (SAHO, 2018). India’s television viewing statistics and behaviours closely resemble that of South Africa. Television broadcasting was only introduced in India in the sixties, with “Doordarshan” or “DD” becoming their main national broadcaster (Gupta, Rasania & Acharya, 2014). Like with South African audiences, the television remains the preferred medium of media consumption and television viewing has even increased by 12% since 2016. This, similar to the situation regarding South African audiences, can be ascribed to television still forming a large part of “family time”, since India is still very family orientated. In India, television viewing is preferred above online video platforms with their television viewer rates at 836 million viewers and their most popular online video platform coming to 60 million users (Tandon, 2018).

Kenya shows more or less the same trend, with 98% of the country’s online adults continuing to watch linear broadcast television while only 8% of the viewers make use of streaming or online video content such as ViuSasa, Showmax and Netflix. However, where the most avid South African television viewers range from ages 20 to 35, Kenya’s most avid television viewers range from ages 16 to 24 (BiztechAfrica, 2018:1). Nigeria, on the other hand, shows an increase in the use of online video platforms with 33% of the viewers’ day used to watch free online video and 11% of their time being spent on video on demand platforms such as iRoko TV, iFlix and Netflix ((BiztechAfrica, 2018). Thus, there is a clear decline in the number of online video users in these selected countries compared to that of surveyed American audiences.

Whereas the above-mentioned research does look into the television viewing habits of other developing countries, Larry Strelitz (2005:56) notes that there is “a complete absence of qualitative [local] research examining the complex ways local and global media are incorporated into everyday lives of young people” in South Africa. Even though this was stated in 2005, this statement still applies to South African audiences today. Studies on South African viewers in relation to the use of new media technology, second screen viewing, and fandom practices remain almost non-existent. The most recent research available on the television viewing habits and uses of South African audiences is a 2005 study done by Larry Strelitz, thus already fourteen years old. The study done by Strelitz (2005) on the consumption and cultural meanings of television shows for 15 to 20-year-olds living in Durban, South Africa, found that South African youths clearly preferred locally produced television content to international programming and that “this general preference for local television raises questions around the effects of media consumption on identity formation”. In 2011 Smith furthered the work done by Strelitz (2005) on Durban youth and found that the “youths’ consumption of media is mediated by various socio-economic determinants as well as cultural and institutional practices”. In her study, Youth, Media & Lifestyles: An Audience Study on Media (television) Consumption and the Lifestyles of Black Youths Living in both Durban and Alice, South Africa (2011:i), Smith finds:

The ways in which black South African youths use media (imported programming or local television content, for example) and accordingly fashion their lifestyles, remains largely determined by their class, their access to Information and Communication Technologies (ICTs) and the proximity of the experiences represented in the media to those with which they can identify.

Smith highlights a key determinant which is also important for this study, namely the effect that “access to Information and Communication Technologies” has on the way South Africans consume and interact with both local and international media platforms. Access to data is what connects South Africa to the international online community. However, South Africa has some of the highest data costs in the world, with the price of a 1GB bundle costing R77 compared to Russia where it is only R32, and the 3GB data bundle being the second most expensive in the world at R184, compared to R74 in Russia and R95 in India (Van Zyl, 2016). According to Business Report (2018), South Africa’s data prices remain extremely high, ranking third highest within the BRICS nations after China and Brazil.

The #DataMustFall movement that started in 2016 highlighted the severity of the country’s data prices. To a middle-class citizen, the data prices listed above might not seem extreme. However, today most programming is watched online on platforms such as Netflix or Showmax. Both those formats cost between R150-R300 per month on top of the data costs required to connect to the internet. To successfully watch a program online, an uncapped internet line of at least 5MB download speed is needed. South Africa’s biggest divide is due to income disparity. South Africans who earn more than R30 000 per month have an internet penetration of 82.4% whilst those earning between R3 000 and R6 000 have 42% internet penetration and those who earn less that R2 500 have less than 30% penetration (Mcleod, 2017). Hence, most South African citizens have little to no internet access beside from that used for WhatsApp and email (World Wide Worx, 2017).

In South Africa “a smartphone is not a luxury. It is a minicomputer” (Qwerty, 2017), which still only allows for 27% of the population to make use of social media. Thirteen million users only have access to mobile phones which makes watching international programming online and interacting with fandoms very hard, if not impossible with mobile phone usage at 78% and laptops at 17% and tablets even lower at 5% (Qwerty, 2017). Hence the high cost of data in South Africa, combined with limited access to devices and platforms where one can watch international programming and interact online, has caused a great rift between South African fans of international series and international fans who have better internet access and access to various viewing devices/second screens.

Michele Tager, in her article The Black and the Beautiful: Perceptions of (a) New Generation(s) (2010), attempts to clarify the effect of local media content on identity formation. In the article she states that soap operas and popular media play a role in shaping people’s everyday routines. In her article she looks at the South African soap opera Generations as both a product of post-apartheid South Africa and a “mechanism for change in viewers’ preferences, beliefs and patterns of everyday social behaviour”. She also notes that South African television viewers, especially in rural areas, seem to conform to the traditional television viewing setting, with the entire family coming together at a scheduled time to watch a programme, such as Generations: The Legacy

(1994-) together. Although Tager’s study does not offer much information to help the current study, it is still important to note as it forms part of the small corpus of research that has been done on South African television audiences.

One author who has touched on the topic of South African television viewers, their viewing habits and online fan interaction, is Nadia van der Merwe (2012). In her paper, The appeal of 7de Laan: selected viewers’ self-identified reasons for watching (2012), Van der Merwe studied selective South African television viewers’ reasons for watching the local soap opera 7de Laan (2000). The aspect of her study relevant to this research is the 7de Laan (2000) viewers’ ability to influence or not influence the creators and programme storyline. Van der Merwe (2012:54) found that the viewers did not attempt to influence or respond to the storyline of the programme and this broaches the question “whether they, as outsiders, would indeed have any impact or be able to add anything”. She also found that the creators of the programme, in order to avoid negative online discourse directed at themselves and the actors, do not allow fans to comment on the events of the story and thus fan discourse is completely ignored “with no effort being made to discover what fans are saying and discussing”. This highlights a problematic approach to television viewers and interaction in South Africa, especially given the growing internet technology and use of social media, which is essentially encourging viewers and fans to give their opinions and participate in the creation of media content, despite eminent negative discourse.

2.3 Studies on media fandom and fandom theory

In the previous section the topic of television viewing behaviour worldwide was discussed and highlighted a shift towards a convergence culture where people interact with media, television programming in particular, on a multitude of platforms. Because of this increase in interconnectedness and participation online, one could say that today everyone is a fan of something. Meaning that most people have a strong liking for a certain television programme, sports team or artist and regularly engage with content about their favourite artist online and offline. Whether this means religiously watching a schedules television programme or following a singer on Instagram, this form of behaviour can be described as fan behaviour or fandom. Fandom is defined

24 as a “group of fans who form social networks with one another based on their common interest in reading and watching particular texts” (Gooch, 2008:3). Hence, what one might perceive as a normal part of your everyday life, for example going to work and chatting with a colleague about the events on last night’s episode of Game of Thrones (2011-) can also be described as fan behaviour.

A Nexus search conducted by the researcher is 2018 showed that various studies have been done on fans of Korean programming (An, 2010; Chin & Morimoto, 2013; Kee, 2008) as well as other international fandoms (Dunlap & Wolf, 2010; Feleki, 2016; Spanò, 2016; Stamps, 2014). However, studies done on South African fans and fandoms are limited. While there have been studies on South African fandoms surrounding football teams (Fletcher, 2009; Onwumechili & Akindes, 2014), there have not been any studies analysing South African fans who interact with media content and fandoms online. South Africa has a very large television audience, as can be seen by the statistics in the previous section, though despite its large audience, South Africa still does not have the fandom base of some other neighbouring Third World countries. The Bollywood industry of India and the Nollywood industry of Nigeria have many fandom pages dedicated to its characters. Both Bollywood and Nollywood have Wikia fandom pages online where fans can communicate with each other, learn about the industry and its programmes and add to the universal knowledge of the fandom. However, none such pages exist in relation to South African programmes, except for 7de Laan (2000-) which will be discussed later in this section. This research not only aims to understand the way selected female, South African television audiences consume and interact with television content, but ultimately whether their level of access and interaction with television content has allowed for characteristics of participatory culture to emerge, as is illustrated in other fandoms. The previous section showed that most South Africans have access to a television set and watch television daily. However, this does not necessarily mean that South African audiences have also started taking part in the worldwide fandom phenomenon. The question remains whether they are producing content online, or at the very least following, liking and commenting on the events of their favourite artists or television programme. The following section will broadly discuss fandom theory as well as how internet technology has changed the way fandoms interact.

2.3.1 Participatory Culture and the Origins of Fandom and Fandom Studies

Before one can discuss the complexities of modern fandom communities, one must first understand how these communities originated. Jenkins (2006:135) describes participatory culture as a “cultural production which starts at the grassroots level and which is open to broader participation” (Jenkins, 2017:1), as an interaction between three trends: The first being new tools and technologies that emerged, such as the World Wide Web, that allow consumers to “archive, annotate, appropriate, and recirculate media content”; secondly, a growth in a Do-It-Yourself subculture and lastly, “economic trends favouring the horizontally integrated media conglomerates” which allow for the flow of media across multiple channels and platforms. In order to create a more balanced public sphere, ordinary people became more involved in the public sphere, creating their own versions of news events and giving voice to the masses, instead of conforming to the propagated views set out by the media who had abandoned their role as watchdog over media information. This movement became known as the “identity paradigm” where people started expressing their views and identities in different communication spaces and seeking cultural significance (Burger, 2015:2).

Delwiche and Henderson (2013) further explain the emergence of participatory culture by highlighting four distinct phases. Participation first became prominent during 1985 to 1993 after more and more people acquired personal computers at home, the “emergence” phase. The second phase was “waking up the web”, from 1994 to 1998, with the advent of “graphical web browsers” making it easy to create one’s own ‘page’. 1999 to 2004 saw the rise of “push-button” publishing where people could access blogs, Facebook (2004) and various other social media sites with just one push of a button. Participation is currently in a phase of ‘ambiguity’ where people have access to a wide range of social media sites, “widespread internet connection”, creating a ‘network society’ (Varnali & Gorgulu, 2014:3) where everyone is interconnected in an online world. The realm of ‘imagination’ has shifted from being exclusively for the artistic, mythical and ritualistic space and has become the domain of the ‘ordinary people’ (Appadurai, 1990:5). Presuming that the South African participatory culture has evolved in the same way as explained by Delwiche and Henderson (2013), one would expect to see the same level of citizen engagement in the South African media

26 sphere. However, as discussed in the previous section, South Africa has been slow to provide internet access to a large portion of the population and it can be presumed that this is the reason why participatory culture and fandoms are not as prevalent and obvious in South Africa as in countries like America and Europe. It is therefore important to look at the level of engagement that South African media users have with both the programming itself as well as the community surrounding it. Fandoms are an example of a participatory culture and today everyone takes part in some form of fandom behaviour, whether they are aware of it or not. Due to the growth in internet technology and the fandoms that grew because of it, fandoms have become increasingly more important in the last few years because of the complexities of the communities and their adoption of ever-changing technologies. The next section will be looking at the history of fandoms as well as fandoms studies.

Fandom has a long history which predates the era of internet connection or convergence culture. Fandoms are perhaps one of the best examples of a participatory culture. McCudden (2011:2) states:

The “participatory culture” of fandom that Jenkins described as a fringe subculture in 1992 is now increasingly part of the mainstream: “Fan fiction6 can be accessed in astonishing quantities and diversities by anyone who knows how to Google. Media producers monitor Web forums such as ‘Television without Pity,’ planting trial balloons to test viewer response, measuring reaction to controversial plot twists” (Jenkins, 2006:2).

Accordiingy, today most people are knowingly or unknowingly taking part in some or other form of fandom. As stated in the beginning of this section, fandoms are groups or communities that form around the love or appreciation for a specific cultural artefact (Gooch, 2008:3), but fandom does not only exist in the realm of literature and film, it spreads across a variety of interests and passions. The history of fandom, to the point where it is today, can be most easily traced through the science fiction and fantasy genres (Gooch, 2008:3). According to Baki (2014:16) the first modern fandom was formed in the “late Victorian era in England, when a constantly growing group of people shared common obsession over Sir Arthur Conan Doyle’s stories of Sherlock Holmes”. However, fandom did not reach its ultimate height before the release of the science

6 Fan fiction refers to written works produced by fans themselves, based on the work of an original creator and always showcasing imagined stories or extensions of the original plot and characters (Gooch, 2008:16).

27 fiction television show Star Trek (1966). Fans of the show became so devoted that they were dubbed “the trekkies” and after Star Trek (1966) another large science fiction fandom surrounded the film series Star Wars (1977) and Doctor Who (1963). Fan culture evolved to the point where fan communities developed their own “language” or “lingo” which only those who are devoted to the fandom understand and this culture has also created individual rules, hierarchies, fan arts7 and fanfiction (Gooch, 2008:3), which will be discussed in more depth in the following sections.

Due to the growing number of fan communities, both on online and offline platforms, fandom studies became more prominent. Fandom studies fall within the field of audience research and focuses on media fans and fan culture. Henry Jenkins is one of the most renowned theorists within the field of fan studies. Jenkins (2017:3) argues that fandoms exhibit the same characteristics as participatory culture groups. Such groups share, communicate and organise on a variety of platforms, allowing participants to participate with low barriers to artistic expression, and members feel they can contribute to the group and that their contributions are appreciated. These are the same characteristics Jenkins uses to describe participatory culture and it is on these characteristics which the theoretical framework for this study will be based.

The history of fandom studies can be traced back to three distinct periods. The first of which is the “historical summary of fandom (1950s-1980s)”, second is the “rise of media fans (1990 to 1999)” and finally the “advent of cyber-fandom or fandom through the use of the internet (2000 to present)” (Gooch, 2008:4). First-generation fandom studies were much broader than it is today and focused more on literary texts. One of the leading theorists in early fandom studies was the historian Harry Warner junior, who himself was part of the fandom community and who wrote two of the most influential early texts on fandom history. These texts where All Ours Yesterday (1969) and A Wealth of Fable (1992), which covered fandom history of the 1940s and 1950s (Gooch, 2008:4). During the second period the focus was more on the study of fandoms surrounding visual texts, especially fans of science fiction films, as explained above. These fans became known as “media fans” (Gooch, 2008:7). The second

7 Fan art is an artwork whose subject is a character, scene, or setting from the text created by an original creator and is usually created through traditional art methods such as painting or sketching, but has recently begun to include computer-generated images (Gooch, 2008:17).

28 generation of fandom scholars noticed an increase in interaction between the producers of media content and their fans. John Tulloch, a second-generation fandom researcher, looked at the relationship between the producers of television and the television audience focusing on fan power and authority over media producers and media content (Gooch, 2008:8). What also became apparent in second generation fandom studies was the growing number of female fans. Where it was previously believed that fandoms were male dominated, now scholars realised the enormous role women play in the creation of fandoms, especially in writing fanfiction; for this reason this research will also be focusing on female fans in South Africa. The third generation of fandom studies is currently still being developed. This generation focuses on “cyber- fandoms” and how new internet technologies have helped and changed the way fandoms operate. Henry Jenkins, in his book Fans, Bloggers, and Gamers: Media Consumers in the Digital Age (2006) is one of the first works to look at cyber-fandom. In his work Jenkins (2006) calls fans “textual poachers” because they take images, ideas, characters and plots from pre-existing, copywrited works and re-create them in fanfictions, fan videos and fan art. However, instead of being regarded as a form of stealing, poaching is seen in a positive light and illustrates that fan communities are hard-working and dedicated to their favorite media texts (Gooch, 2008:11). This research is positioned between the second and third generation of fandom studies as its focuses on the emergence of fandom culture in South Africa, with an emphasis on visual texts through the medium of television. It also looks at the way selected female, South African television viewers engage with fandoms in the online sphere.

The online fandom platform Wikia is one of the most popular platforms for fan communities to create a knowledge base about their favorite programme, its characters, storylines and to interact with one another (Feleki, 2016:57). Feleki (2016), in the study Wikia Fandom Craze: Connecting, Participating, Creating, and Re- negotiating Boundaries, looked specifically at how online platforms such as Wikia influence and change the way fandoms operate. Dunlap and Wolf (2010:271) agree that platforms like Wikia are enabling people to search and understand various fandoms and that the “mundane” people are becoming active users and producers in various fandoms. After a basic google search (2018) for South African television fandoms, a search which included the keywords “Uzalo wiki fandom”, “Generations Wiki Fandom”, “The Queen Wiki Fandom” and “7de Laan Wiki Fandom”, it was found

29 that only one South African television show amongst the above-mentioned searches has a Wikia fandom page. 7de Laan (2000-) has a registered Wikia page, however this page is very sparse and it is clear that the page is not regularly updated or engaged with by fans (7de laan wiki, 2018). This is alarming because it is in this online sphere where fandoms have found their home. Because of high data costs and inaccessibility to internet technology, South Africa’s ability to participate in the online sphere comes into question.

2.3.2. New media technologies, cyber-fandom and user-generated content

According to Jenkins (2006) and Pearson (2001), the defining line within the field of fan studies is between “predigital and digital” era fandoms. The changing technological sphere has led to a “convergence culture” where television viewing, interacting on social media and watching programming on any number of different platforms are all happening at once (Spanò, 2016:626). Hence, the advent of digital and internet technology has had a profound impact on the way fandoms operate and has transformed fandoms into “digital fandoms” where fans can be part of a unifying group, regardless of place of living, age or gender (Baki, 2014:13). According to Stamps (2014:36), fandom communities have members who feel that they can “influence the community”. Yet, in a digitally competitive world where Third World countries, like South Africa, struggle to keep up with ever changing digital and internet technology, is this a valid statement? The increase in digital technology and access to online video and other media content has created what is known as “just in time fandom” (Jenkins, 2006:141). If a fan is unable to participate in online conversations while watching their favourite programme or stay up to date with spoilers and new fan-created content, they are left behind or left out. McCudden (2011:13) argues that being a fan of media content no longer just means that one watches the show religiously; to be a true fan one must “do more than just consume a cultural object or text. It requires a degree of activity”, meaning that for a person to be considered a fan in the digital age, they must comment online, contribute to the knowledge base of the fandom community and create fan content. According to Qwerty (2017) only 27% of the South African population makes use of social media. Social media-based fandoms are the main hub for online fan activity. Hence, in a country where only a handful of people have access to social media platforms, what effect does this lack of access have on their ability to

30 interact and compete in the digital fandom sphere? The television audience’s ability to access and interact with online fandoms becomes an important point of inquiry for this study.

The fan content, which McCudden (2011) refers to above, is what is known as user- generated content. With the growth of participatory culture and new internet technology also came the era of user-generated content (UGC) which existed long before the growth of internet technology, but which has become more prevalent and easier to distribute because of the internet and social media. UGC refers to any form of cultural artefact created by everyday citizens within participatory groups which has been “made publicly available over the internet; reflects a certain amount of creative effort; and content that is created outside of traditional professional routines and practices” (Napoli, 2010:78). It has been established that fandoms engage in the same type of behaviour, which McCudden (2011:19) calls “poaching”, but which can also be referred to a “remix”. Remix culture has become a norm within fandoms, and it includes practices such as fan videos, “mash ups”, or cutting and mixing of their favourite scenes in commemorative YouTube videos, fanfiction and gifs (a format for image files that supports both animated and static images).

The practice of remix, or UGC, has become so intertwined with fandom that Stamps (2014) suggests that one cannot be considered a true fan without being part of the remix culture. According to Jenkins (2006:141), remix culture has become part of fandom to such an extent that it has become a symbol of the fan’s “devotion” to the fandom, once they create new content or engage with the fandom whilst their programme is airing. This behaviour is based on a hierarchy of ‘geekiness’ where some fans feel they are ‘more’ or ‘less’ geeky than others, determined by the way they consume and interact with various cultural artefacts (Stamps, 2014:16). For example, when it comes to science fiction and fantasy works, fans who are devoted followers of a book or television series who engage online see themselves as less geeky than fans who read comic books or watch non-subtitled Anime. Fanfiction writers who elaborate on the original plot see themselves as less geeky than fans who write erotic fanfiction or those who include themselves in the story (Stamps, 2014:17). These levels of geekiness also represent a hierarchy of fandom where those who engage more with

31 the cultural artifact, make more fan art and those who are more entrenched in the community are seen as ‘more of a fan’ than those who just watch the show religiously.

Studies also show the extensive reach of transcultural fandoms as a result of internet technology, where Japanese fans collaborate with American fans to ensure the swift underground circulation of Anime series or Hong Kong films, to the point where fans even subtitle episodes or films themselves to ensure that fans all over the world can understand and enjoy the video content (Jenkins, 2006:141). This form of peer-to-peer file sharing has raised a lot of debate around the rules of copyright law as this form of user-generated content, which uses the characters, images and ideas of an original creator, is classified as poaching or stealing (Baki, 2014:19 & Jenkins, 2006:141). However, UGC and poaching has become an accepted norm within fandom communities and is mostly condoned by the original creators as a form of status gain and appreciation for their work (Grossman, 2011:2). However, copyright issues aren’t the only restrictors fandoms have faced over the years. In their article Fans Behaving Badly: Anime Metafandom, Brutal Criticism, and the Intellectual Fan, Dunlap and Wolf (2010) discuss the behaviour of Anime fans in relation to sex and sexual expression in fanfiction works. For a long time, fandoms did not condone the sexual exploitation of characters or the combining of unrelated characters in some form of sexual way. However, in recent years this form of sexual “relationshipping”8 has become more popular especially within fanfiction writing. Grossman (2011:7) argues that fanfiction is “hyperdiverse” in terms of race, age, nationality and sexuality and this allows fans to recognise themselves in the characters and in other fans in the community. Hetcher (2009:1903) even goes as far as to say that this mashing of sexualities in fanfiction allows fans, especially those who are marginalised, to explore their unique sexual identities in a safe, supportive environment.

Because of the variety of uses and positive influences of user-generated content on fandom communities, it becomes and important field of study in terms of how South African fans have been creating and distributing UGC and the effect of this content on their fandoms and their identities. Hence, this study will aim to establish whether

8 The romantic pitting between two characters, no matter if they are in a relationship in the storyline or if the relationship is created or envisioned by the fans (Larsen & Zubernis, 2012:1)

32 selected female, South African viewers engage in some form of fanfiction writing or UGC, whether it be in the same way international audiences create fan work or a uniquely South African form of creating and sharing. A search of South African fandoms and UGC showed no previous research on how South African fans create and distribute UGC within their fandom communities. However, there has been some research over the past few years looking at the effect of UGC on product purchases and sales in the South African marketing and advertising industry. Dian Demba (2016), in her masters thesis The influence of user-generated content on brand trust and purchase intention: A South African perspective, aims to shed some light on the importance of user-generated content in creating sales and assuring longer-lasting relationships with consumers, especially within a South African context. She states that: With the increasing development of new technologies, organisations are encouraged to integrate these new technologies into their business model in order to be competitive and respond to consumers’ quick adaptation. Today, consumers drive organisations’ strategies across most industries including electronics. (Demba, 2016:iv).

This highlights an important gap within the television and media industry in South Africa as well. The lack of research on the effect of user-generated content on South Africa television industry and the fandoms surrounding it shows that not enough attention is being paid to the impact fans can have on a programme’s success. It would thus be important to look at the types of UGC the participants in this study create, if they do create any, and how these creations influence their interaction with the programme and the fandom surrounding it. Demba (2016:v) suggests that “marketers get to know online audience and learn to engage consumers as well as find an opinion leader or influencers to endorse the brand”. On an international fandom level, it has been established that content creators and channel producers rely on fan-created content to advertise and grow the community surrounding their programmes. However, based on the lack of research on the topic in South Africa, one can assume that South African media industries have not taken full advantage of this medium of fan audience engagement.

Micheal Scarth (2016) in his Masters thesis, The Influence of social media communicating on South African millennial consumer purchase intentions of vehicle brands, also looked at how social media communication and UGC influenced South

African millennials’ purchasing choices in terms of vehicle brands. He found that UGC did not necessarily have a direct impact on costumers’ choice of a car brand; however, UGC did influence the costumers’ overall positive opinion of the different brands of cars. This indicates, once again, that UGC does influence the way people interact and perceive media messages as well. Geldenhuys (2017), in an article on what South African brands are accomplishing on social media, also highlights that South African brands have started making use more of UGC to get consumers more “deeply involved and invested in the brand channel”. Hence, there have been investigations into the effects of UGC on marketing and branding. However, there has not been any inquiry into the use of UGC within the television fandom sphere. This study will therefore aim to shed some light on how UGC is created, distributed and utilised within the local fandom sphere.

2.4. Theoretical framework for this study

The previous sections looked at studies done on fandoms and fan communities internationally and locally and it was established that local studies are almost non- existent and that evidence of online fandom behaviour, in the traditional sense9, is also sparce. This study will apply the theories set out by Jenkins (2017) and Stamps (2014) to establish the level of fandom interaction, both online and offline, of selected female, South African television viewers. The reason for implementing these theories is partly due to the lack of research on the topic in South Africa, but also because of Jenkins’ position as a ‘father’ of fandom studies internationally. Additionally, while Stamps is not as established in the fandom research sphere, his research on online fandom practices highlights many of the trends toward which fandom researchers have been moving in the last few years, particularly with reference to fandom practices moving into the digital sphere. This study will begin by looking at the way in which South African audiences consume and interact with television and other forms of online media and whether these correlates or differs from the television-viewing behaviour displayed by international audiences and other African audiences. Based on their viewing behaviours, Jenkins’ (2017) characteristics of participatory culture will be applied to the selected samples of television-viewing practices in order to establish

9 Fans creating online pages like Wikia to engage with each other.

34 whether they do “participate” in a shared culture surrounding their favourite programme. The five characteristics of participatory culture on which the initial fandom behaviour will be judged are: (1) Whether the individual feels “some degree of social connection” with other “fans” of their favourite programme; (2) Whether the members feel that they can contribute to the fandom or the community (either by commenting on fan pages or creating fanart); (3) The individual feels that there are “relatively low barriers to artistic expression and civic engagement”; (4) The individual feels that there is “strong support for creating and sharing one’s creations with others” within the fandom, and finally, (5) Whether there is “some type of informal mentorship whereby what is known by the most experienced is passed along to novices”. These characteristics can be applied to both pre-digital and digital fandoms and are thus ideal for a South African audience where digital fandom is still a challenge.

Because of changing internet technology, the traditional characteristics of fandom as set out by Jenkins have become even more complex. Stamps (2014:19) created a model of “how fan communities create norms and values for their members” and for themselves, by combining Palme’s (2000) theoretical contribution of group dynamics, Jenkins’ (2012) model of fan communities and Putnam’s (2011) theory about fan engagement (Stamps, 2014:19). According to Stamps, a fan is not truly a fan unless they actively participate in online fandom communities, therefore Stamps’ model is regarded as representative of what an ideal online fan would look and act like. The model consists of four “levels” of fan engagement in online fandom, each level (moving in a downward fashion) making a fan more and more committed to the fandom and thus allowing the individual’s normative behaviour to be integrated in the “uniformity of normative behaviour of the community as a whole”. This means that if a fan can conform to all four stages they are considered to be an “ideal online fan” (Stamps, 2014:20). The first of the four stages is the “engaged fan”, who is engaged with a cultural object and also recognises themselves in other fans. Jenkins (1992) elaborates on this concept by stating:

Far from sycophantic, fans actively assert their mastery over the mass-produced texts that provide the raw materials for their own cultural productions and the basis for their actions. In the process, fans cease to be simply an audience for popular texts; instead they become active participants in the construction and circulation of textual meanings.

Thus, the selected female South African television viewers will be judged based on their level of interaction with the fandom surrounding their favourite programme. However, the participants may or may not even be aware of their behaviour, or that their behaviour can be considered fan behaviour.

The second level of ideal online fandom is the “advocate fan”, who shares the same opinions as the group. McCudden (2011:15) describes this as “meaning sharing” which highlights the moment when “the fan moves his or her thoughts from their own heads to someone else or into the shared space of a fan community”. This also correlates with one of the five aspects of participatory culture as set out by Jenkins (2017), that there is an “informal mentorship whereby what is known by the most experienced is passed along to novices”.

The third level of ideal online fandom is the “purchasing fan”, who consumes and shares knowledge about the fandom and also engages in purchasing fandom merchandise. This is described by McCudden (2011:21) as “knowledge building” where “fans seek to amass knowledge about their object”, usually through fan pages such as Wikia where they can collect and store an entire system of knowledge on an online platform for all the fans to access. This is perhaps the point where South African television fans might fail, based on the general search for fandom pages mentioned in the previous section which illustrated a lack of “knowledge building” surrounding South African television programmes.

The final stage of the model is that of the “super fan”. This fan engages in all the above- mentioned levels and is fluent in the fandom “language” and norms. What makes the “super fan” unique is that this fan “preaches” and spreads knowledge and love for their fandom, hence inviting others to participate. This means that the super-fan not only shares knowledge about the fandom with other fans, but also with non-fans, enticing them to watch a certain programme or to join the programme’s Facebook page in order to stay up to date with new events and spoilers. It is based on these theories set out by Jenkins (2017) and Stamps (2014) that South African television viewers and fandoms will be judged and based on their applicability to these models, a new, uniquely South African television viewing and fandom model might need to be developed.

2.5. Conclusion

In this chapter, studies on television audiences and fandom studies were discussed with emphasis on the effect of new media and internet technology on both television viewing practices and fandom practices. It has been established that research on South African audience, both in the field of television audience studies and fandom studies, is extremely limited, thus the television practices and fandom practices of international audiences as well as audiences from other Third World countries was discussed. While the United States of America and other first world countries have long been part of the online video and fandom community, studies show that Third World countries like South Africa, Nigeria and India still remain avid television watchers, with a low percentage of the population making use of online video platforms and consequently, online fandom platforms. Due to this lack of local research, the theoretical framework for this research will be based on the theories of Henry Jenkins (2017) and Tim Stamps (2014) in order to compare selected female South African television viewers’ fandom behaviour compared to that of an international audience. This comparison will aim to shed light on the accessibility and interactivity of South African audiences to both local and international fandoms, surrounding both local and international programming. This analysis will also dictate whether a uniquely South African fandom model is needed to describe the fandom practices of selected female, South African television viewers, their television viewing practices and their behaviour within television fandoms.

CHAPTER 3: METHODOLOGY

3.1 Introduction

In the previous chapter it was established that research on South African television audiences and the fandoms surrounding those audiences is extremely limited. Hence, the aim of this study is to shed light on the ways in which selected female television viewers consume television and, consequently, how they operate in the fandoms surrounding their favourite television programmes. Against this backdrop, the central research problem is: How do selected female television viewers in Johannesburg, between the ages of 19 and 25, interact with television programmes and the fandoms surrounding those programmes, in offline and online spaces?

The research problem will be examined through consideration of the following research questions:

1. How do selected female television viewers consume, and interact with local and international television programmes in online and offline spaces?

In terms of the television consumption habits of South African audiences it has been established that the most prevalent form of media consumption in South Africa is found in television viewing, especially among South Africans older than fifteen years. 97% of television viewers also indicated that they still watch television at home or at someone else’s home. It has also been established that television viewers, especially in lower income and rural areas, still conform to traditional television viewing schedules. This means that a large portion of the South African population still sit down to watch a scheduled television programme every day (Tager, 2010). Uzalo (2015-) remains the most viewed primetime television programme based on 2019 statistics.

Based on research by Strelitz in 2005, South African youth still prefer local programming over international programming and the ways in which these viewers make use of media is very much influenced socio-economic situation and their access to information technologies. In some African countries, as well as India, online video streaming platforms seem to be gaining favour with more and more audiences acquiring access to basic television programming. However, this is in contrast with the decline in traditional television viewing practices in America which are shown to be losing favour. Studies show that an increasing amount of people are moving from traditional television sets and scheduled programming to online video streaming platforms such as Netflix and Hulu. In South Africa, there also seems to be a shift towards online television streaming platforms, with emphasis on Showmax and Netflix. However, these forms of consumption are not nearly as popular as scheduled television broadcasts, and these online television platforms are also only accessible to those who have access to internet connection, which excludes the larger portion of the population.

This disparity in internet connection can also result in a gap in interaction in online fandom communities, which could be an explanation for the lack of research or knowledge on the topic in South Africa. It is also likely that, due to the cap in internet connection between different income levels in South Africa, the participants’ access to television and internet technology will result in a distinguishable gap between those who have regular access to internet technology and those who do not, as well as between those who watch local programming and those who watch international programming. And, as was discussed in section 2.2.4, the high cost of data in South Africa is also influencing South African viewers’ ability to consume international programming which is streamed via internet video platforms. Hence, based on these findings, the hypotheses for this research is that the participants in this study still conform to traditional television viewing schedules and that most of the participants consume television programming screened on a television set. It is also assumed that, due to lack of internet connection and high data prices, the participants in this study have difficulty consuming international television programming only available on online video streaming platforms.

This research assumes that the lack in research and general knowledge on South African fandoms is due to the lack of online interaction by television audiences in South

Africa. This lack of online interaction, both in terms of online television consumption as well as interaction in online fandom groups, can be attributed to the fact that South Africa is one of the countries with the highest data prices in the world. Additionally, as stated in section 2.2.4, only 27% of the South African population make use of social media, which is the main driving force for online fandoms. Hence, this research assumes that there is a lack in fandom practice among South African television viewers due to high data costs, which restrict online fandom interaction. Additionally, local television broadcasters and creators are also not creating an environment which allows for rich fandom interaction. As stated by Van der Merwe (2012:54) the creators of 7de Laan (2000-), in order to avoid online discourse, do not allow viewers to comment on the events of the story. Hence, in terms of research question one and two, there is very little existing research on the fandom practices of South African television viewers. There are also no indications showing that selected South African television viewers are or feel part of a sharing and interactive “community” surrounding their favourite programmes.

Despite high data costs, South Africa was found to have one of the largest telecommunications markets on the African continent, with almost 20.3 million mobile phone users (The Research Council of South Africa, 2017). In a population of approximately 55.9 million people, there are over 21 million internet users, which means that 40% of the South African population is making use of growing internet technology (Goldstuck, 2017). However, despite these high levels of interaction with media technology, South Africa is still struggling to get its citizens connected to the online sphere. Thus, South African television viewers’ ability to interact in online fandoms comes into question.

Research question three focuses on South African fans and their adoption of user- generated content, about which there is also a lack of research in South Africa. In section 2.3.2 it is stated that there has been research on the effect of user-generated content on the marketing and advertisement industries in South Africa, however no research has been done on how user-generated content is created and distributed within television fandoms. The assumption is therefore that, due to the lack of knowledge on fandoms in South Africa, the participants in this study might not be aware that they are or do form part of large international fandoms and that their behaviour offline and online, in relation to their favourite programmes, could qualify

40 them as fans. Hence, this research aims to establish whether selected female television viewers exhibit any traditional characteristics of fandom as defined by Jenkins (2017), which they might just not be aware of or whether high data costs and local television viewing practices have resulted in uniquely South African fandom practices.

In the following sections the methodological orientation of this study is discussed, as well as sampling methods, data collection and data analysis methods used, with specific emphasis on the outcomes and challenges of the pilot study and the eventual outcomes and challenges of the large-scale survey and interviews. The reliability and validity of this study is also discussed.

3.2 Methodological orientation

The study followed an interpretive approach to research as it aimed to do an in-depth examination of the television viewing habits and consequent fandom practices of a group of female South African television viewers and how they make sense of and interpret their television viewing behaviour, particularly behaviour that is associated with traditional fandom practices. The use of an interpretative approach was especially helpful in the case of this research problem due to the lacking number of studies focusing on South African television viewing behaviour and the even more sparse number of studies on South African fandoms. According to Bill Pelz (2019) interpretive studies are “well-suited for exploring hidden reasons behind complex, interrelated, or multifaceted social processes” and what makes this approach useful for this study is that interpretive studies “are often helpful for theory construction in areas with no or insufficient prior theory”, which is the case with this area of study. This research approach was also helpful in raising relevant research questions which may be of use in follow-up research as television viewing practices and technologies continue to shift and change.

However, despite the positives of this form of research there are some drawbacks to interpretive research which had been taken into consideration while conducting this research. For example, “all participants or data sources may not be equally credible, unbiased, or knowledgeable” (Pelz, 2019). Due to the lack of studies on fandoms in South Africa, one can assume that the participants of the study also have little

41 experience or knowledge of fandoms, especially online fandoms, thus it was imperative to describe and explain the different terminology used in the survey as well as in the one-on-one interviews to the participants beforehand. This has been done by adding in a terminology section to the online survey which describe the words ‘fan’, ‘fandom’ and ‘fan art’ as they have been defined throughout the literature review. It is also important to note that, due to the contextualised nature of inferences drawn from interpretive research, it would be difficult to replicate or generalise the findings to a larger population.

The study made use of a mixed-method approach to data collection and analysis, using both qualitative and quantitative techniques to study and analyse the selected television audience. Quantitative data was collected in the form of a survey wherein participants answered predominantly closed-ended questions relating to the frequency and nature of their television viewing habits and behaviour relating to traditional ideals of fandom and interactive fan characteristics.

The research also has qualitative aspects as it describes and interprets the audience’s self-reported television viewing behaviour and consequent fandom behaviour using one-on-one interviews, which were used to gain better understanding and in-depth analysis of the findings of the survey. The survey served to establish if any form of fandom practices occured before, during or after the participant consumed their favourite programme, whether they were aware of this fan behaviour or not. It also touches on some of the aspects of ideal online fandom as described by Stamps (2014). The aim of the one-on-one interviews was thus to delve deeper into the answers given in the online survey, with specific emphasis on the actions and behaviours participants might not be aware of which might qualify them as ideal online fans as per Stamps’ (2014) model. Another important reason for the one-on-one interviews was to establish whether South African television viewers and fans interacted differently than those of international fandoms. Whereas the survey focused on identifying traditional fandom behaviours, the interviews were aimed at bringing to light any unique or new fan behaviour which could be described as ‘uniquely South African’. The questions for the one-on-one interviews were only established once 10 surveys, for the purpose of the pilot study, had been completed and analysed. The reason for this was first to establish, through the online surveys, whether a sufficient number of fans with recognisable fan behaviour could be found within the population group specified for

42 this study. The second concern was whether the one-on-one interviews would be necessary if the online surveys did not indicate adequate fandom behaviour or did not point to any unique fandom characteristics which could be further explored through in- depth interviews. However, after analysing the responses from the surveys conducted as part of the pilot study, it was concluded that there were indeed characteristics of fandom behaviour in need of further exploration through one-on-one interviews.

The advantages of a mixed methods research design were that the data collected through quantitative analysis provided precision while qualitative analysis filled in the gaps and provided a more complete range of research questions and answers. It also gave a “voice to the participants” in a way that quantitative methods do not, being more ‘flexible’ and providing more comprehensive data (Pelz, 2019; Wisdom & Creswell, 2013:3). This method of research, however, might prove difficult for one researcher to conduct because it requires a lot of hands on analysis of many different forms (Johnson & Onwuegbuzie, 2004:21). Mixed methods research also leads to complex evaluations which require more resources (Wisdom & Creswell, 2013:4). However, this study’s data collection and analysis was simplified by using Google Surveys which compiled and graphed the research findings on behalf of the researcher. The one-on- one interviews were also easily transcribed due to each interview being recorded; thus, the researcher was able to play back the interviews for later review and for better precision during transcription. In the instance of this study, the mixed methods approach helped to delve deeper into the unique nature of South African fandom behaviour which also raised more topics of interest which could be considered for further study. These topics will be discussed in more depth in the findings section.

3.3 Population group and sampling

The selection of this study’s population group was purposive as the population group which was studied was pre-determined by research on South African television audiences conducted by the BRCSA in 2017. The population group consisted of women living in Johannesburg, South Africa, who were between the ages of 19 and 25. The Broadcast Research Council of South Africa (2017) looked at the media usage of 37.1 million adults across the country. The survey found that women between the ages of 15 and 25 were the most active television viewers and that these viewers lived

43 in the large metropolitan areas of South Africa. This study utilised these findings by making the population group described above its focus of study, excluding those who were underage in order to avoid additional time consumption and limitations that apply if parent consent must first be acquired for underaged participants. This includes lengthy periods of time waiting for parental consent or having to alter interview questions which parents do not agree with or want excluded from their child’s interview. The initial aim was to further narrow the population group to black women, however after careful consideration the population group was broadened to include women of all races living in Johannesburg. The reason for this was due drastically differing levels of access to television and internet technology among South Africa’s socio-economic groups. The differences in television viewing practices, preference for local to international programmes, et cetera, would also provide a much richer population for study if the population group was broadened.

3.4 Data Collection Methods

From this population group, the initial aim was to collect a sample of 100 participants to part take in an online survey, which was identified as the average sample used in similar studies (Agirre, Arrizabalaga and Espilla, 2016; Smith, 2011). However, during the pilot study period it became apparent that acquiring the selected amount of participants would be extremely difficult, due to the newness of the research topic being studied, the paucity of previous research on the topic in South Africa and the seclusion and invisibility of the South African ‘fans’ which were needed for the study. The online survey was released on 28 February 2019. After a period of two monthswith the survey being active and various attempts made to contact participants to complete the survey, it was decided to lower the sample number for the survey to 50 participants in order to get a smaller, but richer sample for study.

For the selection of these 50 participants, non-probability sampling was employed as it is the most common sampling method among studies which make use of the mixed method approach as well as studies which reply on pre-exiting research and theories (Andò, Pizza & Corsini, 2016; Lund Research Ltd, 2012; Smith, 2011; Van der Merwe, 2012). In order to gain access to a wide variety of participants, the sample for the online survey was accessed using snowball sampling, which is common for studies of

44 this nature (Smith, 2011; Stamps, 2014; Tager, 2010, Van der Merwe, 2012), to find participants within the 19–25 age group using social media, direct emailing and word of mouth. The reason for this method of sampling was due to the large population group from which a sample needed to be collected and the mysterious seclusion of the fans which needed to be studied. Although snowball sampling lies on the “margins of research practice”, Atkinson and Flint (2001) argue that snowball sampling “offers real benefits for studies which seek to access difficult to reach” or urban populations. This form of sampling has also been proven helpful in studies where pre-existing research is limited and where there is no existing list of participants to choose from (Atkinson & Flint, 2001:1), as was the case in this study as there has not been any previous research on the existence and practices of fan communities in South Africa with relation to television programming. Another benefit of snowball sampling is that “trust may be developed as referrals are made by acquaintances or peers rather than other more formal methods of identification”, and snowball sampling has also been found to be economical, efficient and effective over a wide range of study fields. Although snowball sampling does provide an easy, cost efficient way to locate and connect with participants, the potential for sample bias is high and the findings based on the sample group can thus not be easily generalisable to the larger population.

Sampling for the survey segment of the research was conducted by identifying social media sites related to the most viewed local and international television programming. Participants were asked to participate on these social media sites and asked to spread the word though platforms such as Twitter, WhatsApp and Facebook. The social media sites on which a notice of the study was posted, were the Facebook and Twitter pages of the most popular local soapies (McKane, 2018) Uzalo (2015–) and Generations: The Legacy (1994–). Fans who interact regularly on these fan pages were also contacted and asked to circulate information about the study to other fans who fitted the population group. There was very little reaction to the survey after a notice asking page users to participate in the online survey had been posted on the above-mentioned sites. The reason for this is presumed to be the negative connotation attached to participating in online surveys. After speaking to other social media users, it was concluded that asking participants to simply take part in an online survey, without adding any form of reward or without making it personally important to the participants, would not be possible. The researcher then changed the call for

45 participants to a call for fans of popular international and local programming. This was done by asking fans of Shameless (2011-), Game of Thrones (2011-2019) and other local soapies to make themselves known and then individually contacting those who did confess to being fans of the programmes posted. Community pages on Facebook were also identified as an effective way to gain access to participants who met the criteria of the population group and thus the sample of participants was broadened further by contacting participants via community groups, rather than just contacting those who subscribe to the social media pages of local television programming. Hence, notices of the study with a link to the online survey or posts calling for specific programme fans were posted on the Roodepoort, Weltevreden Park, Sandton, Westdene, Sophiatown and Randburg Facebook community pages to which the researcher already had access and participants were again asked to invite other interested parties to participate.

The use of social media sites is most efficient because of the high rate of cell phone usage in South Africa, where it has been established that 18.58 million smartphone users use their smartphones mostly to access the internet and social media sites (Statista, 2018; The Broadcast Research Council of South Africa, 2017). Hence, by contacting participants via social media sites, participants are accessed immediately, wherever they are, and they can easily share the study information with friends and family via social media.

Although online surveys allow for wider, cost effective access to participants, online surveys do run the risk of producing skewed data because only those with access to the internet would be able to participate in the online survey (Research LifeLine, 2012, Rice, Winter, Doherty, & Milner, 2017). However, the large quantity of cell phone users in South Africa rendered this less of a factor, as explained in the literature section. Consequently, if the online survey was made accessible to cell phone users, the issue of online access would be diminished. The benefits of online surveys outweigh the negatives because online surveys offer a useful platform for quick and easy pilot testing, data collected is automatically tabulated and categorised and only “acceptable” answers are allowed, thus reducing the chance that participants might deviate from the line of questioning. This method also allowed the researcher to provide the participants with links to explanations and definitions which could help the

46 participant answer the survey questions more accurately, thereby improving validity (Fink, 2006).

In the online survey participants were also asked to provide links to their social media feeds or examples of their posts on different fan pages, to allow the researcher to observe the participants’ behaviour and interaction online. However, very few of the survey participants added links to online fandom pages to which they subscribe and it also became clear that a large number of the participants followed online fan pages, but did not interact or commented on them themselves, making further study of the participants’ individual online behaviour unnecessary. During the one-on-one interviews the researcher was able to gain access to a small number of participants’ online fandom communities and fan art, from the small group who did in fact indicate that they did interact online, which will be discussed further in chapter 4.

In the second phase of this research, selective sampling in the form of judgment or purposive sampling was implemented in order to select a sample of 15 participants from those who, in their surveys, displayed the most characteristics of traditional fandom practices or those who displayed unique interactions with television programming and the fandom surrounding it. The basis for selection was drawn from the theories provided by Jenkins (2017) and Stamps (2014). In their study, Watching television today: A comparative survey of Italian and American students’ habits in front of television, Andò, Pizza & Corsini (2016:288) made use of an online survey combined with in-depth interviews based on the participants’ survey answers. This method allowed them to gain a much deeper understanding of the data collected in the initial survey and many unexpected anomalies came to light which did not appear in the quantitative survey. Because of the lack of research on fandoms and the seeming lack of understanding around fandoms and fandom practices within the general South African population, one-on-one interviews allowed the researcher to establish hidden or underlying fandom practices which the participants themselves might not have been aware of and which was not evident in the online survey. The questions for the interviews were based on the answers given by the participants in the online survey, as well as those answers which indicated any unique television viewing or fandom behaviours which did not fall within the traditional description of fandom behaviour. The focus of the interview questions was for the participants to explain in more depth how, when, why and with whom they watched television or other

47 online video content. From that information an indication of the participant’s basic fandom behaviour was drawn with further questions focusing on the ways in which the fan communicated and shared programme information with other people who also shared interest in the same shows. This was done to determine whether South African fans shared and interacted in the online fandom sphere at the same level as their international counterparts, or whether South African fans shared and communicated differently when it came to the series and programmes they were fans of.

These one-on-one interviews were recorded and transcribed after which the questions and answers were tabulated according to those behaviours which fitted existing fandom practices, as described by Jenkins (2017) and Stamps (2014), and those practices which were unique to the South African audience.

3.5 Pilot study

For the purpose of the pilot study, posts with links to the online survey were posted on the Weltevreden Park Community Facebook page as well as the Uzalo (2015–) Facebook page, inviting 10 participants to part take in the online survey,thereby analysing the effectiveness of using programmebased social media sites versus using community Facebook pages. From this group, three people who exhibited the most prominent characteristics of traditional fandom practices were selected as well as any participant who illustrated any unique television consumption and fandom behaviour. The online survey was released on 28 February 2019. A week after the survey’s release, the online survey had only gotten one reply. The researcher then decided to also post links to the study on the Randburg, Sandton and Sophiatown Facebook community pages, as well as to directly email participants who met the criteria of the population group, asking those participants to forward the link to the online survey to family and friends who fit the population group. Finding participants for the online survey proved difficult, as explained in the sampling and data collection section of this chapter. This difficulty in finding participants could be ascribed to the seclusion of the fandom community in South Africa and the lack of previous research and audience numbers on the topic.

In the three one-on-one interviews the participants were asked a variety of questions to elaborate on their interactions both in the online and offline space before, during

48 and after watching their favourite television programme. The aim of the online survey was thus to establish whether there were any existing fandom practices within the population group, or if South Africa’s lack of internet connection and access to television technology has caused the country to miss out on international fandom groups and communities. The aim of the one-on-one interviews was to establish the extent to which South African television viewers interacted with fandoms both in the online and offline space. The aim was also to further investigate any unique television viewing practices or fandom practices not highlighted by Jenkins (2017) and Stamps (2014). The interviews in the pilot study confirmed the existence of fans in South Africa who conformed to international practices. However, the criteria of participants to be interviewed was changed after the researcher realised that fans who, in the online survey, indicated characteristics of traditional fandom behaviour were very much limited to participants who lived in middle to upper class areas in Johannesburg and who had regular, fast access to internet. It was thus decided to include those participants, who did not fall within that category and who might be exhibiting unique fandom behaviours because of their lack of access to online television media and lack of internet access in general, from the interviews. The criteria for the interviews were thus changed to also include participants who indicated that they did not interact in online fandoms, but who indicated that they did talk about their favourite television programmes with family and friends and who showed fandom characteristics even though it was not in an online space.

3.6 Data analysis

A descriptive, interpretive approach (Elliott & Timulak, 2015) was followed when analysing the collected data. The participants’ answers in the online survey as well as the one-on-one interviews were firstly analysed and discussed based on how they compared to existing theories of fandom. The responses were compared to Jenkins’ (2017) theory of participatory culture characteristics and secondly to Stamps’ (2014) model of ideal online fandom. Because there is extremely limited theory and research on South African fans and fandoms, grounded theory was used to analyse the survey and interview participants’ responses in order to establish a new theory to describe the unique behaviour the selected female participants exhibited in terms of their

49 fandom interaction. Grounded theory is one of various methods within the descriptive, interpretive research approach and it has as its aim to study people’s experiences with a process and to then develop a theory to describe that process (Scott, 2009). For a theory to be grounded it must be generated only from the data collected in the study and not based on other sources, textbooks or the researcher’s own opinion. Prior knowledge on the topic is used “to inform our analysis rather than to direct it” (Dey 1999). Due to the lack of research on fandoms in South Africa, this study used previous research on the topic as a guideline to compare the fandom behaviour of selected female participants to that which is already known about international fandom behaviour. However, due to contradicting behaviour in the way the participants in this study engaged in fandom, the analysis and subsequent development of theory had to be based primarily on the results found in the online surveys and in the one-on-one interviews in order to explain the participants’ unique behaviour. Some of the advantages of grounded theory are that grounded theory provides a “thick description that acknowledges areas of conflict and contradiction” and the theory can “respond and change as conditions that affect behaviour change” (Milliken, 2010:549). One of the disadvantages of grounded theory is that it “fails to recognize the embeddedness of the researcher and thus obscures the researcher's considerable agency in data construction and interpretation” (Bryant & Charmaz, 2007:417). However, methodological triangulation was used in order to reduce the likelihood of the researcher’s personal influence on the results and to ensure the reliability and validity of the study.

The results of the online survey portion of the research were compiled into bar graphs. The reason for compiling the quantitative survey data into bar graphs was to “present data that are too numerous or complicated to be described adequately in the text and in less space” (Slutsky, 2014:67). The statistics of the online survey data formed the basis for the analysis of the post-survey qualitative data collection. The online survey data was categorised and discussed according to the characteristics of traditional fandom as defined by Jenkins (2017) and Stamps (2011). The reason for this was to establish whether selected female participants ascribe to the fandom characteristics, described by each of the authors, in order to gain an understanding of the adaption by South African fans of the practices of international fandoms. The benefits of using bar graphs for this research was a clearer, visual representation of the large number of

50 findings (Jacobs, 2018) which were too numerous to discuss individually. Disadvantages of compiling the data in this manner are that the visual structure employed in creating the graphs might require additional explanation of the data and various categories. However, thick description of each of the graphs was employed in order to reduce confusion.

The one-on-one interviews were recorded and transcribed during which open coding and axial coding were employed to start organising the interview findings into different categories and themes. Open coding refers to the process of “identifying, naming, categorizing and describing phenomena found in the text” and axial coding “is the process of relating codes (categories and properties) to each other, via a combination of inductive and deductive thinking” (Borgatti, 2019). The findings of the interview portion of this research were cross tabulated according to the characteristics of television viewing and fandom practices as identified by Jenkins (2017) and Stamps (2011), with contradicting findings sorted separately from existing patterns. The table was structured as follows: the vertical categories were structured according to the interviewee’s number. The horizontal categories were divided into the participants’ television viewing practices, characteristics of traditional fandom as described by Jenkins (2017), characteristics of ideal online fandom as described by Stamps (2014 and contradicting or unique fandom behaviour. Contradicting themes would be those practices which are not mentioned by the above-mentioned authors or those fans who do not ascribe to the fandom behaviours described by Jenkins (2017) and Stamps (2014). This table was labelled “Tabulated results of the one-on-one interviews” and can be found in Appendix B. A second table labelled “Sampling Schedule for the One- on-one interviews” was also created to distinguish the interview participants in terms of their age, race, place of residence, whether they were working, studying or unemployed, their type and level of television access as well as their level of internet access. This was done to make it easier to establish the individual characteristics which might influence the responses and behaviour of each interviewee. This table can be found in Appendix E. The findings from the online survey and those from the one-on-one interviews were then compared to one another in order to establish whether South African fans conformed to international fandom practices or whether there was a need for a uniquely South African model.

3.7 Reliability and Validity

The reliability of the study, “the extent to which results are consistent over time and represent and accurate representation of the total population under study” (Golafshani, 2003:598), was improved by focusing on the largest population of South African television viewers, namely women in Johannesburg, aged 19–25, in order for the results to be representative of a larger group of South African television viewers and fans. However, due to the nature of the study and the use of non-probability sampling, the findings of this study are not generalisable to the larger population, as there are too many sample biases which would come in with referral-based snowball sampling. However, emphasis was placed on finding participants who are representative of all races and the aim was to select participants equally amongst the different settlement areas in Johannesburg in order to obtain a sample that was representative of the various socio-economic classes in Johannesburg. In order to maintain uniformity among the various participants and their understanding and answers to the topic the same study introduction, education and information about the topic and questions were communicated to all the participants of the online survey and the one-on-one interviews.

The validity of the study, “whether the research truly measures that which it was intended to measure” (Golafshani, 2003:599), was insured through the use of methodological triangulation, “a process of qualitative cross-validation” (Oliver-Hoyo & Allen, 2006), to validate its findings by comparing two different methods of data collection, one-on-one interviews and surveys. The use of mixed methods data collection has been used in various studies of this nature to ensure a more in-depth, balanced representation of the population and theme of study (Andò, Pizza & Corsini, 2016; Smith, 2011; 2011:81). Validity was also improved by comparing the data collected to previous research and theory, namely the characteristics of participatory culture and fandom by Jenkins (2017) and the model of ideal online fandom by Stamps (2014). The use of one-on-one interviews based on existing theory and drawn from participants in the online survey allowed this researcher to better understand and better represent the opinions and behaviours mentioned in the online survey.

3.8 Conclusion

The study was interpretive in nature with a mixed method approached used to collect data through the use of an online survey completed by 50 participants and one-on- one interviews conducted with 15 participants. The initial sample size for the online surveys was determined at 100 participants, however after careful consideration, incuding information that came to light during the pilot study, the sample size for the online survey was decreased to 50 participants. The number of participants for the one-on-one interviews remained the same after the pilot study. The population group from which these samples were drawn were women between 19 and 25 living in Johannesburg, South Africa. Results of the pilot study indicated that South African television viewers did conform to some of the characteristics of traditional fandompractices, however the one-on-one interviews also indicated that South African audiences have had to adapt to unique fandom behaviours due to high data costs, lack of internet connection and an aversion to online interaction. The specifics thereof will be discussed in more depth in the findings section. Data analysis was done using graphs in the case of the online surveys and cross-tabulation according to relevant themes in order to analyse and categorise the one-on-one interview. The validity of the study was increased using methodological triangulation.

CHAPTER 4: ANALYSIS AND FINDINGS

4.1 Introduction

As outlined in the previous chapter, this study made use of a mixed methods approach in accumulating research data. The population group from which the sample of survey and interview participants were chosen, were women between the ages of 19 and 25 living in Johannesburg, South Africa. Most of the women were unmarried and either lived with family or lived in residences on their university grounds or in surrounding areas. From this sample group, a total of 55 online surveys was collected with the use of Google Surveys, over a period of three months beginning in February 2019 and ending in May 2019. The second phase consisted of 15 one-on-one interviews taking place over the period of one month, during May 2019. The candidates for the one-on- one interviews were chosen based on their answers in the online survey. Due to transport and time constraint issues, many of the interviews were done via Skype video calls or WhatsApp video calls, to ensure that there was still visual contact with the participants so that the researcher could take cues from their facial expressions. Five of the interviews were done in person, either at a coffee shop or in the researcher’s office and two interviews where telephonic interviews because of the participants’ data and travel constraints.

This chapter has as its focus the outline of the findings made in both the online survey as well as the one-on-one interviews. First, this chapter focuses on the results of the online surveys after which the results of the one-on-one interviews are discussed. For the online survey section, the results are divided into two categories; first the television viewing practices of the participants are discussed, after which there is a discussion of the self-reported fandom practices of the survey participants. In this section the practices of the participants are compared and contracted to the characteristics set out by Jenkins (2017) and Stamps (2014); further, the impact the participants’ television viewing habits have on their fandom practices is examined. Finally, this section does an in-depth discussion of the results of the 15 one-on-one interviews with specific emphasis on the unique fandom phenomenon which is present within this population group. In this chapter two new concepts which are unique to the fandom

54 practices of this sample group, namely ‘micro fandoms’ and WhatsApp as a vehicle for fandom interaction are also discussed.

4.2 Results of the online surveys

The results of the online survey section of this research will be discussed as follows: First, the television viewing practices of the participants will be discussed as it has as its focus purely the regularity of viewing, mode of viewing, audience demographic, et cetera, which will form a basis of understanding how South African audiences, specifically that of the population group, watch and consume television and, eventually, how that viewing behaviour influences their fandom participation. Secondly, a section on the self-reported fandom practices of the participants will be discussed with specific emphasis on how participants reported to conforming to the fandom characteristics as set out by Jenkins (2017), and also whether the participants conformed to the set of ideal online fandom characteristics as set out by Stamps (2014).

4.2.1 Television viewing practices of selected South African viewers

The role of the online survey was to measure the race, age range and level of television and internet access of the 55 participants who were involved in the study. Furthermore, the online survey aimed to establish what level of coherence there was between the accepted international fandom practices outlined by Jenkins (2017) and Stamps (2014), or what the differences were from that of American and other European audiences where South African television audiences and fandoms were concerned. The survey which was posted on Google Surveys is available in Appendix A, Online survey.

A total of 60 volunteers completed the online survey in the three months that it was made available to the public. Out of those 60 participants, 55 stated that they fitted the requested population group, being women living in Johannesburg between 19 and 25 years of age, while five participants admitted to being over the age limit specified; however, they still chose to complete the survey. The surveys from the five participants who did not fit the population group were excluded from these findings. The most

55 prevalent age group to answer the survey were 21-year-old women with 20% of the participants at age 21 and the second highest age group 20-year olds at 18.2%. From the 55 participants who participated in the online surveys, 30 indicated that their race was white, with the second highest race group being black women, with 21 participants. The remainder of participants identified themselves as being either Coloured, Indian, or ‘other’. The participants were also asked to indicate what area of Johannesburg they resided in. The answers covered areas stretching over the entire Gauteng, however the most prevalent were Auckland Park, Brixton, East Rand, Florida, Johannesburg, Melville, Northcliff, Randburg, Roodepoort, Soweto-Molapo and the West Rand.

Figure 4.2.1.1 relates to the number of participants who indicated that they have access to a television set, either basic or smart TV, in their home. As indicated below, the larger number of participants indicated that they had access to some type of television set in their home or place of residence in Johannesburg, while only six participants indicated that they did not have access to a television at all and three stated that they had access to a television set at a friend or family member’s home.

Figure 4.2.1.1: Participants with and without television sets in their home in Johannesburg

The respondents who did not have access to a television set at all or who only had access at a friend or family member’s home indicated that the reason for this was that they were students who lived in residences on or close to their campus and that their residences did not have a communal television set.

Figure 4.2.1.2 below indicates that the largest portion of participants watch television on a daily basis, which is in line with the Broadcast Research Counsel of South Africa’s (2017) findings which indicated that television was still the most prevalent form of media consumption in South Africa for viewers older than fifteen years.

Figure 4.2.1.2: How often the participants watch television or any other form of video content both online and offline

However, figure 4.2.1.3 below indicates that the largest portion of interview participants never watchd television at a specific time or place every day. This finding is contrary to Tager’s (2010) finding discussed in section 2.2.4, that South African television viewers still conform to a traditional television viewing setting with the entire family coming together to watch a scheduled programme at a specific time every day.

Figure 4.2.1.3: Do the participants watch television at a scheduled time and place every day? Instead of watching scheduled programmes at the same time every day, most participants indicated that they never had a scheduled television watching ritual and that they generally watched television, or any other video content, when they ‘felt like it’. However, during the interview section of data collection, some of the women interviewed did state that this format of television viewing was because of their age group and lack of access to traditional broadcast television. They also indicated that older family members, who did not necessarily reside in Johannesburg, continued to watch scheduled programming at the same time and place every night.

The following quotes have been taken from the one-on-one interview portion of this research. It is important to note that the interviewees’ answers have been directly quoted and the transcriptions have not been edited or changed. This was done in order to maintain the authenticity and subtle nuances of the interviewees’ answers. This format of quoting from the interviews remains the same for the remainder of this research. Some additional demographic information of the interviewees as well as television and internet access information can be found in the sampling schedule in Appendix E. The following interviewees all indicated that scheduled television viewing, especially after or during dinner time, remained common practice within family settings.

According to interviewee two (white, 23, living in Roodepoort): With my grandmother it’s usually, she’ll watch 7de Laan, because that’s one of the soapies that she loves. And then I’ll often go sit with her to, just like see how her day’s been and then we’ll watch it together. And at night when I come to the house, I’ll tend to sit with my uncle and my aunt to see how their day was. And then, ja they watch it religiously as well, because I think after that, the news is on as well, so we’ll sit and watch that.

Interviewee three (white, 20, living in Roodepoort) and interviewee twelve (white, 22, Roodepoort) both indicated that they watched scheduled television programming with their families during dinner time every night:

Interviewee three: It’s pretty much every night. Everyone will get home from work or wherever they’re at and then our father will make supper, and we will eat and watch TV. Interviewee twelve: So, I have just now moved in with my aunt and my mom and we watch TV in the evenings when I’ve made dinner. As seen in the answer of interviewee seven (black, 21, Auckland Park), a trend among black participants in this study, especially those who lived in student residences, was that their family members who did not live in Johannesburg would also tend to watch scheduled television and television viewing would generally be a family affair. Hence, as seen in interviewee seven’s answer below, going home usually meant that her television viewing habits would change from watching random programming on her laptop to watching scheduled television programmes with her family every night.

Interviewee seven: Well when we get home, we mostly watch TV, uhm if it’s something we are all interested in. For example, The Queen, we most often watch it as a family. And then the kids they watch cartoons alone. Interviewer: So, do you live at home with your folks and kids? Interviewee seven: No, I live in res, there’s no TV at res. I’m just describing when I’m home.

These findings are in line with Tager’s (2010) findings that television viewers, in rural areas especially, still conform to traditional television viewing practices. 41.8% of participants also indicated that they watched television with friends or family with only 10.9% stating that they watched television alone. As indicated in the literature review chapter, a survey done by the South African Broadcasting Corporation showed that the most popular primetime shows in 2018 were scheduled soap operas on SABC 1 and SABC 2, namely Uzalo (2015-) and Muvhango (1997-) (Broadcast Research Council of South Africa, 2018). These television programmes remained the most viewed scheduled primetime shows in 2019 (Malema, 2019).

Hence, based on the above findings it can be deduced that the television viewing practices of the participants in this study align with prior research on the topic; however, there are some changes in their television viewing practices due to changing media technology. Firstly, it was established that the largest portion of survey participants, and consequently the one-on-one interview participants, had access to a basic television set. It was also established that the largest portion of participants still consumed television content on a daily basis; however, the platform on which they watched television seemed to be shifting more towards watching television content on a laptop or smart TV. Finally, the participants in this study indicated that they rarely watched scheduled television content, though this behaviour seemed to change once a family setting was introduced. Hence, many of the participants watched television content at random times every day but would tend to watch scheduled television programming on a traditional television set when they were watching with family or going home to visit family.

4.2.2 Level of internet access among study participants and its effect on the television viewing platforms the participants have access to

A large consideration for the lack of visible fandom content created by South African fans can be contributed to the fact that only 40% of South Africans have access to internet technology. Data prices, as discussed in section 2.2.4, also contributes to a lack of online interaction. However, the participants in this study who all reside in Johannesburg, which is a large metropolitan city, indicated that 92.7% of them had access to some type of internet connection at their place of residence in

Johannesburg. This connection varied between self-supplied and internet supplied by the university or campus on which the participants stayed. Only four of the participants indicated that they had no access to the internet where they lived. However, despite a high rate of internet access among participants, most still indicated that they watched television on DSTV, the Sub-Saharan African direct broadcast satellite service, or that they watched video and other television content on YouTube. 60% of the participants indicated that they watched programmes on YouTube, while only 30.9% indicated that they had access to Netflix, with 7.3% having access to Showmax. In a follow-up question participants reported that the subscription price to platforms like Netflix and Showmax was too high for them, especially the participants who were still students at university. A lack of subscription to Showmax was attributed to limited programmes on the platform with too much emphasis on Afrikaans content.

Figure 4.2.2.1: What devices do participants use to watch television on?

In correlation to the migration of television content to other media devices one can also see, as illustrated by figure 4.2.2.1 above, that the selected viewers also prefered to watch television and other video content on devices other than the traditional television set. 34 out of 55 participants indicated that they watched television on their laptops. The reason for this is also in part due to a lack of access to a traditional television set. Many of the participants who were still at university indicated that they only watched television on their laptops, with a small number of participants indicating that their student residences had television sets for them to use as a group. Participants who said that they had access to Netflix or Showmax also preferred watching on their laptops because most of them did not have access to a smart TV

60 that allowed internet connection. Furthermore, because South Africans have a high percentage of mobile phone usage, 47.3% of participants also indicated that they watched television and video content on their cell phones.

In terms of the use of Netflix versus Showmax, there was also a clear preference for Netflix over Showmax. During the interview portion of this research the participants indicated that they found the content on Showmax to be limiting and that they preferred watching international programming on Netflix. According to interviewee six (white, 22, Roodepoort, smart TV, uncapped internet), when asked why she did not have traditional television or Showmax, her answer was:

Because we were like… we don’t really watch that much TV to get both. So, we got Netflix because it has more stuff that we were already watching than Showmax did. And plus, we weren’t fans of local shows, so why, you know, get Showmax?

In general, both the survey and interview participants showed a preference for Netflix over Showmax, at least for those participants who indicated that they had access to those two platforms and the internet required to use them. This finding is in contrast to Vorster’s (2017) findings in section 2.2.2. Vorster (2017) found that 58% of South African viewers preferred Showmax, mainly because many South African television viewers have Showmax as an add-on to their DSTV subscriptions. Vorster (2017) found that only 42% of the television viewers preferred Netflix. The reason for the preference of Netflix within the sample group of this study could be due to the age range of the participants, who were younger and might prefer international programming to local programming. Furthermore, in Vorster’s (2017) findings, Showmax was prevalent mainly due to its attachment to DSTV. Many of the participants in this study cannot afford both the DSTV with Showmax subscription as well as the internet required to stream those programmes, hence Netflix became the more affordable option.

Those who didn’t see the need to pay for either Netflix or Showmax stated that it was easier, and more worthwhile, to watch programming on illegal streaming or download sites. As stated by Vorster (2017), in section 2.2.2, illegal downloads were the most common form of online video streaming in South Africa, next to Showmax and Netflix. When asked why she didn’t have Netflix or Showmax, interviewee five (25, coloured, Florida, uncapped internet) replied:

I feel like I don’t need it, because when I wanna watch something, I said I’ll stream it if it’s an international show. I’ll stream while downloading. So, for me there is no point of Netflix or Showmax. I can just, you know, stream or download from sites that I usually use.

Interviewee six (22, white, Windsor east, uncapped internet) had a similar answer when faced with a similar question. She was asked whether she watched the latest Game of Thrones episodes on Showmax or on DSTV and her reply was:

I normally just stream it from whatever program like, like a good quality version. Like my internet at home is fairly okay for it to run fine. So ja, we just stream it like as soon as we get home from Wits, pretty much.

In order to confirm that interviewee six was indeed referring to illegal downloading sites, the interviewer asked if she meant illegal sites such as 123 movies. Her reply was:

Interviewer: Okay so, is it like the series online or 123 movies, that type of platform? Interviewee six: Yes, that type of platform. I can’t remember the exact name now, but it might be like a Putlocker or something like that. But you know what I mean. Interviewer: So, it is an illegal site? Interviewee six: Yes. As stated by Landabidea and Loos (2015:1) in section 2.2.2, television “remains one of the most important media-related leisure” formats; however, “television is being buffeted by shifts and motions that challenge its traditional centrality”. This shift in television consumption is clear in the television viewing practices of this study’s participants. As discussed in section 4.2.1, the participants in this study show a move away from scheduled television programming to irregular, laptop-based television consumption. In terms of how internet technology has affected their television consumption behaviour, the above findings show that the participants in this study do prefer online video platforms to scheduled television programming. 34 out of 50 participants of the online survey section of this research indicated that they watched television and video content on their laptops and participants indicated that their main platforms for television and video consumption in DSTV catchup, YouTube and illegal downloading sites, all of which can be accessed on their laptops. Hence, within this study’s sample group, there is a shift from linear based television content to online video content, as discussed by Landabidea and Loos (2015:1). With this in mind, the assumption is that a shift to online based video content should also allow for more

62 freedom and access in terms of the participants online fandom interaction. Hence, the following section will establish whether a lack of internet access is still prohibiting online fandom interaction, or whether there are other factors stopping the participants from becoming part of the online fandom sphere.

4.2.3. The participants’ fandom characteristics as compared to Jenkins (2017) and reasons for a lack of online interaction As stated above, most of the participants indicated that they watched television daily, but not at a scheduled timeslot. Most also indicated that they watched television and video content on their laptops and on their cell phones. As discussed in chapter 2, section 2.2.3, second screen viewing has become a norm among television viewers internationally and this also seems to be a strong trend among the participants in this study. While participants admitted to watching television and video content on their laptops, the largest portion of the participants indicated that they were active on their cell phones, tablets, laptops or other electronic devices while watching television. Only 14 of the participants indicated that they rarely used other devices while watching television; however, none of the participants indicated that they did not make use of other devices whatsoever while watching television. As indicated in figure 4.2.3.1 below, participants attributed the reason for their second screen viewing to the following: 89.1%, “chatting with friend” via social media platforms such as WhatsApp and snapchat; 52.7%, googling facts about the programme they were watching; 25.5%, sharing their opinion about the programme with family and friends, and 9.1% to post their opinion about the programme online.

Figure 4.2.3.1: The purpose behind participants’ use of second screens while watching television.

Wilson (2016:1) states that the “growth in second screen use while viewing television has captured the imagination of broadcasters…and advertisers, eager to cash in on the social TV phenomenon”. Considering the large number of participants who did indicate that they made use of second-screens while watching television, one would expect that South African broadcasters would also have started to tap into this changing media technology in order to better communicate with programme fans and to raise more awareness and funding for their programmes. However, it seems that local broadcasters have not cashed in on this second-screen phenomenon as much as they can, as yet. As discussed by Van der Merwe (2012:54), the producers of 7de Laan (2000) disabled fan commenting on their social media pages, at that time, in order to avoid fan discourse. Second screen use in terms of fandom interaction, based on some of the replies in the interview portion of this research, seems to be run more by fans engaging with other fans than programme producers engaging with their fans. Interviewee ten (black, 20, Soweto) was asked whether she engaged with other fans or producers of television shows via social media and her answer was based on Twitter:

With twitter, I’m not as active, I just go there just to browse through. So, when something interesting happens in a soapie, there’s usually like a hashtag or something there. I read through some, on some of the reviews that people have.

Hence, from this quote one can deduce that the biggest discussion surrounding television programmes on social media within this population group, is review-based and not necessarily an official post made by the programme producers. Interviewee nine (black, 20, Auckland Park) elaborated on the use of Instagram to discuss programme plots and use by programme fans to promote a specific television show.

Uhm recently something was happening in The River, so I looked for a picture on the internet and then I put that on Instagram and then I wrote: “This episode was lit. So, you must watch.” Because I needed someone talk to about that. Interviewer: Do you feel like that’s a very general thing that happens with local shows? Are a lot of people are posting pictures and just commenting by themselves on stuff? Interviewee nine: Yea because I don’t know if they go and follow other pages, but what I know is that they definitely do show us what they are watching, and they comment on it. Because that’s how I get series you know when I see it on Instagram and I’m like “okay please send me that series”. So ja a lot of my friends do that as well.

Hence it can be argued that local broadcasters are not tapping into the second-screen phenomenon as much as local television viewers and fans are doing in order to share their opinions about a programme they are watching.

Comparing the results in figure 4.2.3.1 and the quotes above to Jenkins’ (2017) model, one of the most prominent characteristics of participatory culture, and in turn then fandom culture, is that participants feel the need to share their opinions on a programme they feel passionate about with other fans of that programme. Hence, one can argue that the participants who indicated that they used their second screens to share their opinion with others or who posted opinions about the programme online, were exhibiting traditional fandom behaviour. The act of googling facts about the programme they were watching also constitutes fandom behaviour, because the fans were attempting to grow their knowledge base of a certain programme and were doing so by ‘reaching out’ to those fans who knew more about the programme than they did. Hence, as Jenkins (2017) states, what is known by the most experienced fans are passed along to the novices; in this case when googling facts about a programme, the most prevalent websites that provide programme information are Wikipedia and IMDB. Both these sites have information pages that are edited and run by anyone who has internet access and who feels passionate enough to update and expand on the site’s knowledge pages (Wikipedia, 2019). Hence, there are clear signs that South African television viewers are indeed taking part in traditional fandom practices despite the internet connectivity gap.

In figure 4.2.3.1 above, 14 participants indicated that they used their second screens to share their opinions with family and friends, either via social media or messaging applications such as WhatsApp. Only five participants stated that they used their second screens to post their opinions about a programme online. Thus, a gap in the participants’ willingness to share their opinions about a programme with family, versus sharing with friends and strangers online, becomes apparent. Figure 4.2.3.2 below illustrates how many participants felt that they could share, and in turn did share, their opinions about a programme they were watching with friends and family members watching with them. This could mean those who were physically in the room with them or those who watched at the same time as they did.

Figure 4.2.3.2: Do the participants discuss the programme they are watching with friends and family watching with them?

An important finding here is that a larger number of participants indicated sharing their opinions with family and friends when they were speaking in person or via a private messaging application. There was a clear decline in the participants’ willingness to share their opinions with family or friends when they were required to do so on social media or other online platforms where their privacy was not insured. 22 Participants indicated that they always shared their opinions with family or friends watching with them, 22 stated that they sometimes shared their opinions, but only if something interesting happened. Only one participant stated that she never spoke to others while watching television and this was attributed to not wanting to miss anything happening on screen. During follow-up interviews many of the interview participants also indicated that they discussed their favourite programme with family or friends while watching the programme or afterwards when they saw each other on campus or at work. The amount of programme discussion also seemed to increase when the programme discussed was a local soap opera or drama where a group of friends or family members tended to watch together. As stated by in interviewee fourteen (black, 19, Doornfontein):

[I]n most cases when I watch something with people, it happens to be, we watch it like in person. So, discussing it will also take place in person and not over the phone. Interviewee ten (black, 20, Soweto) also stated that watching and talking about television programmes with family functioned as a bonding experience, a way to catch up on the week’s happenings and the family members’ opinion about the show. Interviewee ten stated:

It’s mostly on weekends because the family is all there, my mom, my aunt, no one is at work, no one is at school. So, it mostly happens from Friday to Saturday. That’s when we usually, it’s basically a catchup session okay, or a rundown of how the week was. Because usually during the week, everyone would get home, just tired and just want to sleep... So, I would say those debates are our bonding sessions as a family. One can therefore argue that a larger portion of this study’s participants are more active within their fandom when it is not online based and when they are not required to share their opinions with strangers on social media. This is highlighted in interviewee fourteen’s statement:

Interviewer: Do you feel that when it comes to the South African shows that the fandom… is more like in person, face to face, instead of being like happening on Facebook or on Twitter? Interviewee fourteen: Yes, I would say that, ’cause looking at the social media platforms, a lot of people are not following the handle, or a lot of people are not commenting. So, it actually shows that people are more interactive in a personal manner…It’s more of a personal thing and personal interaction between the audiences about the show.

During the interviews participants further stated that they felt more comfortable speaking and giving their opinion about programmes when they were speaking to friends and family in person, and that commenting and discussing a programme online was not something they would easily do. The reason for this was fear of ridicule and backlash from other social media users, particularly other ‘fanatic’ fans who might not agree with their opinion. Participants also indicated that the cost of data prohibited them from posting their opinions on social media pages like Facebook and Instagram because of these pages’ high data rates. These findings and additional quotes from the interviews are discussed in more depth in section 4.3.1.

A mistrust of online fan sites became clear among the participants very early on in the survey and interview segments of this research. While a large portion of participants (20) stated that they did follow official fan pages or programme specific pages online, they did not feel comfortable posting anything on those pages. Instead they preferred watching the conversations other fans were having and forwarding memes to friends and family if they found one on the fan page that was particularly funny. All the participants who were interviewed stated that they rarely or never posted their opinions about a programme they were watching online, especially not on dedicated fan pages.

Figure 4.2.3.3: How often participants feel that they can share their opinions about a programme online. As figure 4.2.3.3 above shows, most of the survey participants also did not feel comfortable to post their opinions online, whereas figure 4.2.3.4 below shows that the largest portion of participants felt that they could share their opinions about a programme they were watching with friends and family and that their opinion would be respected and valued.

Figure 4.2.3.4: Participants feelings towards sharing their opinions about a programme with friends or family. According to Jenkins (2017) this feeling of being respected and valued is one of the fundamental characteristics of participatory culture, and in turn, fandom culture. Hence, one can argue that within the sample group of this study the participatory group, wherein participants felt most comfortable to share their opinions and fan knowledge, would be groups consisting of friends and family with whom they felt they could openly share their opinions without being ridiculed. Jenkins (2017:7) further states that those who participate in a participatory culture, like fandoms, “believe that their contributions matter” and that there is “strong support for creating and sharing one’s creations with others”. Looking at the difference between online and offline interaction between fans and those whom they perceive as mutual programme fans,

68 one can argue that the participants in this study felt that there was more support and safety when interacting with friends and family than there might be when interacting with strangers in an online fandom space. However, instead of this community being that of an international, online fandom, the selected females of this study leaned more towards a traditional sense of fandom where they still watched beloved programmes together and watched and discussed their opinions and feelings about the programme in person or with close friends and family where they would not be ridiculed. The reason for a lack of online fan interaction is further discussed in section 4.3 of this chapter.

Looking at the characteristics of participatory culture as set out by Jenkins (2017:7) one can argue that fan cultures are communities “where members feel some degree of social connection with one another (at the least they care what other people think about what they have created)”. 50% of the survey participants indicated that they ‘always’ felt that they were part of a community surrounding their favourite television programme and 46.7% stated that they ‘sometimes’ felt this way. Only one participant indicated that she felt that there was no sense of community surrounding the television programmes watched. As indicated by figure 4.2.3.4, the largest portion of participants felt that they were valued within their chosen fandom community, which consisted of family and friends and not a large online community, and that other fans cared about their opinions. However, this feeling changed quite dramatically when an online community was introduced. During follow-up interviews participants also indicated that they would regularly share memes and videos about a programme with other fans in their group of friends, or other family members who were fans, and that these memes and videos were always received with respect. A sharing of memes, especially regarding Game of Thrones (2011-2019), was a common form of fan art that participants admitted to creating and sharing with other fans. During the one-on-one interviews, interviewee eleven (white, 24, Lonehill) states:

I’ll mostly rather chat with my friends about it, so we like have a group where we chat about Game of Thrones… So, this week we we’re away and we didn’t get change to watch it with our friends, so we sent our thoughts on WhatsApp. And my best friend is in Dubai, so we’ll also like, she’ll say “have you watched it?” And we’ll send like long paragraphs about the episode and what we thought and so on. So maybe more friends, I don’t really interact with strangers. Unless it’s like them just saying something stupid on comments on Facebook or something. But I won’t join like forums or things like that. [O]bviously all the memes and things I get from Facebook. So, it’s kind of a bit of both, because that’s where it originates. But then I will always share it on WhatsApp rather than just sharing it through my Facebook page.

Hence, the responses from participants in the survey section as well as the interview section of this research indicated that their offline fandom practices did align with the characteristics of fandom culture set out by Jenkins (2017:7). As indicated by the responses in the online survey, and the quote above, participants in this study felt that they could engage and share fandom information, like memes, freely within their offline fan groups and that there would be strong support for their opinions. One of the aims of the online survey was to establish the existence of traditional fandom behaviour within the population group selected for this study. This traditional fandom behaviour is based on the characteristics of participatory culture and fandom culture set out by Jenkins (2017:7). Thus, based largely on the survey section of this research it can be argued that the participants in this study definitely exhibited traditional characteristics of participatory culture when it concerned their offline fandoms, especially fandoms that included close friends and family members, and that there was fan activity in the form of knowledge sharing, discussion and distribution of fan objects taking place within their fandoms. The one-on-one interview phase provided a much richer understanding of how these local fan groups functioned within the offline space, which will be discussed further section 4.3 of this chapter.

4.2.4. The participants’ fandom characteristics as compared to Stamps (2014)

The second purpose of the online survey was to establish whether South African fans were adapting to the “online fandom” trend which international fandoms seem to be taking and for which Stamps (2014) created the model of ‘deal online fandom’. The questions of the survey were set up to target each level of Stamps’ (2014) ‘ideal online fandom’ model. The first of which is the “engaged fan”; a fan is classified as an engaged fan if they feel that they have become part of a community surrounding their favourite cultural object and become active in participating in the fandom surrounding that object, specifically in an online space. Based on the replies in the online survey, it became clear that the participants did see themselves as fans of the programmes that they watch, and they were aware that there was a community surrounding their cultural object. Even though most of the participants indicated that they did not like to post their opinions online, they did agree that they were aware of fan communities

70 online, or that they did follow official programme pages or fan made pages online, even though they did not actively participate in the discussion section of those pages.

In figure 4.2.4.1 below, participants were asked to indicate whether they saw themselves as fans of a certain television programme, based on the definition of fandom which they were given in the survey. The question was aimed at both local and international programming and did not indicate any specific television programme. The purpose of this question was to establish whether the survey participants could be classified as “engaged fans” according to Stamps’ (2014) model.

Figure 4.2.4.1: Do the participants see themselves as fans of local or international television programmes? As indicated by figure 4.2.4.1 above, most of the fans could be identified as being a fan of either a local or international television programme. 21 Participants admitted to only being fans of international programming, while 20 participants indicated that they were fans of both local and international programming. Only three participants indicated that they did not see themselves as fans at all, even though their survey answers showed signs of traditional fandom practices. These signs included them indicating that they spoke to family or friends about television programmes they were passionate about and that they googled facts about a programme while watching the programme, which can all be considered fan behaviour. Hence, because most of the participants indicated that they identifed as being a fan of a certain programme, that they did feel that they were part of a community surrounding their favourite television programme and that they followed online fans pages dedicated to their favourite programmes, the largest portion of the survey participants could be classified as “engaged fans” according to Stamps’ (2014) model.

Stamps (2014) further states that “engaged fans” become “active participants in the construction and circulation of textual meanings”. This is where the online engagement of the participants became contradictory to what is generally expected of fans in today’s digital world (Sources). With the above statement, Stamps argues that for a person to be considered a basic fan they must create, circulate and discuss issues surrounding their favourite cultural artefact in an online space. As discussed in the above section, the participants in this study indicated that they did indeed discuss their favourite programmes with friends or family, but that they dd not discuss their fandoms in an online space. Hence, the participants in this study are “engaged fans” but not to the extent that they communicated and distributed fan work online. The reasons for this lack of online interaction is discussed in more depth in section 4.3.1.

Stamps’ (2014:15) second level of ideal online fandom is that of the “advocate fan”. This level requires the fan to share ideas, thoughts and meaning with other fans, meaning that they are moving the thoughts “from their own heads to someone else or into a shared space of a fan community”. This level correlates strongly with the previous, except at this level the fan not only recognises themselves as a fan but furthers that sense of community by sharing their ideas and opinions with other fans. The advocate fan not only recognises that he/she is a fan and that they are part of a community, but they start sharing and preaching the ideas and values of that community to other fans in the fandom. Once again, this is done through online chatgroups and fan pages. However, as discussed above, the participants in this study did share their knowledge and opinion about their favourite programme with other people whom they perceived as fans; however, that knowledge sharing seemed to be taking place largely through face to face discussions and not in online fan chatgroups.

The third level of ideal online fandom is the “purchasing fan”. This fan not only engages in online fan groups, but also engages in purchasing and creating fan art and fandom knowledge, also referred to as “knowledge building”. This fan is thus not just identifying with the fandom and sharing the opinions of other fans, the purchasing fan is active in adding to the knowledge base of the fandom and contributing to the success of the cultural artefact by purchasing programme merchandise. The online survey tested the engagement of the participants in knowledge building by asking whether they created fan art, which could be anything from fanfiction, creating fan pages or just programme related memes, or if they participated in purchasing merchandise relating to their

72 favourite programmes. This was the level of online fandom where the South African participants started to move away from international trends.

Figure 4.2.4.2: Indication of the participants who create some form of fan art surrounding their favourite programme. Figure 4.2.4.2 above indicates how many participants admitted to creating some form of fan art about a programme they watched and figure 4.2.4.2 below indicates how many participants bought programme and fandom related merchandise.

Figure 4.2.4.3: Indication of the fans who have or intent on buying fa n or programme related merchandise. As far as creating and growing fandom knowledge is concerned, 70.9% of the participants indicated that they did not create fan art at all, with only 7.3% of participants indicating that they regularly created fan art. According to McCudden (2011:13), as discussed in section 2.3.2, for a person to be considered a true fan in today’s fandom “one must do more than just consume a cultural object or text”. For a person to be considered a “real” fan, they have to create fan content, also known as user-generated content or “remix culture” (McCudden, 2011:19). This fan content includes things like fan videos, fanfiction, gifts and memes. A search for Game of Thrones fanfiction on Archive of Our Own (2019), one of the largest online fanfiction

73 websites in the world, indicated 36 005 fanfiction pieces written by fans of the show and the books. Another large international series, The Twilight Saga (2008-2012), relied greatly on the massive fandom surrounding it. According to Jackson (2018) “part of what made Twilight a phenomenon was its huge and vocal internet fandom, many members of which were writing fanfiction based on her characters and her work”. A simple Google search revealed hundreds of international articles dealing with the fanfiction and fan art phenomenon. It is thus arguable whether the creation of fan content plays a very large role in a programme’s fandom and inevitably the programme’s success. Hence, compared to the amount of fan art created by international programme fans, the percentage of this study’s participants who did indicate that they did create fan art, was alarmingly low. Only 17 out of the 55 survey participants indicated that they created some form of fan art in relation to their favourite programme.

The participants who, in the interview portion of this research, indicated that they sometimes made fan art stated that this was either in the form of fan fiction writing, drawings or memes about a programme they felt truly passionate about. But these participants indicated that this was a very rare occurrence and that most of them had not made any fan art in years. Interviewee one (white, 25, Roodepoort, uncapped wifi) stated that she wrote fanfiction, but that it was not a common practice for her. She described her fanfiction writing as follows:

I’ve got one like little story, I don’t know why I find it embarrassing, but it was just something like... So, it’s about Harley Quin and the Joker. And their relationship. So, I don’t know, like I thought I had an interesting perspective on it. It’s nothing like I haven’t shown anybody, it’s just every now and then, I’m like “Oh ja, this could happen” and I like type it down. It’s not out there or anything, but it’s something that every now and then I play around with. Interviewee eight (white, 23, Roodepoort, uncapped wifi) also stated that she would write fanfiction on occasion, however it happened very rarely, and she would not describe herself as an avid fanfiction writer. She explained that her fanfiction writing had been mainly focused on re-writing sections of the Harry Potter series by combining different characters into relationships. This is known as “slash-fiction” writing. She describes her writing as follows:

The above quote refers to a made-up relationship between the Harry Potter characters, Draco and Hermione, who are enemies in the original books, but who have been put into a relationship by interviewee eight’s fanfiction writing. Interviewee twelve (white, 22, Roodepoort, uncapped wifi) also indicated that she occasionally wrote fanfiction pieces, especially with reference to the television series Supernatural (2005). However, unlike the other participants, she indicated that she would write herself into her fanfiction pieces. Examples of her writing can be found in Appendix C. She described her fanfiction stories as follows:

But in Supernatural, for example I’ve written quite a few, they’re nor finished, they’re not compete finished stories, but I’ve written one where I create a sister for Sam and Dean. I’d throw her into the mix like I’ll go from season three and then events happening after season three are just different. You know, it’s taking its own toll. Things like that. Or I would just throw myself into the mix and see what will happen and then, those are generally the stories that just go haywire.

Based on the demographics and quotes of the above interview participants, its can be argued that the creation of fan art and fan fiction writing is much more prevalent among white, female participants in this study, especially those who live in the suburban areas of Johannesburg and who have good internet access at home. All the above interviewees also indicated that their fan art revolved around international programming and that they tended not to be interested in local television programming. Hence, a gap in fandom practice between local versus international programming becomes apparent as well as between the practices of white, female participants and those of other races and with different levels of internet access.

Continuing the topic of the creation of fan art, the survey participants were also asked whether they shared their fan art with friends or family or if they shared their art online on fan pages. Only 12 of the 17 participants who admitted to making fan art, indicated that they sometimes showed their work to family or friends, but usually only if they asked to see it. In addition, only 9 of the 20 participants stated that they shared their fan art online. Interviewee two (23, white, Roodepoort) was the only participant to indicate that her fan art was positively received, not only by other fans, but by the original programme creator as well. An example of the fan art piece she is referring to can be found in Appendix C.

Image 1. When asked whether she shared her fan art online and how it was received, she answered:

What’s really interesting as well with the fan art is the author of the book is like really open to fan art and a lot of people in that specific fandom is very nice so I’ve gotten a lot of positive feedback as well, from it, which is really nice, and it’s encouraging. The “book” she is referring is one of the books in Cassandra Clare’s (2007-2014) the Mortal Instruments series, which was also turned into a television series, Shadowhunters (2016-2019) and of which interviewee two is also a fan. The piece of fan art created by interviewee two is a re-imagining of one of Clare’s main characters in the Shadowhunters (2016-2019) series.

Unlike interviewee one above, the rest of the survey and interviewee participants who indicated that they created fan art stated that they preferred not to share it with other fans online. Once again, their hesitance to do so was attributed to fear of ridicule and backlash from other, more experienced fans. This was a common theme among the survey and interview participants, and is discussed in more depth in section 4.3.1; however, these feelings connect back to the idea of a “hierarchy in fandom”, as discussed in section 2.3.2. This hierarchy of fandom, according to Stamps (2014:17), is where those fans who engage more, make more and who are more entrenched in the fandom community is seen as being “more of a fan’ than those who just watch the show religiously. The researcher posed the following scenario to interviewee three (white, 20, Roodepoort) in order to establish whether backlash from more experienced fans was one of the reasons why she did not want to share her fanfiction writing online; the interviewee then replied:

Interviewer: Let’s say you are super into Game of Thrones and Shadowhunters…whenever I want to post something, I’m like “ah! Someone like a ‘super fan’ is going to come back at me”. Is that something you feel as well? Interviewee three: Ja, I am the same! Interviewee twelve (white, 22, Roodepoort) also indicated that judgement from the online community and other, more experienced fans, inhibited her from sharing her writing online:

Generally, because I’m not really a fan of sharing fan fiction… I have a feel like people will judge me a lot for sharing a fan fiction story you know. As in like someone might believe that I’m stealing ideas or what else. Interviewee one also highlighted the idea of fandom hierarchy in her interview:

I definitely feel that there would be someone at the top of a fan page and then there would be regular people who comment and interact more often. And sometimes I do find it intimidating to say something or comment or publish something, because I am not apart if the in-group.

Hence, based on the above quotes, one can argue that the hierarchy of fandom and possible ridicule are some of the reasons that prohibit the participants in this study to share their fan art in the online fandom sphere. Interestingly, the above comments were all based on fandoms and fan art created from international films and television shows. None of the survey or interview participants indicated any attempt to create fan art based on South African programming. Additionally, none of the participants indicated that they had or ever would create their own fan pages dedicated to a specific programme. During the interview phase, participants stated that the reason for this was because of the high volume of fan pages that already exist, and that they did not feel that there was a need to create more. They could just like or follow one of the existing fan pages. This comes across very clearly in interviewee five’s (coloured, 25, Florida, uncapped internet) statement below:

I don’t think as South Africans it’s within us to actually go, like I don’t think me myself that I would sit and create a page, you know, specifically dedicated to my favourite show. I don’t think I’d do that. I’d rather go and follow somebody else’s page…I just don’t think that we are, I just don’t think that we’re that type of people, you know, to like sit and create this page for this specific show. And I just, no, I don’t even know anybody that has ever done that. There is a more in-depth discussion of local fan pages in section 4.3.1 of this chapter. Hence, when it comes to the purchasing fan, most of the participants in this study did not qualify as purchasing fans. The participants were more observers or “lurkers” within their individual fandoms than purchasing fans. Hence, the participants in this study fall, according to Stamps’ (2014), somewhere between “engaged fans” and “advocate fans”. However, a select few white, female participants did show some characteristics of being “purchasing fans” as well, in terms of their creation of fan art and the buying of fandom merchandise.

The final stage of ideal online fandom is the “super fan” (Stamps, 2014:19) who engages in all the above-mentioned levels and is fluent in the fandom “language” and norms. What makes the “super fan” unique is that this fan “preaches” and spreads knowledge and love for their fandom to people who are not yet a part of the fandom, inviting more people to become part of their fandom and thus growing the fandom community. In the online survey, this level of participation was measured through the question: “Have you ever convinced a friend, family member or stranger to start watching a television programme you really liked?” The aim of this question was to establish whether the participants had been active in growing a love for the

77 programmes they are fans of and, in the process, growing the fandom base for the programme. Once again, note that the participants of the study do classify as engaged fans and to an extent as advocate fans. However, most of the participants do not qualify as purchasing fans and in extension then do not qualify as super fans. However, within an offline space, the majority of participants indicated that they had at some point convinced friends, family members and strangers to watch a programme they felt passionate about, as is indicated by figure 4.2.4.4 below:

Figure 4.2.4.4 : An indication of the participants’ ability to convince others to watch a programme they feel passionate about.

Stamps (2014) does not clearly state the extent to which fans need to go in their mission to convince others to join the fandom or to spread love for the programme. He also does not explicitly state that fandoms cannot be offline based, nor does he state that this act of “spreading the knowledge” and love for the fandom has to take place online. However, his entire argument is structured around the idea that modern fandoms have moved to the online sphere and that they are thus “online fandoms”. Hence the answers given by the participants in ths study were judged based on the idea that their fandom practices should be online based. The participants were also asked to indicate how they had convinced others to start watching one of their favourite programmes. Based on the replies listed below, it is indicated that the participants mainly used an in person approach to create new followers of their fandom. Some of the participants did indicate that they communicated with others about their favourite programme via WhatsApp or Instagram, as seen in the quote by interviewee nine in section 2.4.3. However, most stated that they convinced other viewers to watch an episode with them and in the process convinced those viewers to become part of the

78 fandom or to at least get to appreciate the programme. The quotes below first indicate the programme which the participants were referring to when stating how they had convinced others to watch the programme and secondly gives direct quotes from the survey participants. These were their replies:

Grey’s Anatomy- told them some interesting facts about the show and what it’s about. Doctor Who- My mother eventually started watching it with me as the episodes of the new season released and then watched previous the seasons. A few of my friends were interested as well, all I had to do was promise them time travel and aliens. Peaky Blinders- I showed a friend the trailer and watched the first episode with him. Skinny girl in transit- I just made them watch the programme with me. Game of Thrones- I just explained the show to them. Bull - Just said they may enjoy it.

Power- By giving the person a USB with the content stored in it.

As indicated by the responses above, the participants of the study did not have to put, or did not indicate putting in great effort to convince others to start watching the programmes they are fans of. One can also not assume, based on these responses, that the new viewers became as passionate about the programme as those who convinced them. Nor can one assume that the new viewers became engaged fans within the fandom. However, it is safe to assume that the participants in this study, to an extent, can be perceived as super fans in the sense that they did attempt to grow the viewer base and fandom for their favourite programmes. However, contradictory to Stamps’ ideas, this process was mostly happening in person and not in an online space. The comparison of participants to Jenkins’ characteristics of fandom and Stamps’ characteristics of online fandom will be discussed in more depth in chapter five.

4.3 Findings of the one-on-one interviews

In the previous section, the results of the 55 online surveys were discussed along with supporting evidence from the one-on-one interviews. Thus far it has been established that the participants in this study do exhibit characteristics of traditional fandom, especially within an offline space, and that most of the participants can be classified as “engaged fans” in the online sphere. However, the online survey section did not make clear distinctions between online and offline fandom behaviour, nor did it highlight unique fandom behaviour. Hence, the aim of the one-on-one interviews were

79 to further explore the fandom behaviour and how the 15 interview participants made sense of their fandoms ,as well as to uncover any unique behaviour exhibited by the participants which had not been described as ‘normal’ fan behaviour in previous fandom research, or which had not been discussed in previous fandom research.

The results of the one-on-one interviews were transcribed and tabulated according to the following themes: The participants’ mode of television viewing; any obvious characteristics of traditional fandom or participatory culture; any characteristics of ideal online fandom and finally, any type of unique fandom practices. The theme for unique fandom behaviour included any behaviour that was not explicitly discussed or referred to in either Jenkins’ (2017) or Stamps’ (2014) models. This could include both offline and online fan behaviour which the researcher deemed unique to the population group. The tabulated results of the one-on-one interviews can be found in Appendix B: The questions for the interviews varied slightly from participant to participant as new themes and unique behaviours started to emerge during the course of the interview process. The full transcriptions of the one-on-one interviews can also be found in Appendix D.

At the beginning of each interview the participants were introduced to a background of the study as well to the main terms and concepts relating to fandom theory. The reason for this was to assess the level of knowledge the interviewees had about fandoms, especially in terms of understanding what the terms “fan”, “fandom” and “fan art” meant, and then to explain the concepts to them as to avoid confusion during the interview process. It became clear that many of the interview participants only had a vague idea of what the words “fan” and “fandom” truly entailed and what type of behaviour was classified as being fan behaviour. After speaking to some of the interviewees about these terms, their answers became much more detailed and enlightened as to their own behaviour and how it reflected that which was explained to them under the above-mentioned terminology.

The initial interviews focused on existing fandom practices the participants exhibited, as most of the initial interviewees conformed to international fandom practices. The researcher became aware that by selecting participants purely based on the existing fandom behaviour they were exhibiting in the online survey, potential unique or differing practices were being overlooked. Hence, after the first four interviews, the

80 criteria for the interview participants were broadened to also include those who did not necessarily exhibit obvious fandom behaviour in the online survey. After some unique practices came to light during the interviews, the interview questions were also adapted to put more focus on unique fandom behaviour, especially surrounding the use of WhatsApp and WhatsApp Status as a platform for South African fan interaction.

4.3.1 Television viewing practices, fear of online interaction and the ‘micro fandom’

The first column of the tabulated interview results consists of the individual television consumption modes of each of the interviewees. The reason for this distinction was to establish whether each participant’s television viewing practices influenced their individual fandom behaviour. As discussed in the previous section, the results of the online surveys showed that the majority of participants own or have access to a television set in their place of residence, however most of the participants indicated that they watched television and other video content on their laptops or mobile phones. Survey participants further indicated that they mostly watched television and video content on DSTV, which was connected to their television sets by a decoder, and on YouTube. The television viewing practices of the interview participants remained more or less similar to that of the survey participants and most of the interview participants indicated that they had access to some form of internet connection at their place of residence. DSTV and DSTV catchup, watched via the use of a laptop, remained a prominent format for television consumption among the fifteen interview participants, especially for those who preferd local programming over international programming. What also became clear was that the use of a laptop was the most prominent device on which television content was consumed. YouTube, illegal downloading and streaming sites were also prominent formats for video streaming.

Most of the interviewees indicated that they watch local programming with their spouse or other family members and that they watched content on Netflix or illegal streaming sites alone. Only a few of the interviewees indicated that they mostly watched television alone. Hence, one can argue that in most cases, television viewing was still a communal event within the population group of this study. This communality could also be an indicator of fandom behaviour as most of the interviewees stated that they only talked about their favourite television programmes with family or friends, hence

81 making the fandom climate among these participants a largely close friend based event and not an international online interaction. For a person to be part of an international fandom in today’s digital world, they must be prepared to interact in online fan forums and fan pages on social media groups. However, the participants in this study mainly indicated that they “lurked” in fandom groups online, but they did not comment or interact on them. The survey participants and interviewees did indicate that they talked about their favourite television programmes with family or friends, either via WhatsApp or in person. Interviewee one (white, 25, Roodepoort, uncapped internet) stated the following when asked if her fandom base was mostly made up of friends and family:

Yes, definitely. I mean like we can get together and like just, “Oh my gosh, did you see this, oh my gosh yeah dadada”. We can fangirl over some stuff, and I’ll never be like, “Oh you idiot, you think that this is going to happen”. You don’t do that to your friends, even if we disagree, were not going to fight over it. If you put stuff online people get like super passionate about it and try and fight you, like okay never mind. A fear of ridicule was one of the main reasons why the interviewees felt that they did not want to interact in online fandom forums. This was also discussed in section 4.2.4 on page 75. During the survey section of this research it was made clear that small fan groups consisting of family and friends provided a much safer space for the participants in which to express their opinions about their favourite programmes. When participants did indicate that they followed online fan pages, the majority of participants also stated that they did not comment on the pages, mainly due to fear of ridicule or backlash from other fans. According to interviewee one:

I feel that there would be someone at the top of a fan page and then there would be regular people who comments and interacts more often. And sometimes I do find it intimidating to say something or comment or publish something, because I am not a part if the in group. I’m just like a ghost in the forums and the pages, just like spectating. Never really doing anything. Interviewee four (coloured, 23, Constantia Kloof, Uncapped internet) agreed with the above statement, broadening it to larger social media interaction, but not indicating that their fear of online interaction was specific to fan groups. She makes specific reference to a confrontation that happened after one of the last episodes of Game of Thrones season 8 aired:

People get really angry when you don’t accept their point of view or you choose to challenge their discussion. I’ve seen it, I just went, the day that I watched the battle of Winterfell, I went onto Instagram and it was like a blown-up argument, you know. So, for that reason I feel that the group (WhatsApp group) is like a more safe and respected space, you know. I wouldn’t discuss it, I don’t discuss Game of Thrones on Facebook. I just don’t, if I do it’s probably because I shared a meme, or I shared a photo. And I said something with regards to the photo. And even so, like I noticed when I do that, there are

82 people who don’t watch Game of Thrones that find that I’m insulting their intelligence or say that they are not clever enough to watch it. Or you know, they don’t understand that the internet is a, it is a platform… it’s just full of different kinds of people, it’s very diverse. And I feel like every day there’s a joke… there’s memes and people take it too like personally. The idea of misinterpretation and “taking things too personally” in the online sphere seemed to be a prominent theme among the interviewees. For interviewee nine (black, 20, Auckland Park, throttled Wi-Fi at student residence) commenting online also posed a threat of backlash from other fans or general social media users. She stated that groups of family and friends allowed for a much safer environment for sharing one’s opinions, whether they be fandom specific or general thoughts.

Yea I don’t think South Africans would like it if we go online and then we comment and then people with different views started attacking you because like people can take things in a different way. So, you might as well put up something, your opinion, but in your own safe space and people you know will comment on that. The above two quotes refer to the conflict which arises from different world views, presumably due to the audiences’ diversity in culture, race and religion. Another reason for a fear of online interaction, however, was attributed to the interviewees’ feelings of being too inexperienced within the fandom they wanted to participate in. This was also discussed in section 4.2.4 in terms of “hierarchy of fandom”. Interviewee three (white, 20, Roodepoort, capped ADSL line) said the following about her reluctance to interact in online fan groups:

I feel like I don’t know enough so like, I’m scared to ask, and they’ll judge me or say that I’m saying something wrong or something like that. In general, the interviewees’ fear of online interaction, whether general interaction or fandom specific actions, stems from a fear of backlash from other fans or general public, whom the interviewees might perceive as being more experienced within the fandom than they themselves are, or who might have a differing opinion due to different cultural backgrounds. Culture and ethnic history play a big role in how opinions and messages are received within the South African context, and it is this diversity of opinions which becomes problematic to the interview participants. South Africa has 11 official languages and the different cultural groups include the KhoiKhoi and San culture, Zulus, Xhosas, Ndebele and Afrikaners, to only name a few (ShowMe, 2019). Additionally, according to Turner (2012), “South Africa…is a profoundly unequal society. It is marked by inequality of power, of wealth, of access to the means for acquiring power and/or wealth, of education, and of status”. It is due to these differences in culture and equality that vastly differing opinions, especially

83 within the online sphere, become a concern for those who want to or try to share their views with others. Culture and inequality thus play a big role in the fear of online interaction experienced by the participants in this study.

Thus, when it comes to fandom interaction within the sample group of this study, one can argue that the participants in this study interacted in ‘micro fandoms’ that were mainly offline based, except for the use of texting apps such as WhatsApp. However, WhatsApp is a private messaging application that still allows for discrete fandom interaction. Furthermore, these fandoms consisted mainly of close friends or family members with whom the participants felt safe to discuss fan theories and opinions.

In the online survey section of this research it was indicated that 41.8% of the participants watched television with friends or family and the majority of interviewee participants also indicated that they watched television with a spouse, friend or family member. Hence, one can also argue that the communal nature of the television viewing behaviour of the study participants also allowed for the creation of ‘micro fandoms’ within the friend and family unit. This behaviour is put in contrast with the television viewing practices of international audiences, which seemed to be moving away from communal television viewing to solitary “10binge-watching”. According to Graham Ruddick (2017) from The Guardian, this shift in television viewing among international audiences can be attributed to a growing “binge-watching” culture as well as growing numbers of second-screen use. His findings were mainly based on the television viewing practices of people living in the United Kingdom:

Gathering around the living room television to watch the latest hit show has been a family pastime for decades. But that gathering is increasingly becoming a myth as viewers binge-watch strings of episodes. New research from Ofcom has found that 45% of people now watch a programme or film alone every day while nine in 10 watch alone every week. As discussed in section 2.2.2, binge-watching is a common trend among audiences in the 18-34 age demographic (Matrix, 2014:119). This study did not specifically look at the binge-watching trends of the selected sample group, however interviewee one (white, 25, Roodepoort, uncapped internet) did indicate that she would regularly binge-

10 Binge-watching refers to the act of watching an entire television series in one day or watching a large number of episodes in succession without taking a break (Matrix, 2014:119).

84 watch series, especially just before a new season of a specific programme was released. She explains:

Interviewee one: So, if I want to watch that particular show, I can watch it. And then on DSTV and normal TV you have to wait, you know, till Wednesday night at 7 o’clock. And I don’t want to do that. I want to watch when I want to watch. And you can then binge and watch a bunch of episodes, or just watch one. So, TV is quite limiting. It’s like, “here’s your one episode”. So, that’s not what I want to do. Interviewer: Do you end up binging a lot? Are you a big binger? Interviewee one: Yes. The thing we normally will find one series and will watch a lot of it, but normally not to complete it. At some point like the story line just falls apart and like, we’re over this now. We don’t really watch a lot of things to completion. None of the other interviewees indicated that they partook in binge-watching. The adoption of binge-watching practices of women within this population group is thus also an interesting line of inquiry which requires more research.

4.3.2. Micro-fandoms, face-to-face fandom and the use of WhatsApp in local fandom discussion

It has thus far been established that, within the sample group of this study, most of the participants indicated some form of participatory culture and fandom behaviour as set out by Jenkins’ (2017) model. This is prevalent in the participants’ interaction with friends and family with regard to their favourite television programming. There does seem to be a sense of ‘community’ between family and friends who watch the same television programmes and the participants also indicated that they speak to family and friends about the programmes they watch in a ‘micro fandom’ setting. It has also been established that a large number of the participants follow or subscribe to fan pages or official programme pages on social media, however the majority of the participants do not comment or interact in these pages due to a fear of ridicule from other fans. Finally, as stated in the section above participants still conform to a communal television viewing setting; however, that viewing has migrated to include more online television and video platforms such as YouTube and DSTV online. The communal viewing habits of the participants also provides a platform for the creation and maintenance of ‘micro fandoms’ that consist mostly of family members and close friends. Participants within these ‘micro fandoms’ also state that they feel safe sharing opinions, fan art and conspiracies within the fandom and that their opinions are respected, which is also in line with what Jenkins (2017) describes as fandom

85 behaviour. It has also been established that the participants in this study can be described as ‘engaged fans’ as per Stamps’ (2014) model, because the participants identify themselves as being fans of a certain programme and, due to that, form part of a larger community surrounding that programme. Most of the participants also indicated that they do have some form of online interaction when it comes to their fandom, whether it be simply following fan pages or sharing videos and memes from the fandom with friends.

The term ‘micro fandom’ has been created to specifically describe the smaller fandom groups that are prevalent within this sample group. The theory shows that with the advent of web 2.0, the size of fandom groups seems to have grown from the original group of friends who ‘geek out’ about a television show in their mom’s basement. Fandoms have now become a massive online phenomenon and it has thus become impossible to quantify the size of online fandom groups. In the online sphere, one person can be part of a multitude of fandoms at one time and these fandoms consist of millions of people interacting on different online platforms. This form of large online fandom is described by this study as a ‘macro online fandom’ which is put in contrast to the “micro fandoms”. During the interview potion of this study, it became clear that most of the participants form part of ‘micro fandoms’ surrounding their favourite television programme. Even though many participants indicated that they do see themselves as forming part of the ‘macro online fandom’ surrounding their favourite cultural artefact, most only actively interact within their ‘micro fandoms’. The largest portion of the interview participants stated that they preferred talking about their favourite television programmes with family and friends, in person, instead of posting comments online. Interviewee three (white, 20, Roodepoort, capped ADSL line) stated the following when asked whether she preferred interacting in online fandom groups or if she preferred interacting with friends and family who are also fans:

I think it’s like a, a group thing. People come together in groups and be like, “so did you watch The Queen last night?”, or I think it’s more like, like word of mouth. The first part of the quote below is from the interview with interviewee four (coloured, 23, Constantia Kloof, uncapped internet) when she was explaining the way in which she and her family come together to watch Game of Thrones (2011-2019). In the second half of the quote the interviewee switched over to describing the way in which

86 she and her family, and a few friends, interact in a micro fandom using a WhatsApp group:

[W]e got together for the first episode of this season of Game of Thrones, with all our cousins. And all our cousins came to our house and we had like a watch party. So, we decided to do it on the first and the last episode of Game of Thrones. So, on my WhatsApp currently, there’s a Game of Thrones group that I’m in, right? So, we discuss things as it happens. So like, for the battle of Winterfell we took, like I took to WhatsApp immediately, “Oh my goodness guys, did you see x, y, z happened. And then this means that this prophecy is going be in this”. You know, we were like discussing theories immediately, because of the impact that the episode had on us…Mainly because we are able to discuss things and do that respectfully you know? What became apparent from the one-on-one interviews was that participants felt that their fandom behaviour mostly happened in person or via WhatsApp messaging and would only include a handful of friends and family. Based on the replies from the interviews, one can further define the ‘micro fandom’ by stating that it consists of between two to six participants who either interact over some form of texting application or who interact and discuss fandom business in person. Face-to-face, in person discussion as well as the use of WhatsApp messaging seemed to be two of the preferred forms of fan interaction among the interviewee participants, as is illustrated by the following interviewee replies:

Interviewee five (coloured, 25, Florida, uncapped internet): For Game of Thrones…we have a WhatsApp group and we discuss in depth. I think we would rather discuss it in person…Like in terms of local shows I would like to talk to somebody who I know watch the same show and talk about it over the phone, or we’ll talk about it when we see each other. You know, yeah, it’s more face to face than texting about it or posting about it. Interviewee five’s quote above states that, in terms of international programming like Game of Thrones, her preferred medium of fan interaction would be using their Game of Thrones specific WhatsApp group. However, when it comes to local programming, she stated that her fandom interaction was based more on contact in person, rather than using WhatsApp groups or posting her opinion online.

Interviewee seven (black, 21, Auckland Park, uncapped internet at student residence): We won’t really post something online. We would post on our WhatsApp and talk on our, let’s say something happened on The Queen but there’s no posting on Facebook most of the time, or any social media. But mostly WhatsApp and Instagram even. Sometimes people post videos of a scene and then we interact in the comments…Okay so there is some stuff that is happening online, but most of your discussions and you know sharing your opinions and stuff, happens over WhatsApp then. Interviewee eight (white, 23, Roodepoort, uncapped internet): Usually WhatsApp, because I do know quite a few friends who are fans. And then I have others who like we’ll be hanging out in person and they’ll scream to me and be like “Have you watched the latest episode?”, and I will be like “No, no spoilers please. Don’t say anything”.

Interviewee ten (black, 20, Soweto, no Wi-Fi at home) was asked whether she noticed that the use of WhatsApp was a prominent platform for programme discussion among her family and friends. She replied:

Yeah, I have. And like it’s a thing. So, they would also use the hashtags from Twitter and Facebook you know? And they’d bring it to WhatsApp Statuses...So, also even for people like me, who aren’t as active on Twitter and Facebook. Yeah, WhatsApp is the main frame of commenting and I’d also comment like, “Oh my God, this is what I think also”. Showing their frustrations, I’d share my frustrations, you know, when certain characters do certain things that you know? And we, it becomes, and I’d say it’s also a way of debating with my friends, because we also share different views.

As indicated by the above quotes, WhatsApp was a preferred medium of fandom discussion among many of the interviewee participants, whether it be international or local programming. However, as seen in interviewee five’s quote above, as well as interviewee ten’s quote below, discussion in person is also a preferred medium of fandom interaction when it comes to local programming. The idea portrayed by the quote below is that an in person discussion allows for a more in-depth discussion of the programme and its plot and also allows for more varying opinions and free flow of discussion than is possible via WhatsApp.

Interviewee ten (black, 20, Soweto, no Wi-Fi at home): Even when you post a status on WhatsApp for instance about The River, people yes will comment, but the fluent discussion will happen in person. Let’s say a friend decides to post that “Okay this lady from The River, I don’t like her because I don’t like what she did”. She’ll post just a brief thing, it won’t be as intense, you know, as it happens in person. So ja, I actually do agree with you when you say, it’s something that we are more vocal, physically vocal, personally vocal than we are on social media. It became clear that the participants also felt that data costs played a big part in their online fandom behaviour. Many participants indicated that they discussed fandom theories with other friends over WhatsApp or Twitter and when asked why they mainly used those platforms, their replies were as follow:

Interviewee nine (black, 20, Auckland Park, university throttled Wi-Fi): I feel like a lot of people don’t have access to that amount of data to actually go and look for pages and stuff so we just comment on the platforms that we can access that is easy like WhatsApp and Instagram. I feel like it is easier that way. Interviewee ten (black, 20, Soweto, no Wi-Fi at home): Compared to any other social networks, WhatsApp is the cheapest. And I would also say that it’s convenient because you get to interact directly with the people that you actually know. So yes, WhatsApp, it’s definitely also convenience for many people. Interviewee fourteen (black, 19, Doornfontein, Wi-Fi at student residence): A lot of people are complaining about data, and a lot of people don’t have Wi-Fi access, only like they have DSTV at their homes. So, a lot of people could actually do that without involving social media. So, when it comes to fandoms also, the pages and stuff like that, it rarely happens in South Africa. Because we are restricted to the prices of data, we are restricted to Wi-Fi access, we are restricted to people actually having knowledge about what’s going on about the show on social media. So, a lot of people don’t really pay

88 attention to social media when it comes to shows and interacting with the shows on a daily basis on social media. As illustrated by the above quotes, both lower data costs and the ease of access connected to WhatsApp are contributing factors in the participants’ preference for WhatsApp over other, more data hungry social media sites and fan pages. Additionally, a fear of ridicule from other fans in the online sphere also contributed to this sample groups’ fandoms remaining more ‘primitive’. The word ‘primitive’ is used here as a reference to a more traditional fandom climate, before the advent of web 2.0 catapulted fandoms into ‘macro online fandom’ spaces. Television viewing among this sample group also remains a largely communal practice, whereas internet television and second screen viewing has caused an international audience to become more isolated in their television viewing, as discussed on page 83.

The most unique finding that came to light during the interview portion of this research was the prevalent use of WhatsApp messaging and WhatsApp Status in the fandom practices of the study participants. According to Hootsuite (2018), in their report on South Africa’s digital climate in 2018, they found the following when it came to South African’s preference in messaging applications:

WhatsApp is the biggest messaging app on the continent and similarly here in South Africa. We have 38 million unique mobile users, which grew by two million between 2017 and 2018. WhatsApp is followed by Facebook Messenger and Skype with Snapchat and Wechat trailing.

As indicated by the interview participants, WhatsApp is also cheaper and more easily accessible to the sample group than other forms of messaging and social media applications. Most of the interview participants indicated that they made use of WhatsApp to discuss television programmes with other fans and, especially among black participants, the use of WhatsApp Status as a vehicle for fandom interaction became very prevalent. WhatsApp Status is a feature of the messaging application where users can upload pictures, texts and videos to a full screen status bar and this status can then be seen and commented on by all of the user’s contacts. The user can also upload multiple status updates at a time, and they will remain live for 24 hours. The following images are screenshots taken of WhatsApp Status updates

89 surrounding television programmes and series as collected by the researcher and study participants.

Image 1, on the left, was taken from a status uploaded by interviewee seven. The image captures a scene from the South African soap opera The Queen (2016-) and was posted on the interviewee’s status in order to discuss the humorous events that took place in that scene with other fans of the show who would see the interviews WhatsApp Status update. When asked what the status was about and why she posted it, interviewee seven answered:

The scene was actually about a mother in law reprimanding her son in law and it was really funny. I don't think there’s a story behind the post I just wanted to share Image 1: Interviewee seven status update it with my contacts because it was really funny. Interviewee seven was also asked whether anyone on her WhatsApp contact list had commented or asked about her status, she replied:

Yes, they did. Obviously finding it funny also! Image 2 on the left was take from one of the survey participant’s WhatsApp Status uploads. The status update features a screenshot from an article on Celeb Gossip from the 2nd of June, 2019. The article, by Skhumba Hlongwane, talks about Generations: The Legacy actress, Samela Tylebooi, who is pregnant

Image 2: Survey participants’ post about a with her second child and her joys at becoming a "Generations: The Legacy Actress" mother again. Despite the suggestive title, the article does not mention the fact that Samela’s had “unprotected sex” again. The survey participant who posted the status update was asked why she had decided to post it. Her answer was “I found it funny that someone would write an article about that”. She further explained that she was unsure whether the allegations of “unprotected sex” were true and she wanted to get some opinions from her WhatsApp contacts regarding the story, seeing that Samela’s character on Generations: The Legacy is well known and beloved. The above two examples of WhatsApp Status updates relate specifically to South African programming which the researcher found to be the most prevalent content the survey and interview participants posted on their WhatsApp Status updates, with regard to television programming. However, many of the participants

90 also posted updates about international television programming on their statuses, but these updates were posted less often than those relating to local programming, music and actors.

In terms of the most affordable applications which the participants admitted to using the most, WhatsApp and Twitter were among the most used applications to further fan content. Instagram was also mentioned as a platform to post videos about local television programming and facilitate discussion, however the data use connected to Instagram is still quite high, hence it was not as prevalent as the use of WhatsApp in fandom discussion. According to one interview participant, and the programmes mentioned by other interviewees, the use of WhatsApp Status as a fandom vehicle was most common with programmes that appear on DSTV channel 161, Mzanzi Magic. This channel mostly consists of local soapies and television dramas with the most spoken about programme being The Queen (2016-) and Isibiya (2013-). According to interviewee thirteen these were the most popular shows and channels to be discussed via WhatsApp Status. The use of WhatsApp and WhatsApp Status in fandom interaction in South Africa does, however, require much more research due to the small sample size from which this observation was drawn in this study. All 15 of the interviewees stated that they use WhatsApp at some point to discuss their fandoms, however only five of the participants clearly indicated that WhatsApp Status was a big part of programme discussion within their fandom groups. Hence, there is a need for further research on the topic.

4.4 Conclusion

The above chapter discussed the findings of this study, firstly by looking at the findings of the 55 online surveys which were conducted over a period of three months beginning in February 2019 and ending in May 2019. From these findings it was established that the largest portion of the survey participants conformed to the basic tenets of fandom as set out by Jenkins (2017). It was also established that most of the survey participants can be classified as ‘engaged fans’ as per Stamps’ (2014) model, but that most of the participants do not interact regularly within the online sphere and can thus not be considered ‘ideal online fans’. During the interview portion of this research, the reason for this lack of interaction online was attributed to a fear of ridicule

91 from other online fans if the participants did try to comment and interact in online fandom forums. A feeling of inadequacy compared to international, more experienced fans was also mentioned as a deterrent. In both the online survey section and the interview section of this research it was established that the participants preferred to interact in smaller fandom groups that consisted of mostly family members and friends and that these groups preferred to speak and discuss fandom business in person or via WhatsApp. This form of fandom interaction was thus coined ‘micro fandoms’ and put in contrast to ‘macro online fandoms’ which Stamps (2014) sees as the future of fandom in the digital age. The use of WhatsApp Status11 also became apparent as a vehicle for fandom interaction among black, female fans within the sample group, however more research on this phenomenon would need to be done to confirm its importance and impact within local fandom practices. All in all, there seems to be some level of collaboration between online and offline fandom practices, because some participants did indicate that they interacted in online fandom groups in some form or other, mainly by following and reposting from fan pages and official programme pages. However, very few of the participants indicated that they went further or became more involved in the online fandom space than just following and reposting. The main form of fandom interaction exhibited by this study’s participants were in person fandom discussions or private fan groups and discussions using WhatsApp messenger.

11 WhatsApp Status allows users to share text, photos, videos and GIFs that disappear after 24 hours. In order to send and receive status updates to and from one’s contacts, the user and their contacts must have each other's phone numbers saved in their phones’ address books (WhatsApp, 2019)

CHAPTER 5: DISCUSSION AND CONCLUSION

5.1. Introduction

The aim of this fandom study was to establish how women living in Johannesburg, between 19 and 25 of age, consume and watch television and what impact their television viewing practices had on their fandom interaction. The aim of the study was also to establish whether South African fans conform to the traditional participatory culture and fandom practices set out by Jenkins (2017) and whether local fans can and do interact in the online fandom sphere as set out by Stamps (2014), which has become the pattern of fandom culture internationally. Based on research on South Africa’s internet connectivity and data prices, it was established that data prices and a lack of internet connection could be a big hindrance to local fandoms interacting in the online fandom space. The question then was whether this lack of internet connectivity has allowed the growth of a uniquely South African fandom climate that does not necessarily adhere to the traditional rules of fandom which has been dictated by the Western world. Against this backdrop, the central research problem was: How do female television viewers in Johannesburg, between the ages of 19 and 25, interact with television programmes and the fandoms surrounding those programmes, in offline and online spaces?

The research problem was examined through the consideration of the following research questions:

1. How do selected female television viewers consume, and interact with local and international television programmes in online and offline spaces?

2. How do selected female viewers make sense of their fandom and what aspects of their television viewing habits indicated that they are or feel part of a sharing and interactive “community” surrounding their favourite programmes?

The following section will aim to answer these research questions, with some alterations to the original questions based on the findings of the study. It will also discuss the contribution this study has made to existing fandom research and most importantly, in fandom research

93 in South Africa. Finally, recommendations for future research based on the study findings and pitfalls will be discussed.

5.1.1 The television viewing practices of selected female, South African, viewers

The first research question aimed to establish how the selected sample group watched, interacted and consumed local and international television programming. The aim of this angle of enquiry was first to establish how the women within the sample group watched television, which platforms they watched on and whom they watched television with. The second aim was to establish what programmes the selected sample group watched the most, as their preferred programmes would influence whether they interacted more in local or international fandoms. Firstly, it is important to note that when this study refers to television content, this content could and did also include video content on YouTube, as well as series and films on online platforms such as Netflix and Showmax. It has been established that for a global audience, as well a selected group of South African viewers, television viewing no longer only refers to cable or satellite television with scheduled daily programming. Hence, during this study the participants’ YouTube viewing behaviour was also taken into consideration under ‘television viewing’ as well as programmes they watched on platforms like Netflix, illegal online streaming platforms and DSTV online.

Based on the online survey findings as well as the findings from the one-on-one interviews it has been established that the largest portion of this study’s participants watched television or other video content on a daily basis and that the largest portion of participants watched television with family members or friends. 56.4% of participants watched television on various platforms, on a daily basis and 41.8% watched television with family or friends, while only a small number of participants indicated that they watched television alone. Hence, based on the findings from this sample group the conclusion can be drawn that South African television viewing practices remain a communal event. However, communal television viewing has moved away from regular, scheduled programme viewing to a more spur of the moment, ‘when I feel like it’, television viewing climate, as the largest number of participants indicated that they did not watch television at a specific time or place, nor did they adhere to television schedules.

While many of the participants indicated that they watched television on DSTV on a traditional television set, using a decoder, it also became clear that an increasing number of participants used their laptops or cell phones to watch television because they did not have access to a television set. 61.8% of participants indicated that they used their laptops to

94 watch television and video content and 47.3% stated that they used their cell phones to watch television and video content. Laptops were mostly used to watch videos and illegal programme uploads on YouTube, as well as watching programmes and films on illegal streaming sites such as GoMovies or Putlocker. Participants also indicated that they used their laptops to watch Netflix; however, the number of Netflix viewers were much lower than on other platforms. The most popular online television viewing platforms were DSTV online and YouTube, especially among black, female participants. The types of programmes that participants preferred to watch were very much determined by their preferred television medium. Participants who indicated that they watched television on Netflix showed a preference for international programming, while participants who watched programming on DTSV, DSTV online and YouTube showed a preference for local programming. However, the types of programming that the participants watched did not end up influencing their fandom behaviour as the fandom behaviour remained more or less the same for all the participants, regardless of their preference in programme content. The only significant difference was that participants who watched international programming, the most popular of which was Game of Thrones (2011-2019), did indicate that there were many more online fandom platforms in which they could not participate, whereas participants who indicated that they mostly watched local programming also indicated that the online fandom platform for local shows was either very small or non-existent.

Based on the above findings one can recognise that there is a clear gab in the level of access and interaction within the online fandom sphere, when local and international programming are placed head-to-head. The effect of fandoms on the productivity and economy of the film and television industry has not yet been fully explored. Susan Kresnicka (2016), a social anthropologist at the Troika’s Research and Insights Group in the United States, states “deeply knowledgeable, forthcoming with information, and passionate about the topic, fans make great teachers”. She says this with particular reference to the effect fans and fandoms have on the creation of knowledge and capital within the media industry. She argues the following about her reasons for studying fandoms and their impact on the entertainment industry:

Because in business – especially in the rapidly changing business of entertainment – we need to understand the deepest forms of value we create for people if we ever want to fully translate that value into stock prices, dividends, and paychecks.

Based on Kresnicka’s statement and the findings mentioned above, it can be argued that fans and fandoms have a great deal of impact on the entertainment industry, especially in 95 terms of how fandoms can and are utilised in order to raise capital. Hence, the large gap in online fandom interaction between local and international programming becomes an important topic for research. If this sample group’s data shows that local programming and local program fans do not have the same level of online fandom interaction as their international counterparts, what effect is this having on the effectiveness and economic growth of the local entertainment and media industry? Surely, more research should be done on how local media companies and broadcasters can utilise fandoms in order to grow their business and subsequently grow their capital. An important question for further research then is “Why are local broadcasters and media corporations not researching and utilising the power of fandom?”

5.1.2 The impact of internet connection and data prices on South African fandoms

One of the main concerns within this study was whether low internet connectivity and high data costs would have an influence on the study participants’ level of fandom interaction in an increasingly digital world. As stated by World Wide Worx (2017), most South African citizens have little to no internet access beside from that used for WhatsApp and email. The level of internet access was undoubtedly higher among South Africans who earn more than R30 000 per month who have an internet penetration of 82.4%, whilst those earning between R3 000 and R6 000 have 42% internet penetration. The online survey section of this research showed that 92.7% of the participants have internet access on some type of electronic device. This internet access was divided between self-supplied broadband or fibre internet or internet provided by tertiary institutions or student residences where the participants reside. However, during the interview portion of this research it was established that the speed and quality of internet access does not always allow the participants easy online video streaming. While the online survey section of this research did not clearly indicate that lower internet access or data costs are causing reduced fandom participation among the study participants, the one-on-one interview participants were very vocal about the negative impact of data costs on their fandom interaction and level of television viewing. As stated by interviewee eleven:

So, when it comes to fandoms also, the pages and stuff like that, it rarely happens in South Africa. Because we are restricted to the prices of data, we are restricted to Wi-Fi access, we are restricted to people actually having knowledge about what’s going on about the show on social media. So, a lot of people don’t really pay attention to social media when it comes to shows and interacting with the shows on a daily basis on social media.

While most of the participants indicated that they had access to internet, they still stated that high data costs were influencing the way in which they communicated within their fandoms because they were unable to post, like, repost and access many fan pages and fan content because of high data costs. Hence, discussion in person was found to the most popular platform for fandom discussion as most of the interview participants indicated that their programme discussion and debates took place in person. WhatsApp was also identified as a cost-effective, and easily accessible messaging platform through which local fandoms operated. Two of the interviewees even stated that they had whole WhatsApp groups dedicated solely to specific programme discussions. It is important to note that data costs were not the only contributing factor to the shift in fandom interaction within this sample roup, as will be discussed in section 5.1.3. However, data costs do play a noticeable role in the fandom climate and has potentially lead to a unique South African fandom model, which will be discussed in more depth in section 5.2.1. WhatsApp is also a private messaging platform where individuals can create closed groups that consist only of those who are explicitly invited to join the group. This allows for much more privacy in terms of which members are allowed to join, which means a more controlled environment for fan groups to reduce the level of ridicule they felt was prevalent among open online groups.

5.1.3 South African fans: traditional fandom, ‘ideal online fandom’ and a fear of ridicule

Research question two is where the most interesting findings from this sample group came in to play. In the online survey portion of this research, the largest portion of participants indicated that they felt safe and comfortable sharing their opinions about their favourite programme with friends or family and that their views would be respected. Contrastingly, when asked if they felt safe sharing their opinions about a programme online, most of the online survey participants indicated that they never postd their opinions about a programme online or that they did not agree with the statement. The reason for this became clear during the interview portion of this research when it was established that most of the participants felt that they could not share their opinions about a programme they watched with other TV programme fans online, because they were afraid of backlash and ridicule from other fans. They described the online sphere as highly volatile and that the chance of cyberbullying or some form of ridicule was too high when entering the online fandom sphere. The chance that differing opinions, due largely to varying cultures and equality among groups in South Africa, might cause friction when opinions were made public online, also played a big role in the participants’ hesitance to interact online. Participants also indicated that their level of 97 knowledge about a programme might not be as developed as some of their international counterparts and that this lack of knowledge could also result in backlash from fans who thought that they knew better or who considered themselves to be ‘higher up’ on the scale of ‘fandom hierarchy’. Hence, high data costs and a fear of ridicule when interacting in the online fandom sphere both contributed to the participants’ unique fandom behaviour.

Before discussing the unique fandom behaviour that the participants illustrated, it is important to first re-cap how the study participants measured when compared to existing fandom models. As discussed in the findings chapter, the online survey and interview portion of this research both illustrated that the participants do conform to the basic tenets of fandom as set out by Jenkins (2017). The findings of the online survey illustrated that 50% of the participants always felt that they were part of a community surrounding their favourite television programme and 46.7% stated that they sometimes felt that they were part of a community surrounding their favourite television programme. The largest portion of participants felt that they were valued within this community and that other fans cared about their opinions, at least within the realm of friends and family whom they also perceived as fans. However, this feeling changed quite dramatically in the case of an online community. During follow-up interviews participants also indicated that they would regularly share memes and videos about a programme with other fans in their group of friends or other family members who were fans and that these memes and videos were always received with respect. 41 Participants also indicated that they regarded themselves as fans and part of a fandom community surrounding their favourite programme. Hence, in terms of Jenkins’ (2017) characteristics of fandom behaviour, the largest portion of the study participants could be classified as adhering to the characterises of traditional fandom.

According to Jenkins (2016) and Pearson (2001), the defining line within the field of fan studies is between “predigital and digital” era fandoms. Hence, the advent of digital and internet technology has had a profound impact on the way fandoms operate and has transformed fandoms into “digital fandoms” (Baki, 2014:13). Stamps’ (2014) model of ideal online fandom described the type of fan behaviour which today’s fans have to adhere to in order to compete in the digital sphere. The online survey section of this research aimed to establish whether South African fans were active in the online fandom sphere and whether they had the resources to be competitive in this sphere. Based on the results of both the online survey section and the one-on-one interviews this study concluded that the participants in this study did fit into Stamps’ (2014) first two categories of ideal online fandom. Firstly, the participants qualified as “engaged fans”, who felt that they were part of

98 a community surrounding their favourite programme and who identified themselves and their beliefs in other fans, even though most of the participants indicated that they did not like to post their opinions online. The participants did agree that they knew of fan communities online, or that they did follow official programme pages or fan made pages online, but they did not actively participate in the discussion section of those pages. This behaviour is also known as “lurking”.12 A lurker is defined by Nonnecke & Preece (2001:2) as “One of the ‘silent majority’ in an electronic forum; one who posts occasionally or not at all but is known to read the group's postings regularly”. They further state that lurkers make up “the majority of members in online groups and discussion lists”. They identify various reasons as to why internet users would prefer to lurk instead of actively engaging in group discussion, the most prominent of which is that the act of lurking reduces public exposure (Nonnecke & Preece, 2001:8). This also seemed to be the main reason for the participants in this study’s lack of online interaction, as the fear of public exposure and ridicule outweighed the benefits of interacting online. However, Nonnecke & Preece (2001:10) do state that individuals who chose to lurk stated that “lurking is capable of meeting members’ personal and information needs”, hence those who do chose to lurk do not miss out on the benefits provided by online groups. However, the majority of participants in this study did indicate that they did not follow fan pages at all or that they rarely engaged in online pages.

This level of ideal online fandom does not necessarily, in the opinion of the researcher, apply solely to the online sphere and can thus be applied to this study’s participants. The reason for this is the following: Stamps (2014) described engaged fans as individuals who recognise themselves, and their love for a specific programme, in other fans. Thus, the individual fan recognises that they are a part of a larger community surrounding their favourite programme. However, this does not necessarily mean that this ‘recognition of other fans’ has to or only takes place within the online sphere. The participants in this study identified themselves as part of a fan community which was made up of family members and friends. They therefore did not have to enter the online sphere to become part of a fan group surrounding their favourite programme. The “engaged fan” thus exists both in the online and offline sphere.

Secondly, the study participants qualified as “advocate fans” who shared their ideas and thoughts with other fans by moving the thoughts “from their own heads to someone else or into a shared space of a fan community”. However, unlike as described by Stamps (2014) and Baki (2014), this action of knowledge sharing did not solely apply to the online sphere.

12 Being part of online fan pages, watching and following its activities, but not actively engaging in any discussions or content creation. 99

Participants in this study did indicate high levels of knowledge sharing through in person discussion and the sharing of memes and opinions via WhatsApp and WhatsApp Status updates. Hence, once again, in the researcher’s opinion the study participants qualified as advocate fans because they shared their knowledge about the fandom with other fans, although this interaction mostly took place in small, offline fan groups or WhatsApp groups which was not as ‘online based’ as described by Stamps (2014) and Baki (2014).

The participants in this study, however, did not qualify as “purchasing fan’ or “super fans” in the researche’rs opinion, as these sections of fandom behaviour require high levels of online fandom interaction, creation of fan art and user-generated content, et cetera, which was not prevalent within the sample group of this study. This links to research question three, as 70.9% of participants stated that they did not create any form of fan art or user-generated content whatsoever. The interviewees also stated that they did not create memes and videos relating to their fandoms themselves, and that they only shared existing memes that they found on Facebook or other fan pages, with friends and family in closed WhatsApp groups or personal messages. Only a small portion of the participants indicated that they wrote fanfiction, created fan art and purchased fan merchandise, but these participants were within a higher economic class and had high speed internet connection. Hence, user-generated content (UGC) in the form of memes and videos were shared using WhatsApp and WhatsApp Status, which does qualify as an online platform; however, the groups on which this UGC was shared were very small and consisted only of family members and close friends and not an open access online fandom community. The following section will discuss how the above-mentioned fandom characteristics and inhibitors have formed a unique fandom climate within the sample group of this study.

5.2. Contribution to existing research

In the previous sections it was established that the participants in this study did conform to traditional notions of fandom behaviour as set out by Jenkins (2017) and that they did show characteristics of the first two levels of ideal online fandom as set out by Stamps (2014), even though these behaviours largely took place offline. It was also established that high data costs and a fear of ridicule when interacting in online fandoms were the leading causes for the low level of online fandom interaction found within this sample group. It is within this framework that unique fandom behaviour among this study’s participants became apparent, which could form a basis for a South African fandom model. It is important to note that the

100 findings of this research are based on a small portion of the intended population group and can thus not be generalised to the larger South African population, however it does provide an insight into the ways in which South African television audiences make sense of their fandoms.

5.2.1 The start of a South African fandom model

Before commenting on the unique findings of this study, it would be beneficial to show a reply from one of the interviewees who participated in Stamps’ (2014:65) online fandom study, A Good-Enough Fan within the Online Fan Community of Game of Thrones: An E- Ethnographic Study, in order to compare and contrast the findings of the two studies and to illustrate what this study has contributed to existing research on fandoms and especially fandoms in South Africa. According to Jenna, the interviewee he cites in the concluding remarks of his study:

The Game of Thrones fandom is an international community that is definitely better connected now thanks to the Internet. Before I started interacting with fans online, I only discussed the show with family and close friends who watched it. The Internet has allowed me to socialize with Game of Thrones fans living all over the world on a daily basis. Because we have such diverse backgrounds, we see the show in different ways. It is interesting to hear what elements of the show people like and don’t like based on their different beliefs, values, etc. Fans also seem to be more willing to express their true feelings about the show online which has led to a lot of heated debates in the fandom… Additionally, the Internet has made it easier to obtain the latest news on the show and its cast members very quickly. Most of the fans I interact with are active on multiple social media networking sites, such as Twitter, Tumblr and Facebook. It doesn’t take long for news to spread once fans start sharing the information by tweeting it, posting it on their blogs, etc. As Jenna described it, the new age of digital technology has allowed fans from all over the world to come together in what she views as a much more versatile, diverse fandom group. She stated that before the advent of online fandom platforms, her fandom practices consisted only of discussing the show with family and close friends who watched it and the sense one gets is that she does not consider that behaviour as adequate fandom behaviour, nor as being fulfilling enough from a fandom perspective. It also comes across that she enjoys and advocates for online fan groups where people can have heated discussions about a programme topic with many different viewpoints coming into play. This is one of the final quotes Stamps (2014) uses in his study on digital fandom and thus highlights his own views on what fandom should and could be. In a sense, only discussing fan information with family and close friends is seen as a more archaic form of fandom based on the views in Stamps’ (2014) study. Based on the findings of this study already discussed , the fandom practices of the sample group indicate that South African fans primarily conform to this

101 archaic form of fandom practice, begging the question whether local fandoms are unevolved because of data prices and fear of online interaction, or whether these barriers have merely allowed local fandoms to adapt to a unique way of fandom interaction.

It is the opinion of this researcher that it could be a bit of both. One can argue that, due to high data costs, lack of internet connection, differing television practices and a fear of online interaction due to the potential of backlash and ridicule, the local fan groups have ‘fallen behind’ in a world where digital technology has continued to re-shape the way fandoms interact. However, it is the researcher’s perception that this ‘fallback’ has also opened new paths for fandom interaction that do not require as much online access. This research by no means tries to say that South African fans cannot and do not interact on online fan platforms whatsoever, because numerous participants in this study stated that they do talk about programmes they watch on Instagram and Twitter. However, this behaviour was less prevalent within the sample group of this study and many of the participants did not even realise that their posts on social media could be regarded as fan practice. Nevertheless, looking at the television practices of the sample group of this study, television viewing remains a largely communal act, allowing for more discussion in person during and after the programme has aired. Because family members and friends watch programmes together, the need to find other fans to converse with in an online sphere is reduced.

Secondly, instead of being a desirable aspect of online interaction, differing opinions and possible “heated debates”, as Jenna puts, it is regarded as an undesirable trait linked to online interaction, according to the participants of this study. However, a reason for the difference in opinion on vigorous debate and opinion clashes when it comes to online interaction was not clear from the interview findings and thus require further investigation. The only reason given was that online debates and confrontation could lead to heated, sometimes unwanted real-life consequences, especially within the current political climate. Other interviewees just stated that they did not like confrontation, especially not when dealing with strangers, and thus preferred speaking to those they knew and trusted. And as stated previously, talking about programmes remains an interaction in person between fans within the sample group of this study, which reduced the chance of online backfire and the spread of negative comments. In general, the participants in this study stated that they preferred interacting in smaller fandom groups, both in person and on WhatsApp, consisting of family members and friends who share their interests and that they did not feel the need to interact in online fandom groups.

102

Hence, based on the practices and opinions of this study’s participants, the following description or model could form a basis for future research on South African fandom groups. The first term this research would like to put forward is ‘micro fandom’. This is not a term that has been used in in previous fandom research nor has it been used to describe fan groups thus far. The use of ‘micro’ refers to something that is extremely small. Compared to the large number of online fan groups the use of ‘micro’ when describing local fandoms is quite adequate. A ‘micro fandom’ in this sense then refers to a group of fans who interact with a limited number of other fans, usually consisting of no more than two to six fans (or like-minded individuals) and these participants always consist of either family members or close friends. One can further specify the term by stating that the participants in this study belong to ‘micro offline fandoms’, in the sense that these fan groups do not interact on online platforms as is usually associated with fan practices. However, these groups often make use of messaging applications such as WhatsApp to conduct fan practices, so for the purpose of these findings the term ‘micro fandom’ will be used to describe the fandoms studied here. Furthermore, the term “macro online fandom” is used in contrast to micro fandoms. “Macro online fandoms’ then are the fandoms described by Stamps (2014). Macro online fandoms should and do conform to the levels of ideal online fandom set out by Stamps (2014) and it is in contrast to these fandoms and their behaviours that micro fandoms are placed as representative of the fandom practices of the sample group of this study.

The second unique fandom practice that was prevalent among the participants in this study was the use of WhatsApp and WhatsApp Status as a vehicle for fandom interaction. The creation of small WhatsApp groups dedicated solely to one programme and its fans was stated as common practice by this study’s participants. WhatsApp groups made up of micro fandoms were described as a much safer space to share opinions and fan content than trying to be part of the macro online fandom community. Furthermore, many participants also indicated that they chatted about their favourite programmes with family and friends via WhatsApp, both during and after their favourite programmes have aired. WhatsApp Status updates with programme-specific content like short videos, memes and opinions were also a common practice participants spoke about. However, the use of WhatsApp Status as a fandom vehicle was mostly related to local television programming and was more prevalent among older television viewers. Hence, further study into the role of WhatsApp Status in the fandom practices of older generation television viewers is also crucial. The reason for the use of WhatsApp was due to the application’s low data consumption and consequent lower cost of usage compared to other social media platforms. Hence, based on the findings of

103 this study this research suggests that local fandoms consist of “micro fandoms” who prefer programme discussion in person or discussion via WhatsApp and WhatsApp groups in order to create a safe (convenient and cost effective) community in which online ridicule would not affect their fandom practices. The participants also indicated that communal television viewing still remained common practice for a large portion of them, facilitating their in person fandom discussion and reducing the need to seek fans who shared their views in the online sphere. However, these findings were based on a small number of female participants within the population group and can thus not be generalised to the larger South African population. It does, however, provide a small window into the unique practices of local fan groups which has not been the topic of previous study within the field of fandom study and specifically South African fandom studies.

5.3. Recommendation for future research

Based on the findings and limitations of this study it becomes clear that there are various areas which require further research within this topic matter, most of which relate to the unique practices and restrictions the participants voiced about local fandom practices. The first would be a deeper inquiry into the reasons behind the participants’ strong disapproval of online fan pages and the heated discussions which are had there. It would be interesting to establish why Jenna, an American fan, feels safer and more stimulated in online fan groups while the South African fans who took part in this study did not feel the same way and expressed an opposite view of online fandom.

The second aspect which needs further investigation is the use of WhatsApp as a vehicle for fandom interaction. This study showed that WhatsApp is indeed a widely used format for fandom discussion. However, more research is needed on the ways in which WhatsApp is used to facilitate fan participation. It would be interesting to do an in-depth analysis of the content, opinions, creation and practices, et cetera, which are shared by the micro fandom groups on WhatsApp and how that fandom interaction compared to that of other social media platforms and fandom sites. Any further studies on South African fans and their WhatsApp use would therefore also have to do an in-depth analysis on how WhatsApp Status is used to facilitate fan discussion. It will also have to take into consideration who uses WhatsApp as a fandom vehicle and which programmes are most often discussed via WhatsApp Status.

104

Apart from topics which need further research, there are also a few recommendations in terms of methodology which should be adapted in future studies of this nature. Firstly, the use of online surveys did give an interesting perspective on the number of fans, television viewing and fandom practices of this sample group; however, it was only in the one-on-one interviews where truly useful opinions and behaviours was discussed. This researcher would like to recommend that any further study on this subject should include more one-on-one interviews in order to gain a richer understanding of the subtle nuances of local fan groups. Group interviews would also have provided rich findings, as many of the participants requested to be interviewed with friends who were also fans but were denied due to the study’s methodological approach. Group interviews would allow participants to bounce ideas off one another and might provide richer data than one-on-one interviews. Finally, the population group to be studied should be broadened to include older fans and television viewers, especially those who do not reside in technologically developed areas like Johannesburg, as those participants’ techniques of fandom interaction will differ largely from the participants in this study.

In concluding this study, the question of this topic’s significance comes into question. As discussed on page 94, a lot more research needs to be done on the effects fandoms have on the content production and economic growth of the media and entertainment industry. This is especially true in a South African context where, based on the findings of this sample group, it is clear that local broadcasters and media corporations do not put nearly enough emphasis on understanding the fandoms surrounding their products, nor the effects that those fans have on the success of their products. Additionally, this study highlights the impact South Africa’s high data prices are having on the population’s ability interact in a growing international, online society. Eventually, being able to compete in the online sphere will become non-optional and thus it is important to start looking at the reasons why South Africans might not be able to compete as effectively online as their international counterparts. Why is there a heightened sense of fear connected to online interaction in South Africa compared to other countries? What effect does South Africa’s vastly diverse culture and level of equality have on the way its people communicate and share their opinions and experiences? The findings of this study seem to be raising more questions than answers, which can largely be ascribed to the lack of prior research on the topic, with this study’s subsequent groundbreaking exploration of the topic from a South African perspective bringing questions to the fore. Thus, a lot more needs to be known about South African television audiences, their television viewing habits and consequently their fandom

105 behaviour, although this study has provided a starting glimpse into the complexities that surround television viewing and fandom interaction in South Africa, and how that is affected by larger cultural and economic factors.

106

REFERENCE LIST

Abrams, J.J. & Lindelof, D. (Producers) & Abrams, J.J. (Director). (1966). Star Strek. [Motion Picture]. Paramount Pictures: USA.

Agirre, A.I., Arrizabalaga, P.A. & Espilla, Z. A. (2016). Active audience?: interaction of young people with television and online video content. Communication & Society 29(3), 133-147. doi: 10.15581/003.29.3.133-147.

Aguilar, M.G., Rojano, F.J.P & Batlle, P.F. (2015): The behaviour of the television audience on social networks. An approach to its profile and the most talked about programmes. Revista Latina de Comunicación Social, 70: 539‒551. doi: 10.4185/RLCS-2015-1058en

An, R. (2010). Gender & Sexuality Construction in Korean Idol Fanfiction: In a Subversive Gender Parody. Available from: http://lup.lub.lu.se/luur/download?func=downloadFile&recordOId=1671321&fileOId=16 71322

Andò, R., Pizza, S. & Corsini, F. (2016). Watching television today. A comparative survey of Italian and American students’ habits in front of television. Journal of Italian Cinema & Media Studies, 4:2: 283–306, doi: 10.1386/jicms.4.2.283_1

Appadurai, A. (1990). Here and Now. Chapter 1 in Modernity at Large. London: University of Minnesota Press.

Archive of Our Own. (2019). 1 ‒ 20 of 36006 Works in Game of Thrones (TV). Available from: https://archiveofourown.org/tags/Game%20of%20Thrones%20(TV)/works

Atkinson, R. & Flint, J. (2001). Accessing Hidden and Hard-to-Reach Populations: Snowball Research Strategies. In Social Research Update. Available from: https://scholar.google.co.za/scholar?q=snowball+sampling+for+large+populations&hl= en&as_sdt=0&as_vis=1&oi=scholart

107

Bakari, S. (2017). Why is South Africa Still a Developing Country? MPRA Paper 80763, Munich: University of Munich Library.

Baki, B. (2014). Utilizing Fandoms as a Semi-Controlled Word of Mouth Communication Channel in Popular Culture. Masters thesis. Available from: https://www.theseus.fi/bitstream/handle/10024/.../BORBALA_BAKI_THESIS

Benioff, D. & Weiss, D.B. (Creators). (2011-). The Game of Thrones [Television Serial]. United States: Warner Bros. Television.

Benjamin, R. (Producer) & Zuma, T., Ndlovu, D. & Moropane, S. (Directors). (2015-). Uzalo. [Television Series]. South Africa: SABC1.

BiztechAfrica. (2018). GfK research reveals viewing habits in Kenya, Nigeria. Available from: http://www.biztechafrica.com/article/gfk-research-reveals-viewing-habits-kenya- nigeria/13578/

Borgatti, S. (2019). Introduction to Grounded Theory. Available form: http://www.analytictech.com/mb870/introtoGT.htm

Broadcast Research Council of South Africa (2017). The Establishment Survey. Available from: http://www.brcsa.org.za/category/demographic-and-media- consumption-trends/

Brothwell, R. (2016). How bad piracy really is in South Africa. Available from: https://mygaming.co.za/news/business/100447-how-bad-piracy-really-is-in-south- africa.html

Bryant, A. & Charmaz, K. (Editors). (2007). Feminist Qualitative Research and Grounded Theory: Complexities, Criticisms, and Opportunities. In The SAGE Handbook of Grounded Theory. England: SAGE.

Burger, M. (2015). Public self-expression, identity and the participatory turn: The power to (re)imagine the self. Communication: South African Journal for Communication Theory and Research. Available from: http://www.tandfonline.com/doi/pdf/10.1080/02500167.2015.1093318.

Business Report. (2018). SA data prices 3rd most expensive within BRICS. Available from: https://www.iol.co.za/business-report/economy/sa-data-prices-3rd-most- expensive-within-brics-14005528

108

Carmody, D., Cormican, D. & Moszkowicz, M. (Producers). (2014-2019). Shadowhunters. [Television Serial]. USA: Freeform.

Chanel24 (2017). The top 12 most Binge-Watched shows on Showmax right now. Available from: https://www.channel24.co.za/TV/News/the-top-12-most-binge-watched- shows-on-showmax-right-now-20171030

Chin, B. & Morimoto, L.H. (2013). Towards a theory of transcultural fandom. Journal of Audience and Reception Studies. 10(1). Available from: http://www.participations.org/Volume%2010/Issue%201/7%20Chin%20&%20Morimoto %2010.1.pdf

Clare, C. (2007-2014). The Mortal Instruments. USA: Margaret K. McElderry Publishers.

Compton, M.F. (1983). Television Viewing Habits of Early Adolescents. The Clearing House. Vol. 57. Available from: http://www.jstor.org/stable/30186251

Curtin, M. (2009). Matrix media. In Understanding television in the post-broadcast era (pp. 9-19). Edited by Turner, G. & Tay, J. Oxon: Routledge.

Delwiche, A. & Henderson, J. (Eds). (2013). Introduction: What is Participatory Culture. The Participatory Culture Handbook. New York: Routledge.

Demba, D.Y. (2016). The influence of user-generated content on brand trust and purchase intention: A South African perspective. Masters Thesis. Available from: http://wiredspace.wits.ac.za/handle/10539/22366

Dey, I. (1999). Grounding Grounded Theory Guidelines for Qualitative Inquiry.San Diego: Academic Press.

Doyle, A.C. (1880–1914). Sherlock Holmes. United Kingdom: George Newnes.

Dunlap, K. & Wolf, C. (2010). Fans Behaving Badly: Anime Metafandom, Brutal Criticism, and the Intellectual Fan. Mechademia. Vol. 5: Fanthropologies. Available from: http://www.jstor.org/stable/41510968

109

Elliott, R. & Timulak, L. (2015). Descriptive and interpretive approaches to qualitative research. In A Handbook of Research Methods for Clinical and Health Psychology. Edited by Miles, J. & Gilbert. P. United Kingdom: Oxford University Press.

Feleki, D.N. (2016). Wikia Fandom Craze: Connecting, Participating, Creating, and Re- negotiating Boundaries. Journal of Theory and Criticism. Vol. 23: Wikia Fandom Craze. Available from: https://ejournals.lib.auth.gr/gramma/article/download/5402/5296

Fink, A. (2006). How to Conduct Surveys: A step-by-step guide. 3rd edition. California: SAGE.

Fletcher, M. (2009) “You must support Chiefs; Pirates already have two white fans!”: Race and racial discourse in South African football fandom, Soccer & Society, 11(1/2): 79–94. doi:10.1080/14660970903331359

Geldenhuys, N. (2017). What South African brands are getting right on social media. Available from: https://www.mediaupdate.co.za/social/126684/what-south-african- brands-are-getting-right-on-social-media

Godfrey, W., Mooradian, G. & Morgan, M. (Producers) & Condon, B., Slade, D., Weitz, C. & Hardwicke, C. (Directors). (2008-2012). The Twilight Saga. [Motion Picture]. USA: Summit Entertainment.

Golafshani, N. (2003). Understanding Reliability and Validity in Qualitative Research. The Qualitative Report, 8(4): 597-606. Available from: http://nsuworks.nova.edu/tqr/vol8/iss4/6

Goldstuck, A. (2017). South Africa Has 21 Million Internet Users, Mostly on Mobile Available from: https://www.forbes.com/sites/tobyshapshak/2017/07/19/south-africa- has-21m-internet-users-mostly-on-mobile/#3cf79c901b2d

Gooch, B. (2008). The Communication of Fan Culture: The Impact of New Media on Science Fiction and Fantasy Fandom. Available from: https://smartech.gatech.edu/handle/1853/21818?show=full

Grossman, L. (2011). The Boy Who Lived Forever. Available from: http://content.time.com/time/printout/0,8816,2081784,00.html#

110

Gupta, R., Rasania, S.K. & Acharya, A.S. (2014). The Influence of Television on Urban Adolescents of Delhi. The Indian Journal of Community Medicine, Vol. 39. DOI:10.4103/0970-0218.126360

Hermes, J. (2010). The `Ethnographic Turn'. Module 1: Unit 6 in The Histories and Politics of the New Audience Research. Available from: https://www2.le.ac.uk/projects/oer/oers/media-and.../mod1unit6/mod1unit6cg

Hetcher, S.A. (2009). Using Social Norms to regulate Fan Fiction and Remix Culture. University of Pennsylvania Law Review, 157: 1869-1935. Available from: https://www.law.upenn.edu/live/files/79-hetcher157upalrev18692009pdf

Hissirich, M. & Murphy, T. (Producers). Shameless. [Television Series]. USA: Showtime.

Hlongwane, S. (2019). Generations actress Samela Tylebooi gets pregnant AGAIN after enjoying unprotected sex. Available from: https://www.celebgossip.co.za/celebgossip-news/13937-generations-actress-samela-tylebooi-gets-pregnant-again-after- enjoying-unprotected- sex.html#targetText=Generations%20actress%20Samela%20Tylebooi%20gets%20pre gnant%20AGAIN%20after%20enjoying%20unprotected%20sex&targetText=According %20to%20sources%2C%20this%20will,about%20her%20bundle%20of%20joy

Hootsuite (2018). Digital in 2018 in Southern Africa. Available from: https://www.slideshare.net/wearesocial/digital-in-2018-in-southern-africa-86865907/100

Jacobs, J. (2018). What are the pros and cons of bar graphs? Available from: https://www.quora.com/What-are-the-pros-and-cons-of-bar-graphs

Jenkins, H. (1992). Textual Poachers: Television Fans & Participatory Culture. New York: Routeledge

Jenkins, H. (2006). Fans, Bloggers and Gamers: Exploring Participatory Culture. Chapter 6 in Interactive audiences? The Collective Intelligence of Media Fans. New York: NYC Press.Jenkins, H. (2017). Fandom, Participatory Culture and Web 2.0. Available from: http://web-app.usc.edu/soc/syllabus/20171/20855.pdf

Johnson, R.B. & Onwuegbuzie, A.J. (2004). Mixed Methods Research: A research paradigm whose time has come. Educational Researcher. 33(7). Available from: http://www.jstor.org/stable/3700093

111

Kee, T.B. (2008). Unauthorised Romances: Female Fans and Weiss Kreuz Internet Yaoi Fanfiction. Masters Dissertation. Available from: http://scholarbank.nus.edu.sg/bitstream/handle/10635/19041/TanBK.pdf?sequence=1.

Krensnicka, S. (2016). Why Understanding Fans is the New Superpower (Guest Column). Available from: https://variety.com/2016/tv/columns/understanding-fans- superpower-troika-1201743513/

Landabidea, X. & Loos, E. (2015). Contemporary meanings and experiences of television in the digital age. International Journal of Digital Television 6(1): 43–60. doi: 10.1386/jdtv.6.1.43_1urresti

Livingstone, S. (2005). Media audiences, interpreters, users. In Media Audiences. Understanding media, 2. Edited by Gillespie, Marie. Maidenhead,UK: Open University Press.

Lund Research Ltd. (2012). Non-probability sampling. Available from: http://dissertation.laerd.com/non-probability-sampling.php

Malema, P. (2019). The most watched TV shows in South Africa. Available from: https://www.ecr.co.za/lifestyle/house-home/most-watched-tv-shows-south- africa/#targetText=The%20top%20three%20most%20watched,viewers%20on%20Tue sday%2016%20April.

MARU Matchbox. (2017). The Changing TV Experience: 2017. Available from: https://www.iab.com/wp-content/uploads/2017/05/The-Changing-TV-Experience- 2017.pdf

Matrix, S. (2014). The Netflix Effect: Teens, Binge Watching, and On-Demand Digital Media Trends. DOI: 10.1353/jeu.2014.0002

McCudden, M.L. (2011). Degrees of Fandom: Authenticity and Hierarchy in the Age of Media and Fandom. Available from: https://kuscholarworks.ku.edu/handle/1808/9757

McKane, J. (2018). The most-watched TV shows in South Africa. Available from: https://mybroadband.co.za/news/broadcasting/259623-the-most-watched-tv-shows-in- south-africa-7.html

Mcleod, D. (2017). Internet access in SA: rural areas falling far behind. Available from: https://techcentral.co.za/internet-access-sa-rural-areas-falling-far-behind/75789/

112

Mfundi Vundla, (Executive Producer and Creator). (1994–). Generations: The Legacy. South Africa: SABC1.

Milliken, P. (2010). Grounded Theory. In Encyclopedia of Research Design. (pp. 549- 554). Edited by Salkind, Neil J. Thousand Oaks, CA: SAGE.

Morley, D. & Brunsdon, C. (1999). The Nationwide Television Studies. London: Routledge.

Muvi. (2019). Linear TV. Available from: https://www.muvi.com/wiki/linear- tv.html#targetText=Linear%20TV%20is%20a%20real,services%20count%20as%20line ar%20TV

Napoli, P.M. (2010). Audience Evolution: New Technologies and the Transformation of Media Audiences. New York: Columbia University Press.

Nonnecke, B. & Preece, J. (2001). Why Lurkers Lurk. Available from: https://www.researchgate.net/publication/228998958_Why_Lurkers_Lurk

Nathan-Turner, J. (Producer) & Camfield, D. (Director). (1963). [Television Serial]. United Kingdom: British Broadcasting Corporation.

Nożewski, J. & Trzcińska, J. (2016). Social Media at the Service of Fandoms – the Process of Users’ Involvement in the Prosumption Culture. Available from: https://www.researchgate.net/publication/318209515_Social_Media_at_the_Service_of _Fandoms_-_the_process_of_users_involvement_in_the_prosumption_culture

Odendaal, D. (Producer). & Swart, A. (2000-). 7de Laan. [Television Serial]. South Africa: SABC.

Ofcom. (2013). Communication Market Report. Available from: https://www.ofcom.org.uk/__data/assets/pdf_file/0021/19731/2013_uk_cmr.pdf

Oliver-Hoya, M. & Allen, D. (2006). The Use of Triangulation Methods in Qualitative Educational Research. Available from: http://www.nsta.org/publications/news/story.aspx?id=51319

Onwumechili, C. & Akindes, G. (2014) Africa, Fandom, and Shifting Identities: An Introduction to Football and Identity. In Identity and Nation in African Football. Global Culture and Sport. Edited by Onwumechili C., Akindes G. London: Palgrave Macmillan.

113

Palme, J. (2000). Why do we use online forums? Available from http://people.dsv.su.se/~jpalme/why-people-use-cmc.html

Pearson, R. (2010). Fandom in the Digital Era. Popular Communication. doi:10.1080/15405700903502346

Pelz, B. (2019). Research Methods for the Social Sciences. Chapter 12: Interpretive Research. New York: Herkimer County Community College.

Phiri, L. (Executive Producer) & Ndlovu, D. (Director). (1997-). Muvhango. [Television Serial]. South Africa: SABC.

Pitout, M. (2001). Media Audience Theory. Chapter 9 in Media Studies, Media Content and Media Audiences. Edited by Fourie, P.J. Cape Town: Juta.

Putnam, T. (2011, July 19). The Facebook Fan Engagement Spectrum| Social Rich Media Advertising Platform. Moontoast | Social Rich Media Advertising Platform. Retrieved May 16, 2014, from http://www.moontoast.com/blog/the-facebook-fan- engagement-spectrum/

Qwerty. (2017). The Digital Landscape In South Africa 2017: A data driven look at South Africa’s relationship with digital. Available from: https://qwertydigital.co.za/wp- content/uploads/2017/08/Digital-Statistics-in-South-Africa-2017-Report.pdf

Research LifeLine. (2012). Four Survey Methodologies: A Comparison of Pros & Cons. Available from: http://cdn2.hubspot.net/hub/58820/docs/rl_methods_wp_four_methods.pdf

Rice, S., Winter, S.R., Doherty, S. & Milner, M. (2017). Advantages and Disadvantages of Using Internet-Based Survey Methods in Aviation-Related Research. Journal of Aviation Technology and Engineering. Available from: https://docs.lib.purdue.edu/jate/vol7/iss1/5/

Roscoe, J., Marshall, H. & Gleeson, K. (1995). The Television Audience: A Reconsideration of the Taken-for-Granted terms ‘Active’, ‘Social’ and ‘Critical’. European Journal of Communication, Vol.10. DOI: 10.1177/0267323195010001005

114

SAHO. (2018). A History of the South African Film Industry timeline 1895-2003. Available from: https://www.sahistory.org.za/topic/history-south-african-film-industry- timeline-1895-2003

Scarth, M.J. (2016). The influence of social media communication on South African millennial consumer purchase intentions of motor vehicle brands. Masters Thesis. Available from: https://repository.up.ac.za/handle/2263/59767

Scott, H. (2009). What is grounded theory? Available from: http://www.groundedtheoryonline.com/what-is-grounded-theory/

ShowMe. (2019). South African Culture. Available from: https://showme.co.za/facts- about-south-africa/south-african-culture/south-african- culture/#targetText=South%20Africa's%20culture%20is%20one,own%20vibrancy%20t o%20our%20diversity.

Slutsky, D.J. (2014). The Effective Use of Graphs. New York: Thieme Medical Publishers, Inc:

Smith, R.A. (2011). Youth, Media & Lifestyles: An Audience Study On (Media Television) Consumption And The Lifestyles Of Black Youths Living In Both Durban And Alice, South Africa. Doctoral Thesis. Available from: http://ccms.ukzn.ac.za/Files/articles/PhD_theses/rasmithphdthesis_2012.pdf

Spanò, C. (2016). Audience engagement with multi-level fictional universes: The case of Game of Thrones and its Italian fans. Journal of Audience and Reception Studies. 13(1). Available from: www.participations.org/Volume%2013/Issue%201/S3/9.pdf

Stamps, T. (2014). A Good-Enough Fan within the Online Fan Community of “Game of Thrones”: An E-Ethnographic Study. Masters Thesis. Available from: arno.uvt.nl/show.cgi?fid=133903

115

Statista. (2018). Number of smartphone users in South Africa from 2014 to 2023 (in millions). Available from: https://www.statista.com/statistics/488376/forecast-of- smartphone-users-in-south-africa/

Strelitz, L. (2005). Mixed Reception: South African Youth and their Experience of Global Media. Communication Research Trends. Available from: http://www.biomedsearch.com/article/Strelitz-Larry-2005-Mixed- reception/161856176.html

Sullivan, J.L. (2013). Media Audiences: Effects, Users, Situations and Power. Media Fandom and Audience Sub Cultures. New York: SAGE.

Tager, M. (2010). The Black and the Beautiful: Perceptions of (a) New Generation(s). In Critical Arts Projects and Unisa Press. doi:10.1080/02560040903509226

Tandon, S. (2018). What Netflix? Indians are still glued to the idiot box. Available from: https://qz.com/india/1341882/tv-viewership-rising-in-india-despite-netflix-hotstar/

Turner, R. (2012). Eye of the Needle. Chapter 3 ‒ South Africa: Culture and Conflict. Available from: https://www.sahistory.org.za/archive/eye-needle-chapter-3-south-africa- culture-and-conflict

Van Cauwenberge, A., Schaap G., van Roy, R. (2014). TV no longer commands our full attention: Effects of second-screen viewing and task relevance on cognitive load and learning from news. Computers in Human Behavior. Vol. 38. Available from: http://dx.doi.org/10.1016/j.chb.2014.05.021

Van der Merwe, N. (2012). The appeal of 7de Laan: Selected viewers’ self-identified reasons for watching. In Communicare. Vol. 31. Available from: https://hdl.handle.net/10520/EJC123805

Van Zyl, G. (2016) Data prices: How SA compares to the rest of the world. Available From: https://www.fin24.com/Tech/Multimedia/data-prices-how-sa-compares-to-the- rest-of-the-world-20160930

Varnali, K. & Gorgulu, V. (2014). A social influence perspective on expressive political participation in Twitter: The case of #OccupyGezi. Information, Communication &

Society. Available from: http://dx.doi.org/10.1080/1369118X.2014.923480

116

Vorster, G. (2017). Netflix vs Showmax: Which is more popular in South Africa. Available from: https://businesstech.co.za/news/media/204708/netflix-vs-showmax- which-is-more-popular-in-south-africa/

Webster, J.G. (2008). Audience Research. Available from: https://www.communication.northwestern.edu/faculty/JamesWebster

WhatsApp (2019). How to use Status. Available from: https://faq.whatsapp.com/en/android/26000031/

Wilson, S. (2016). In the living room: Second screens and TV audiences. Television and New Media. 17(2): 174‒191. ISSN 1527-4764 Available from: http://eprints.uwe.ac.uk/27101

Wikipedia. (2019). Wikipedia: About. Available from: https://en.wikipedia.org/wiki/Wikipedia:About#targetText=Anyone%20with%20Internet %20access%20can,to%2C%20with%20their%20real%20identity

Wisdom, J. & Creswell, J.W. (2013). Mixed Methods: Integrating Quantitative and Qualitative Data Collection and Analysis While Studying Patient-Cantered Medical Home Models. Available fWorld Wide Worxrom: https://pcmh.ahrq.gov/page/mixed- methods-integrating-quantitative-and-qualitative-data-collection-and-analysis-while

World Wide Worx. (2017). SA Social Media Landscape 2017. Available from: http://www.worldwideworx.com/wp-content/uploads/2016/09/Social-Media-2017- Executive-Summary.pdf

117

APPENDIX A Survey on South African Television Viewing Practices and Fandom Behaviour

This study will be focusing on female, South African television viewers between the ages of 19 and 25 who live in Johannesburg. The purpose of this study is to analyse how television viewers, in Johannesburg, watch television and what type of behaviour they exhibit while watching television. The aim of the study is to establish whether South African television viewers can be classified, or see themselves, as “fans” of their favourite television programmes. Fans are people who are very passionately involved with and committed to their favourite television shows or any other form of entertainment media.

You will be asked to complete an anonymous survey about your television viewing habits and any other behaviour relating to that process. The survey can be completed online. After the survey, 15 participants will be asked to participate in the interviews with the researcher and other participants at a pre-determined location that works for both the participant and the researcher, and that is safe and easily accessible. Any traveling expenses to and from this location will be covered by the researcher. In the interviews, the researcher will be asking further questions based on your answers in the online survey.

The results of this participation will be anonymous. For paper surveys, names will be collected, but the names will not be published and the documents will be stored in locked cabinets. For digital data collected in the form of video and audio interviews, video documentation, and photographs, no names will be collected. All digital data will be stored on secure hard drives at the researcher’s home.

Serial Number: ______Name: ______Email address: ______Phone number: ______

Section 1: Demographic Information 1. Are you a female, between the ages of 19-25, who currently lives in Johannesburg? *Please note, if your answer to Question 1 is not YES, you cannot participate in this study. 118

 Yes  No, I am under 19 years of age.  No, I am over 25 years of age.  I do not reside in Johannesburg.

2. Are you a South African citizen?  Yes  No

3. Age? ______

4. Race  Black  White  Coloured  Indian  Other

5. In which area of Johannesburg do you reside?

______

Section 2: Television Viewing Habits 1. Do you have a television set in your home?  Yes  No 1.1 If not, where do you have access to a television set? ______2. How regularly do you watch television?  Daily  More than once a day  A few times a week  A few times a month

119

 Rarely  Never

3. Do you watch scheduled television programmes on a regular basis? For example, do you watch a programme at a specific time every day?  Yes  Sometimes  Never

4. If you answered YES or SOMETIMES in Question 3, what programme(s) do you watch at a scheduled time every day/once a week?

______

5. Do you watch television alone or do you watch with friends or family?  I always watch television alone.  I watch television with friends and family a few times a week.  I watch television with friends and family a few times a month.  I rarely watch television with friends or family.  I always watch television with friends or family.

6. On which of the following platforms/channels do you most regularly consume television content?  SABC 1  SABC 2  SABC 3  e.tv  Any other DSTV Channel Please specify which channel on DSTV you watch the most programming on:

______

120

7. Do you have an internet connection at your place of residence in Johannesburg?  Yes  No

8. Do you have access to Showmax/Netflix/YouTube/DSTV? You can tick more than once box if applicable.  I have access to ALL the above-mentioned platforms.  I have access to Showmax.  I have access to Netflix.  I have access to YouTube.  I have access to DSTV.  I do not have access to any of these platforms.

8.1 If you do not have access to any of these platforms, explain why you do not make use of these platforms. ______

9. How regularly do you watch television content on Showmax/Netflix/YouTube?  Daily  More than once a day  A few times a week  A few times a month  Rarely  Never

10. What programmes do you most regularly consume on Showmax/Netflix/YouTube? Please provide a list of programme names.

11. Which one of the following devices do you most regularly use to consume television and video content?  Basic television set  Laptop  Cellphone  Tablet

121

 Smart TV

12. Do you watch television at other locations at which you do not reside? For example, at a friend’s house, or at university?  Always  A few times a week  A few times a month  Only on rare occasions  Never

12.1 What device are you using to watch video/television content at the above-mentioned location? ______

Section 3: Fandom Practices Definitions Fan: “Someone who admires and supports a … television programme.” Fandom: “A group of admirers or supporters of the same sport, celebrity, television programme, etc.” Fan art: “Artworks, videos, written stories, pictures, GIFs etc. that are made by a fan for or about their favourite fandom, television programme, sports team, etc.”

Please write down one local television programme and one international television programme that you watch regularly and of which you would describe yourself a fan: ______

1. When watching television programmes, do you discuss the events/characters/plot/actors of the story with friends or family members who are watching with you?  Yes, I always discuss the programme.  I sometimes discuss the programme, but only if something very interesting happens.  We usually end up discussing the programme or actors, regardless of something interesting happening.

122

 We never discuss anything while watching television, we value silence during TV time.  We speak during television time, but never about the programme we are watching.

2. When you watch television, are you using your cell phone/tablet/computer at the same time?  Yes, I am always on my phone/tablet/computer while watching television.  I only use my phone/tablet/computer during television time if someone is urgently looking for me.  I use my phone/tablet/computer while watching television a few times a day.  I use my phone/tablet/computer while watching television a few times a week.  I rarely use my phone/tablet/computer while watching television.  I never use my phone/tablet/computer while watching television.

3. Please tick every box that applies to you: When watching TV, I use my cellphone/tablet/computer to:  Chat with friends  Google facts about the programme or its characters  Share my opinion about the programme with friends/family  Post my opinions about the programme on social media (Twitter, Facebook, Instagram, YouTube, Snapchat, WhatsApp, other). (If you ticked this box, please share a link to a social media post where you discussed or commented on a television programme/or copy and paste the conversation and your comments in the box below).

123

4. Please tick every box that applies to you:

4.1 I feel that I can share my opinions about a programme I am watching with friends or family and they will respect my opinions and views regarding the programme, its characters, or plot.  Always  Most of the time  Rarely  Not at all  I never give my opinion.

4.2 I feel that I can share my opinions about a programme I am watching with friends, acquaintances or other people I do not have a relationship with, on social media sites or fan pages and they will respect my opinions and views regarding the programme, its characters, or plot.  Always  Most of the time  Rarely  Not at all  I never post my opinions online.

4.3 When I talk to others about my favourite television programme, I feel that I am a part of a community surrounding this programme.  Yes, I always feel this way.  I sometimes feel this way.  I never feel this way.  I never talk to others about television programmes.  There is no community surrounding television programmes.

4.4 I create artworks, write stories, make videos or create memes and other forms of fan art about my favourite television programme.  Always  Regularly  Only when I feel really inspired

124

 Only when someone asks me to  Not at all

4.4.1 If you answered YES/SOMETIMES to this question, please provide a link to some of your artwork, writing, pictures or videos or upload your images to the box below.

4.5 I share my fan art with friends or family.  Always  Sometimes  Only when they ask to see it  Not at all  Not applicable

4.6 I share my fan art on social media pages with friends, family and strangers who have an interest in the same programme.  Always  Sometimes  Only when they ask to see it  Not at all  Not applicable

The following section is a continuation of Question 4.6. 4.6.1 Which social media sites do you use to share fan art? Please list them in the box below or provide a link to the pages you use to share your fan art.

125

4.6.2 Have people commented or shared your work?  They always share my work.  They often share my work.  They sometimes share my work.  They rarely share my work.  Not at all.

4.6.2.1 Please share a link to the artwork you shared or describe the scenario in the box below.

4.7 Do you follow any social media pages dedicated directly to a television programme?  Yes, I follow both official programme pages and fan made pages.  I only follow official programme pages.  I only follow fan made pages.  I follow only a few programme based pages.  Not at all.

4.7.1 Please provide links to the pages you follow in the box below.

4.8 Have you, or do you plan on, purchasing merchandise that relates to your favourite television programme? For example: T-shirts with quotes from the show or action figures based on a show’s characters.  Yes, I make sure I never miss out on new merchandise.

126

 I buy as much merchandise as I can.  I only buy merchandise if I really want it and can afford it.  I cannot afford to buy merchandise.  I never buy merchandise.

4.9 Have you ever convinced a friend, family member or stranger to start watching a television programme you really liked?  Yes, I always convince my friends and family to start watching a programme I enjoy.  I regularly convince my friends and family to watch a programme I enjoy.  Sometimes.  They usually do not listen to my opinions and recommendations.  Not at all.

4.9.1 Which programme was it and how did you convince them to start watching? ______

5. Would you describe yourself as a fan of a specific local or international television programme?  Yes, I am a fan of both local and international programming.  I am only a fan of local television programming.  I am only a fan of international programming.  I like watching television, but I would not describe myself as a fan.  I am not a fan at all.

Please specify which programme you consider yourself a fan of: ______

Thank you for completing this survey. An additional 15 participants will be chosen to take part in further research. If you would be willing to take part in a one-on-one interview based on your answers in this survey, please tick the applicable box below.

127

 I would like to take part in a one-on-one interview.  I don’t want to do an interview.

128

APPENDIX B Tabulated results of the one-on-one interviews

Tabulated results of the one-on-one interviews

Interviewee Mode of television and video Characteristics of Characteristics of Ideal Unique/ differing fandom behaviour Number consumption traditional online fandom fandom behaviour behaviour (Stamps, (Jenkins, 2017) 2014)

Interviewee 1 It’s mostly like if there’s a Interviewer: You Well fan pages, a lot N/A movie or something that we all did say that you do them I like uhm, a lot of find interesting that we watch write fan fiction them have like their own together. Uhm, ja. yourself. like fan art, or you know, they try and like pick Mostly me and my fiancé. Interviewee: I’ve apart the story. Like got one like little they’re like, “Oh Jon Mostly it’s either Netflix or story, I don’t know Snow is actually a YouTube. That’s all we watch why I find it Targaryen, blag, blah, on. embarrassing, but blah”. [unclear audio] it was just from the series. I like Interviewer: So, no DSTV? No something like. So, just reading up on SABC? it’s about Harley people’s like theories Interviewee: No, not at all. Quin and the about things and what Joker. And their they are doing with the We probably watch like every relationship. So, I information that they are day, like after work, we’ll don’t know, like I receiving. I’m more of a watch something on Netflix. It thought I had an spectator, so I don’t do a depends, let me see if I can interesting lot of creating myself. pull up my Netflix account. At perspective on it. But I enjoy just like the moment we’ve been It’s nothing like I’ve seeing what other watching a lot of Sons of shown anybody, people are saying. Anarchy, so that a, like a it’s just every now series, an American series. and then, I’m like I feel that there would be Lucifer we’ve been watching a “oh yeah, this could someone at the top if a lot of. happen” and I like fan page and then there type it down. It’s would be regular people 129

I like the, I like how instant it not out there or who comment and is. So, if I want to watch that anything, but it’s interact more often. And particular show, I can watch it. something that sometimes I do find it And then on DSTV and normal every now and intimidating to say TV you have to wait, you then I play around something or comment know, till Wednesday night at with. or publish something, 7 o’clock. And I don’t want to because I am not apart if do that. I want to watch when I Interviewer: Do you the in group. I’m just like want to watch. And you can think between a ghost in the forums then binge and watch a bunch yourself and your and the pages, just like of episodes, or just watch one. friends who kind of spectating. Never really So, TV is quite limiting. It’s watch the same doing anything. like, “Here’s your one programs, there episode”. So, that’s not what I might be like type want to do. of a mini fandom for you guys where it is safer than being part of the online fandom?

Interviewee: Yes, definitely. I mean like we can get together and like just, “Oh my gosh, did you see this, oh my gosh yeah dadada”. We can fangirl over some stuff, and I’ll never be like, “oh you idiot, you think that this is going to happen”. You don’t do that to your friends, even if we disagree, were not going to fight over it. If you put stuff online people get like super 130

passionate about it and try and fight you, like okay never mind.

Interviewee 2 I sometimes watch a few This interviewee Basically, with one of the N/A programs, but I know, feels that she can shows that is sometimes, it’s not very often engage with other international on Netflix is when you find me in the fans offline and Shadowhunters. I have lounge watching TV. Like my online and that the all of the author’s books family will be watching environment is that made the series and Binnelanders or they’ll watch, supportive in terms translates the scripts, will be watching 7de Laan. of her giving her and I have two books And that thing on KykNET, opinion as well as that are actually signed Skelmpies, I think. That was for her to be able to by her as well. And then rather interesting. That’s the share and create I have, three, three A2 only ones I’ve actually fan art. drawings that I did of the watched. characters of the books basically. So, I’m Interviewer: Okay, so who do absolutely in love, and you live with at your place of then I also have little residence? memorabilia as well. And then I also follow Interviewee: I live with my the Instagram and I also uncle, my aunt and my follow her website and grandmother. stuff, and I also get newsfeeds, basically Interviewee: With my emails, if any updates grandmother it’s usually, she’ll come along on there. watch 7de Laan, because Yeah, basically. And that’s one of the soapies that then if, like with the she loves. And then I’ll often Korean dramas as well, I go sit with her to, just like see have certain actors that I how her day’s been and then like and then I’ll follow we’ll watch it together. And at the actors as well on my night when I come to the social media and then if house, I’ll tend to sit with my I see they have a new uncle and my aunt to see how film out or a new series, their day was. And then, ja I’ll check it out. And I like they watch it religiously as it and I comment on it. 131 well, because I think after that, the news is on as well, so we’ll Yes, I think a fan would sit and watch that. be like who actively engaged in the contents Interviewer: But do you that it gives you and generally watch by yourself, then you create more. other stuff? What’s really interesting I generally do, ‘cause my as well with the fan art is schedule is very irregular and the author of the book is my hours on campus is so like really open to fan art long. So generally, I tend to and a lot of people in come home at like 7 after a that specific fandom is long day, and then I still have very nice so I’ve gotten to work and then I’ll take a little a lot of positive feedback break and then I’ll watch like as well, from it, which is an episode or two of like a really nice, and it’s Korean drama if I really want encouraging. to. Interviewer: Okay so do Interviewer: Okay, so where you feel like, that you do you watch, on what do you can at any time watch? comment or post something within this Interviewee: I basically watch fandom, and it will be on Netflix, I’m on Netflix most received positively, and of the time I would say. That’s people will react the one platform that I utilise positively to it. the most, because of the shows and the qualities of the Interviewee: I do feel shows. that way, I do, cause a lot of times when you’re Interviewer: Okay, so you think having a down day and the quality of programming you comment on stuff, that Netflix offers, which is you actually actively mostly international engage with them and programming is much better then they’ll be than, in your opinion, than supportive and very what South African channels helpful and nice towards offer? you.

132

Interviewee: Personally, it’s This participants can be very hard to find Korean classified as a “Super dramas to watch on, so Netflix fan”. is like a nice platform to watch that on, because they offer you different, uhm, culturally, they’re more culturally aware, I think. And then they filter the content and personalise the content according to like what you watch. And the stuff that I’m mostly interested in is like Korean and Asian dramas, and a few French movies as well. Interviewee 3 Interviewee talking about The Interviewer: So, in Interviewer: Okay so you Interviewer: Ja, what do you think? How do you think fans of Queen: So, I actually got into it your opinion do said that you follow fan like South African shows, how do they communicate? by accident cause my sister is you think that there pages uhm, online, like like an umlungu, like she is definitely a tight official fan pages and Interviewee: I think it’s like a, a group thing. People come hangs with all the black people knit community of you know, made up fan together in groups and be like, “so did you watch The Queen and these are like her types of fans that you can pages and stuff. Like last night?”, or I think it’s more like, like word of mouth. I don’t things, and I got into it by interact with and what programs are really think there’s really many, maybe WhatsApp groups. I accident. So, like I now watch who knows the those surrounding? don’t know, but I personally have not seen any. Like I know it with her most nights, and I things and who you for instance back when I was studying film, we would have do skip an episode every now can go to who Interviewee: Uhm, so industry guests come over. It was really frustrating to do and then, but I’m really into it know something or those are for mainly the, research on then, ‘cause even just like an actor, there’s not and what’s happening and understand like the DC Universal, that much information on them. Like it’s really difficult to get everything, and I think it’s something? like the Arrow, Flash, information actually. quite a cool show. Superbowl. Those type Oh ja, uhm so you said that Interviewee: Ja, I of shows. you watch, so you have a do feel like that. normal TV set with DSTV at Like uhm, most Interviewer: Okay and home? recently with you said you create fan Endgame coming art as well. What type of Interviewee: Yes. out and everything, fan art do you do? and just the Interviewer: Okay, and you amount of people Interviewee: Uhm, again don’t have access to Netflix or who come it’s like, uhm mostly Showmax at home? together, and we superheroes and stuff. all feeling the same The international things Interviewee: No. things and I feel mainly. But I haven’t 133

like it’s like. I feel done them in quite a Interviewer: At all? Okay do like we feel a bond while. I used to love for you have internet at home? over something. It anime, I used to have an does feel like a anime fan page. Uhm so Interviewee: Yes, capped community to me, I ja, uhm. It has been a internet though. We don’t have would like go to while. I just don’t want Fibre in our area or anything these people and anyone around me to so it’s like we get like, and also be like, obviously I find it. our finances aren’t that great don’t know them I so we so we can’t really afford wouldn’t like divert Ja, I have a pretty like uncapped ADSL for all my personal popular-ish Instagram instance, so ja. information. Ja, I account, like 2000 plus do feel like it’s a followers. So, I post the Interviewer: You said you’re close knit stuff on there. watching with family or friends. community. So, do you live with your folks, Interviewer: Okay, you or how is your living situation? put your own fan art on this page and then Interviewee: Uhm, I live with people will, do they react my father and my sister. to it or?

Interviewer: Okay. And you Interviewee: Ja, and I guys watch together? would take comments from other people as Interviewee: Yes. well and be like, so is there anything you want Interviewer: Okay. Do you to see, anything I can do always like, every night kind of more of? You know what sit down and it’s your time for type of, I do edits as TV, or is it kind of erratic well, so what type of whenever you want to watch? edits.

Interviewee: No, it’s pretty much every night. Everyone will get home from work or wherever they’re at and then our father will make supper, and we will eat and watch TV.

Interviewer: Okay, and it’s like the same show every night, 134

everyone knows what’s happening?

Interviewee: It’s not, we don’t really have a schedule for shows, uhm because we have DSTV we record most of the shows. Like we’ll be like, well tonight we’re in the mood for watching Game of Thrones and we’ll watch that. Like if things are showing at certain times, we’ll catch up or, it’s not like a set schedule for when we’ll watch stuff. Except for The Queen. The Queen happened every night at nine o’clock. Interviewee 4 Okay so to start you off, I’m Okay so like, on it would just be myself and my husband and our toddlers married, and we live in a Facebook like there’s usually sleep, you know, when we’re sitting in front of the TV. separate uhm, attachment multiple Game of So that’s how we watch. On occasion my sister in law will right, to the main house. We Thrones pages, right? join us. But it’s very rarely like we got together for the first live with my mother in law and So, they’re all named episode of this season of the season of Game of Thrones, my sister in law. So, they have Game of Thrones, all of with all our cousins. And all our cousins came to our house the house upstairs and we them. So, if I like just and we had like a watch party. So, we decided to do it on the have our own one downstairs. clicked on anyone, since first and the last episode of Game of Thrones And then we watch TV, I like watching the first watch TV every single day. season, you know you So, on my WhatsApp currently, there’s a Game of Thrones Like I clock in for the news go on Facebook and group that I’m in, right? So, we discuss things as it happens. obviously, but series is 7de you, oh there’s a Game So like, for the battle of Winterfel we took, like I took to Laan every single day, unless of Thrones page and it’s WhatsApp immediately, “Oh my goodness guys, did you see I’m busy. But then since Game also named Game of x, y, z happened. And then this means that this prophecy is of Thrones, it’s been like every Thrones, but then gonna be in this”. You know, we were like discussing theories Monday night we clock in for there’s another one and immediately, because of the impact that the episode had on that. Ja. another one. All of those us. that I’ve clicked on, and Interviewer: Do you watch at then I follow the official So, we decided the day, there’s this cool quiz going on at the ten every Monday? one as well. So, it’s the, beer house in Fourways, and it’s brought on by a company the fandom created called Quiz Night South Africa, and they had a Game of Interviewee: I watch at ten ones that now would Thrones, they have multiple Game of Thrones quizzes. So, every Monday or if, if the leak that information. we created the group because we were like, “Okay, we’re just 135 episode leaks, then we go, we gonna post information on the group in case people didn’t have a site that we watch it I don’t create fan art, but know what to search or to study. So that’s basically to just from. So I don’t know if I, I I share pictures of share information. But now we keep it to discuss series, don’t think I mentioned that in people who has created when the next Game of Thrones quiz is happening that we’re my, in the survey, but we do, if their fan art. gonna go to. Uhm, you know, who’s gonna watch where, are it leaks and we find that the we gonna have another watch part, how’s it gonna go down. buzz on the internet is that the I do like make memes or So, everything in that group revolves around the series. episode has been leaked, like something like that. But I I think the second one was haven’t in a while. I Interviewer: So, do you feel like WhatsApp group is a better leaked, we watched it then the haven’t in a while platform for you guys to discuss it and let’s say creating a Sunday night. though. Facebook group and doing something on Twitter? Why would you say that?

Interviewee: I think so. Mainly because we are able to discuss things and respectfully do that you know? I feel like there’s us, there’s us kind of fans and there are really some emotional kind of fans. People get really angry when you don’t accept their point of view or you choose to challenge their discussion. I’ve seen it, I just went, the day that I watched the battle of Winterfel, I went onto Instagram and it was like a blown-up argument, you know. So, for that reason I feel that the group is like a more safe and respected space, you know, I wouldn’t discuss it, I don’t discuss Game of Thrones on Facebook. I just don’t, if I do it’s probably because I shared a meme, or I shared a photo. And I said something with regards to the photo. And even so, like I noticed when I do that, there are people who don’t watch Game of Thrones that find that I’m, insulting their intelligence or say that they are not clever enough to watch it.

Interviewer: So, the memes that you made, were they with, were they related to Game of Thrones, or were they like South African jokes that you used Game of Thrones pictures for?

Interviewee: Some of them were like South African. And some was like, related to Game of Thrones. So, for example, I need to find it, I will send it to you. There was one that, it’s got a photo of Ned Stark and it said something about, “one does not simply get up at 4 o’clock in the morning to eat”. ‘Cause we were fasting that time, you know. So, it was like, 136 the struggle is real to get like up so early in the morning and eat, you know. There was a lot of circulation in like the Muslim community on Facebook, where you find that the meme relates to Muslims and then there were Afrikaner jokes that we found funny. Cause some of it’s hilarious, and then the rest was like Game of Thrones.

I think if we compare the local fans, I think that their fandom is different, because it’s not the same, like I’ll say, let me explain to you why I say this. It’s because I’ve never heard of a 7de Laan quiz, I’ve never heard of people discussing the characters and their stories, you know? In 7de Laan for example or Isidingo. Any of the local series. Also, I don’t think it’s that captivating enough, you know, like there’s fandom, but it’s not like so big. It’s not like something to rave about constantly you know? ‘Cause I, I don’t know. I just feel like the whole, people, when they like something, they will express their attitude towards it differently. And if you compare 7de Laan and Game of Thrones, it’s way different. The one is reality based and the other one is fictional. So, fiction is always gonna win, you know? ‘Cause I mean, it’s stuff that will never happen in real life, but it’s so much more exciting than you discussing some characters HIV plot in 7de Laan, you know what I’m saying? It’s like “ah okay, we deal with this every day”. People prefer to forget about reality and dream a little you know? So, for me I think the fandom is just different. They attract us in a different sense. It’s there, it’s just not as big.

So, when you’re watching 7de Laan at night, after or while you’re watching the episode, or after the episode or the next day or whatever. Do you ever discuss that episode with friends or family? Or do you just kind of leave it? If something big happens, like unless there’s something that we never saw coming or a huge like, okay I’ll give you an example. So, for example in 7de Laan there was this scene where one of the lead female characters has a boy murdered, you know? That to us was like “oh my word, she killed him, he was so young, how could she do that?” She was trying to cover up that she was having relationships with him or whatever. So, because of the particular character who 137

got killed it was like a shock. So, then we’ll discuss it, but generally, no. So, it never goes further than you just discussing it in your own home? It’s just like, a word of mouth thing? Yes. Like “Oh did you hear, oh yes, I saw, yes, I watched it”. But that’s it, it doesn’t go further. Interviewee 5 Okay so, on a daily basis I do Well for me all the Game of Thrones, yes, Game of Thrones, yes, we have a WhatsApp group and we watch local TV shows. Facebook groups we have a WhatsApp discuss in depth. And you know Facebook as well I’m part of International shows I do that I’m apart of I group and we discuss in the Wikithrones group. And I do actually engage in that group watch, but that I watch more usually comment depth. And you know as well. streaming and downloading. freely. I don’t ever Facebook as well I’m So, yes, I would say I watch feel, uhm, that part of the Wikithrones , like I don’t think me myself that I would sit and create a TV every day. Probably about there’s any group. And I do actually page, you know, specifically dedicated to my favourite show. four hours a day at night. And prejudice or you engage in that group as I don’t think I’d do that. I’d rather go and follow somebody then, so and yes, also by know, I know that well. else’s page. And ja, I think we would rather discuss it in myself mostly. there will be Well for me all the person. I think that that’s true, now that you actually controversial Facebook groups that mentioned it. I just don’t think that we are, I just don’t think I feel like I don’t need it, responses based I’m apart of I usually that we’re that type of people, you know, to like sit and create because when I wanna watch on what I’m saying. comment freely. this page for this specific show. And I just, no, I don’t even something, I said I’ll stream it if Maybe people know anybody that has ever done that. it’s an international show. I’ll don’t agree with stream while downloading. So, what I’m saying, Like in terms of local shows I would like to talk to somebody for me there is no point of but I don’t ever feel who I know watch the same show and talk about it over the Netflix or Showmax. afraid to actually phone, or we’ll talk about it when we see each other. You voice my opinion know, yeah, it’s more face to face than texting about it or on the group or on posting about it. whatever we are discussing. Interviewee 6 Lives with partner. That’s I am not the posting Pretty much as soon as I’ve watched the episode I would go when I will put on Netflix, type, so I wouldn’t and scroll through all the memes. Especially with Game of ‘cause that’s sort of the only necessarily post myself Thrones, you know someone has already put something streaming channel that we’re about it, but I do go and online by the time that South Africa gets it. So, you know I like subscribed to. We don’t look at other people’s already want to be part of the joke. So ja, I would always go even have a TV licence, so we posts. That would be almost immediately and the next day I would be chatting to have a smart TV. We don’t with Game of Thrones, friends about it. Being like “Oh did you see last night, blah, have the SABC’s or anything, and then Rupaul’s Drag blah, blah”. So ja, there’s definitely a lot of my family we don’t have DSTV. Race and I think that is members watch it, my boyfriend watches it, some friend of the only two at the ours watch it. So, we chat about it at length afterwards. moment. Because I go through like, when a Interviewer: Let’s say you’ve just watched an episode of new season is out, I am Game of Thrones and you’re reeling it at this point, what 138

very much with that would you do after that? For a week after that, how do you program and following it interact with people and the show after the episode has aired. the whole time. And then when the season is Interviewee: Honestly if I’m in whatever conversation sort of over, then I might pick I’m in, I will eventually would say “do you guys watch Game up on something else. of Thrones”, if I don’t know them well enough to know if they watch Game of Thrones ‘Cause I don’t want to like, I’m not Interviewer: You follow the type of person to leak spoilers or anything that, I hate like fan pages of the that. So I’m, I automatically ask and then if they say no, I’m programs online, on like why, you have to get with the program. And then uhm, ja some platform? if they do, then it’s like immediately I could talk with them for an hour about the last episode, ja. Interviewee: Yes. Its normally Instagram, because I like the memes and those sort of posts. But otherwise I go out looking, like go on BuzzFeed or go on Reddit and specifically look if there’s a hashtag or whatever. Interviewee 7 Oh okay, well when we get No, I don’t follow any, Okay cool. So, while you’re watching with your friend, do you home, we mostly watch TV, it’s just that I’ve seen guys chat about the show while you’re watching it as well? uhm if it’s something we are all comments on You Tube, interested in. For example, but I’ve never Yes, yes. The Queen, we most often commented, and I’ve watch it as a family. And then never followed any Okay, what do you guys usually chat about? the kids they watch cartoons social media outside the alone. local show, or anything We usually like predict what’s going to happen next, or why like that. Unfortunately, something happened in the story, why something happened Interviewer: So, do you live at that’s it. on the main character on The Queen. And then we’ll be like home with your folks and kids? [unclear audio] or why it’s happening and then predict what Or what’s the house situation Interviewer: Okay and is will happen on the next episode. like? that the same for international shows? Or We won’t really post something online, we would post on our Interviewee: No, I live in res, do you also now and WhatsApp and talk on our, let’s say something happened on there’s no TV at res. I’m just then follow pages for The Queen but there’s no posting on Facebook most of the describing when I’m home. international shows, or time, or any social media. But mostly WhatsApp and comment on stuff about Instagram even. Sometimes people post videos of a scene international shows? and then we interact in the comments. 139

Interviewer: Okay so what Okay so you said you do it on WhatsApp over status. So, is it happens at res? Do have like Interviewee: I think the like the WhatsApp Status thing? some type of access to any only thing that I follow is Yes. uhm shows, or do you kind of Empire. So, what would you post on there? watch on, uhm, a laptop? Or Okay and where do you what’s happening there? follow that? Let’s say something happened, something big. For example, On Instagram. there’s a show called the Kingdom. [unclear audio] so, I’ll Interviewee: Oh yes, we have post something about his wife or [unclear audio] and then access to You Tube and you people would reply [unclear audio] in the comments. know the DSTV online app? Yes, I use those. Okay, so do you usually get a lot of people commenting on that then? I watch on my laptop most of the time. Yes, especially people who are interested and who watch it. Okay and is this like a regular thing that you do and that your Interviewer: What type of friends do as well? shows do you watch? Also watch The Queen and like Only if something big happened in the show. South African shows? Okay so there is some stuff that is happening online, but Interviewee: Yes, uhm most of your discussions and you know sharing your opinions Scandal, Generations and if I and stuff, happens over WhatsApp then. have some time Lockdown. You know all the South African Yes. series.

Okay cool, and is it usually just you watching on your laptop alone or do you watch with other people who live in res with you?

I watch it with a friend sometimes.

Interviewee 8 Date My Family, that one, I I actually have So, if I haven’t, I So, obviously you said one of the shows you watch is Game like that one. And uhm, okay been going over to deliberately go and use of Thrones. So, do you follow Game of Thrones pages and do so this came from, my family a friend to watch at free Facebook, ‘cause you comment. Generally, what do you do after a Game of will not watch these shows, her house. I’m the majority of spoilers Thrones episode, when you are geeking out? What is your? but I stayed with a friend who’s going on Friday to come in image form. Immediately go to my friends and be like “Did you watch the African and whose friends are her house. So ja, Like memes, so if I have latest episode?” 140 obviously African. And they it’s stuff like that. however then they’ll be Okay, so would you do that via WhatsApp or? watched a lot of African shows And then usually there, or there’ll be and in that, you know I what I find quite funny things or Usually WhatsApp, cause I do know quite a few friends who participated, and I really interesting is they’ll whatever. I have a little are fans. And then I have others who like we’ll be hanging out enjoyed them. So, there’s that, find somebody else bit of a weird habit in person and they’ll scream to me and be like “have you and then there’s this other one in the room to talk where if it’s just been watched the latest episode?”, and I will be like “no, no spoilers that’s also African, I think it about it. They’ll posted and no please. Don’t say anything”. plays on SABC 1. immediately be like comments are on there, “Have you watched I try to make the first I actually have been going over to a friend to watch at her it?” And then they’ll comment really witty so house. I’m going on Friday to her house. So ja, it’s stuff like start talking about that it starts a that. And then usually what I find quite interesting is they’ll and I’ll be like conversation and then find somebody else in the room to talk about it. They’ll “guys I’m sitting there’s this whole thing immediately be like “Have you watched it?” And then they’ll right here”. of other fan people who start talking about and I’ll be like “guys I’m sitting right here”. know where I’m coning from. Then I’m like, this So, we were obviously talking about it in person like we all a community kind of [external interruption] so we’re talking about it while we’re feeling. So, I have that. watching it and that sort of thing. But there were like one or two people who would watch Idols at the same time as me, or Okay so you’re definitely I even had a friend into Idols last year. So, we spoke about very active in an online that and this particular friend, we all went to college together, international fandom. so we actually had a group where we al spoke about what So, in that sense you’re was happening in Idols and that sort of thing. very much a fan. So, I’m not even gonna question Like a WhatsApp group? your [unclear audio] Twitter, Twitter was the Yeah, a WhatsApp group. So ja, and like we’d be like waiting thing that got me into, for our friends to come on and do her thing. So, it was that. like I had entire And there are one or two people who were like after the fact, accounts dedicated to a I do ask their opinion. Will You Date My Family, I know this fandom. So, there are one girl who watches it as well. Which I only found out after lots on Twitter where all and then each time after the episode I’d like message her they do is post, like all and be like “Have you watched it?” and “What did you think of those Tumblr posts that this one?” And she’ll be like “No, I totally thought he was you see. Twitter. So, like gonna pick the third one”. So, stuff like that. there there’s like a community of like live tweeting and stuff like that. Where while you’re watching you’ll constantly make 141

comments and because you choose your follower basis based on who you follow, there’s a lot of relatable accounts where they’re all doing similar things. And that again brings up comments and stuff like that. So, like with Game of Thrones if I could, I would be live tweeting it.

Okay I think that was about it. So, about the books that you write. It was under the fan art section. So, is It like fan fictions?

Sometimes it’s fan fiction. I don’t get paid for the fan fiction so that’s more of a side thing. But on Hermione, I rewrote the Goblet of Fire onwards, I rewrote the entire series in such a way that Draco and Hermione get together, because like they, something happens at the Hall, like an she walks off from Ron and Draco comes in. I loved it, so Interviewee 9 Interviewee: Okay. So typical I realise that students watch the same thing like in terms of day obviously I go to school, I popular shows. You know ‘cause I remember last year there get there around 5 was this popular show Igazi. It was very popular so every Johannesburg here at res. I Sunday everyone would go down and watch it. So I only go start watching TV around half down when I know that everyone is watching. 142 past 7 ‘cause Scandal starts. Half past 7 ETV Scandal Uhm recently something was happening in The River, so I starts. And then at 8 The River looked for a picture on the internet and then I put that on starts. Instagram and then I wrote: “This episode was lit. So you must watch.” ‘Cause I needed someone talk to about that. Interviewer: What do you So, I usually post like videos of Scandal, like I take a video watch those two on? like on WhatsApp and I post it and I’m like oh my gosh this Interviewee: Uh on my PC. I moment. But you know I never go and follow. Yea I just post stream on catchup, the stuff like that. catchup app. Interviewer: Do you feel like that’s a very general thing that Interviewer: Okay cool. And happens with local shows? Are a lot of people doing their like you watch that every night at posting pictures just commenting by like themselves on stuff. the same time? Interviewee: Yea because I don’t know if they go and follow Interviewee: Yes. So, it’s other pages, but what I know is that they definitely do like Scandal at half past 7 and The show us what they are watching and they comment on it. River at 8 and then afterwards ‘Cause that’s how I get series you know when I see okay I just watch a series on my, please send me that series. So ja a lot of my friends do that cause I’ve got like a hard drive as well. and then I would watch the Fixer afterwards. Interviewer: So you post a picture or a video on Instagram and then do a lot of people comments on that? Interviewer: Okay cool. And uhm you’re in Res you said. Interviewee: Ja they do cause even I can show you on Do you watch alone generally Instagram the other time I posted The River, and then I was or are you always watching like uhm there’s this bad girl Lindiwe and I wanted her to get with someone? arrested and stuff but then what happened was that her husband kicked her out and the kids you know. They were Interviewee: I watch alone. angry at her. So I was like on Instagram I wanted her to go Unless uhm sometimes I do down but not like this, this is heart breaking. And then a watch at the TV room, but friend of mine was like no she had to go down. So you know when it’s like a very exciting they comment and stuff like that. So yea it’s quite nice. when I feel like I want to watch with people and get different reactions. That’s when I go Oh, okay so I was watching the Fixer right and there is Olivia down and then people are Pope and there is the president and they’re always in love there. And then we all watch and you know they have this romance. So like when I am together. watching, I take a video you know of that moment then I comment like “Oh my gosh, will they ever be together?” You know. Yea. And then this other guy was like “Oh my gosh, 143

How regularly does that please send it to me”. And then I sent it to him and then he happen? also posted it. Not often. Just when I’m like I’m really bored. Interviewer: So, he posted you WhatsApp Status? Okay. Generally, when you post things on WhatsApp Status, do a lot of people see it and comment?

Interviewee: Yes.

Interviewer: And has that ever like sparked a group discussion or like a big discussion.

Interviewee: Uh not like a group but like different people asking me okay what’s that series, can I see it, please send it to me? Like also now there’s this new Netflix series Narcos. I posted about him like oh my gosh my cousin really put me on with Narcos, it’s a must watch. So other students from my class were like please send it to me. You know so stuff like that.

Interviewer: So would you say that when it comes to local shows, instead of doing, commenting things online and stuff, it’s more like a face to face, verbal or over WhatsApp, I feel like WhatsApp is a big thing?

Interviewee: Ja uhm I feel like a lot of people don’t have access to that amount of data to actually go and look for pages and stuff so we just comment on the platforms that we can access that is easy like WhatsApp and Instagram. I feel like it is easier that way.

Interviewer: WhatsApp is cheaper or?

Interviewee: Yea and its easily accessible. We can get onto WhatsApp every day. Without having to go onto a website. You know when you go onto a website it’s like people you don’t know will comment and it doesn’t have that much of an effect. Interviewee I stay is Soweto. I stay with my Interviewer: This participants does not consider herself a fan 10 mom, grandmother, my because she is not “obsessed” with any specific show. She brother and my aunt. So daily, 144

I wouldn’t say I watch TV on a states that TV is just a form of “white noise” at the end of her daily, because I’m not really a day. fan of television. I would say I’m more of a series type of Yeah, we do. Cause some of, I would say some of the person, but I do actually, I soapies, the local soapies that we watch, it’s something that watch, I do watch television, we relate to. So, discussing such I would say, I would also but not daily. have inputs on, okay in this situation, I would’ve done this, I usually watch series on my you know? And also, being a film student, I’d say, this is how laptop. So ja, but when I watch I’d go about chasing this story, you know. Oh, and I would television, I do watch soapies, say, oh this is interesting, I wouldn’t have thought of doing cause usually at home there’s this had I written this television show. So, yes and also, I do only, okay there’s two communicate with some of my friends, cause usually they televisions, but the main one is watch like Mzanzi Magic and [unclear audio] so, you know, in the house. So, I’m sort of and going on Twitter. I’m not as active, I just go there just to forced to watch what everyone brows through. So, when something interesting happens in a watched. So ja, but there are a soapie, there’s usually like a hashtag or something there. I couple of soapies that I really, read through some, on some of the reviews that people have. I would say I follow. Do we also relate as my family would also relate to the certain show? And the different opinions that people have, Not really. I don’t, I wouldn’t like I said, I’m a very curious person so it’s really interesting consider myself a fan of shows to find different views from different people. international,’ cause even the international shows, it’s also So, how regularly does it happen that you have these influenced. Okay, not really debates? influenced, but I watch it ‘cause it’s there. It’s mostly on weekends cause the family is all there, my mom, my aunt, no one is at work, no one is at school. So, it Interviewer: It’s like white mostly happens from Friday to Saturday. That’s when like we noise at the end of your day? usually, it’s basically a catch-up session okay, on a rundown of how the week was. ‘Cause usually during the week, Interviewee: Ja, it’s in a way everyone would get home, just tired and jut want to sleep. something that I do just to We eat sleep and whatever we have to do. So, I would say pass time, ‘cause I can’t really it’s our, those debates are our bonding sessions as a family. sleep early so, I just watch the So ja, we usually do it on weekends. thing, but it’s not a regular thing, I would say. Interviewer: And have you noticed on WhatsApp that people or like your friends or yourself or your family, that people use Okay, so it isn’t something you WhatsApp Status as a way to comment on series and stuff? would, if you know a new episode of a show is coming

145 out, you would make sure that Interviewee: Ja, I have. And like it’s a thing. So, they would you watch it? also use the hashtags from Twitter, Facebook you know? And they’d bring it to WhatsApp Statuses. That I watch. Yeah, no. it’s not the case. Interviewer: So, would you say it’s more, there’s more discussion on WhatsApp than there is in Twitter and Facebook when it comes to local shows?

Interviewer: No, I wouldn’t say, I would say it’s on Twitter. Cause sometimes they screenshot what they said on Twitter and share it on status. For them I would say it’s more important to have a say on Twitter first then WhatsApp. Rather that going from WhatsApp to Twitter. They’d go from Twitter to WhatsApp. So, also even for people like me, who aren’t as active on Twitter and Facebook. Yeah, WhatsApp is the main frame of commenting and I’d also comment like, “oh my God, this is what I think also”. Showing their frustrations, I’d share my frustrations, you know, when certain characters do certain things that you know? And we, it becomes, and I’d say it’s also a way of debating with my friends. Cause we also share different views. So,ja.

Interviewer: So, would you say that people choose to do it over WhatsApp Status because WhatsApp is cheaper and more accessible to everyone than Twitter or Facebook?

Interviewee: Yes, definitely. Compared to any other social networks, WhatsApp is the cheapest. And I would also say that it’s convenient ‘cause you get to interact directly with the people that you actually know. So yes, WhatsApp, it’s definitely also convenience for many people.

NB: Interviewee: Even when you post a status on WhatsApp for instance about The River. People yes will comment, but the fluent discussion will happen in person. Let’s say a friend decides to post that “okay this lady from The River, I don’t like her because I don’t like what she did”. She’ll post just a brief thing, it won’t be as intense, you know, as it happens in person. So ja, I actually do agree with you when you say, it’s something that we are more vocal, physically vocal, personally vocal that we are on social media. 146

Interviewee On a Monday evening, we get Interviewer: When it I’ll mostly rather chat with my friends about it, so we like have 11 together with a bunch of comes to the Game of a group where we chat about Game of Thrones. So, this friends and we will watch Thrones fandom, or week we we’re away and we didn’t get chance to watch it Game of Thrones together. fandom in general, what with our friends, so we sent our thoughts on WhatsApp. And And then my husband and I, do you do online? Are my best friend is in Dubai, so we’ll also like, she’ll say “have we watch normally during the you chatting on groups you watched it? And we’ll send like long paragraphs about week, we’ll watch whatever online, are you creating the episode and what we thought and so on. else. Like Flash and uhm, fan fiction? Just what we’re not really enjoying it that are you doing? I think the reason we made that group was just to arrange much anymore, but we still actually getting together to watch the show. So, it’s not so watching it just to get it over Interviewee: No, I much that we discuss. But maybe when it’s over and we’re with. And then I watch wouldn’t say I, what I not actually getting together, we could probably use it as just Supergirl, he doesn’t like like to do is after an a general group to discuss other stuff. Which is what we do Supergirl. Ja, so we’ll mostly episode I’ll watch like anyway, when there’s, when Endgame, we went to watch watch series together, recaps. And I follow a that. We just discussed that on the same group as well. So, I whatever is on at the time. few Facebook pages guess it will just stay a social group eventually. We actually share a DSTV that post memes and account with someone from stuff like that. But I don’t Interviewer: But would you say your biggest fan behaviour, my husbands work. So, we do like the whole fan fic like interacting with people is happening in your personal watch DSTV, but mostly we thing or anything like groups, like on WhatsApp or in person? Mouth to mouth, ag just got that recently for Game that. face to face rather. of Thrones Mostly we watch So maybe more friends, Netflix, and then I also watch I don’t really interact with Interviewee: I think so. I think I do, obviously all the memes on, like Flash and stuff on CW. strangers. Unless it’s and things I get from Facebook. So, it’s kind of a bit of both, Through their website. We like them just saying because that’s where it originates. But then I will always actually got the TV to connect something stupid on share it on WhatsApp rather than just sharing it through my to the laptops, ’cause we comments on Facebook Facebook page. ‘Cause there’s just a lot of people who don’t couldn’t handle the laptops. or something. But I won’t like Game of Thrones on my Facebook or whatever other join like forums or things thing it is you know? And you also don’t want to spoil, that’s like that. the other big thing. I won’t say something ‘cause I don’t want to give spoilers away. So, I’d rather send it to people who I know have watched. I feel that it’s because of the internet access that a few people are using WhatsApp like you said, instead of anything else. Ja, it’s the opposite for me, it’s just ‘cause I don’t want to spoil it for people. Interviewee So, in the afternoons, Interviewer: Besides This participants talks about chatting and sharing opinions 12 evenings we’ll make dinner from them, what kind of, about Game of Thrones and Harry Potter with her sister in and then we will watch when it comes to law and her boyfriend over whatsapp, but she is not a part of together about an episode of a fandom like in total when a whatsapp group. She also does not use WhatsApp Status crime series, because my it comes to series, do to discuss fandom information. 147 mom and my aunt love crime. you ever have like a So, we watch that. Ja, and group discussion or Interviewee: It’s my boyfriend, his sister, his mom actually as then I don’t know if this is groups that you discuss well. We’ve got that to talk about. A friend of mine, Marco. relevant, but generally I, I’m the show on or is it just not really keen on that. So, I’ll with the two of them? Interviewer: So, there is like a, like a group who you can go go into my room and watch on to. Not like a physical group on WhatsApp, but like a group or my computer instead. Not Interviewee: I mean friend that you can talk to about the show? DSTV or Netflix though, that’s there are more people I recorded series. And then I’ll speak to but not Interviewee: Ja, different people that I go to and talk to ja, go watch there. So when it necessarily in a group definitely. comes to watching TV, kind of environment. general DSTV and Netflix. Interviewer: Okay and are you, I think you said you do follow some fan pages and stuff online when it comes to international shows. Is that right?

Interviewee: Ja, I did, I deleted a lot recently because I don’t want spoilers. But ja, I used to follow CW, you know with the Supernatural thing on, and the Vampire Diaries thing on. But then lot spoilers were coming, and I was like “Ah damnit, I gotta leave cause have to catch up”. So, I deleted it so I didn’t get the spoilers.

Interviewer: So, were you like actively participating there, like chatting with people and posting memes and 148 stuff. Or we’re you just like looking and reposting things?

Interviewee: I would look, re-post and occasionally, okay nor occasionally, very rarely comment on someone else’s. So, I would look at the post, go into it and then see something funny and send a laugh out loud. And then just say “Oh, I love that moment when Dean did this”, or that person did this or that character did that. And then a bit of, it’s not like big massive discussions. I haven’t done that.

Interviewer: Okay, so you said in your survey also that you buy merchandise and that you do, or you did make some form of fan art by writing stuff. So, tell me about that.

Interviewee: I got a little pendant like that, small little pendent and it would fit on a necklace or it would fit on a belly ring, that sort of thing. Me and my friend got it. But I have like a little book with the 149

Supernatural emblem, the symbol on it and its got Sam and Dean on the inside. Things like, you know those little things, those plastic pops? With the different characters, all the different characters.

Interviewer: And do you write fanfiction?

Interviewee: But in Supernatural, for example I’ve written quite a few, they’re nor finished, they’re not compete finished stories, but I’ve written one where I create a sister for Sam and Dean. I’d throw her into the mix like I’ll go from season three and then events happening after season three are just different. You know, it’s taking its own toll. Things like that, I, or I would just throw myself into the mix and see what will happen and then, those are generally the stories that just go haywire.

Interviewer: And do you ever, you never share those online with anyone? 150

Interviewee: No. no, I don’t. No. Interviewee Interviewee: Okay well I stay Interviewer: Okay. Interviewer: Okay. And how many of your friends post uhm or 13 in Auckland Park. It’s a And would you say do stuff like that on their WhatsApp Status? student residence. And we that you’re a fan actually don’t have TV. We because you just Interviewee: Usually it’s like the older people, But like my usually watch on our laptops like the show a lot mom, aunt, uncle and stuff like that and then a few friends and on our phones and uh or do you also now actually do it not like regularly but sometimes. only ever watch if I have free and then google Interviewer: And what type of shows do they usually post time from school. I don’t really facts about the about on there? get a platform to watch it our show and try and international I mean our convince your Interviewee: There’s The Queen uhm its usually just Mzanzi national shows. I just watch friends to watch the Magic shows. international ja. show? Interviewer: Okay. So there, would you say in your opinion Interviewer: Okay so do you Interviewee: that when it comes to local shows, there is kind of like a uhm in your residence you Usually I do try and fandom interaction thing happening on WhatsApp and have no access at all to local convince them and WhatsApp Status? shows? google then I like it because of the Interviewee: Yea there is, but only for a specific channel or a Interviewee: We do not have a content. It teaches specific network. Ja. TV so usually if they watch me stuff about the local shows they go on world and changes Interviewer: Okay so you think it is more for Mzanzi, Mzanzi YouTube. my way of thinking Magic that. all the time. No, I’m hardly ever up to date Interviewee: Ja. SABC with the show. So usually I see Interviewer: Okay. it on Twitter and then I always So, would you say. think I’ll watch it, but then I Uhm you consider forget. yourself a fan of TV shows then, but you are not exhibiting any characteristics that would define you as a fan except for that you say you really like the shows right. Uhm so would you say 151 that uhm you, why don’t you uhm or are you not able to talk to people or comment online or be interactive with the show online? Is it just because you don’t like it or because you don’t have access or what is the reason?

Interviewee: Hmm online is like watching my digital footprint. That’s why I don’t interact about it online. But I do like follow the pages that I am into the shows. And uhm around me basically nobody watches my shows.

Interviewer: Okay so you just alone in your show watching? Okay so it’s interesting when you say you’re watching your digital footprint. What do you mean by that exactly?

Interviewee: Well in this world of today, 152

what you put out there could say a lot about you and could affect your career. Well in the future and so. I always check what uhm I am looking at or what do I see on the internet. I actually hardly ever give comments on it. Interviewee Okay, most of the time I’m on Interviewer: Okay, Interviewee: I follow the Interviewer: So, when you guys watch together, are you 14 campus so when I get to like uhm, and you say Queen page on guys like chatting to each other about the shows? Kind of like my room it’s kind of like tiring. that you’re using Instagram and as well a social thing? So, and where I live at my communal TV as on Mzanzi Magic, I commune area we have a where you stay. Do also follow the Mzanzi Interviewee: Yes, especially when the show is over, we would common TV room so we find you guys ever like magic and The like sit there like chatting about and talk about, “okay so this that in most cases people are watch programs Queen on Instagram. happened and that happened” and then we kind of like talk there already watching together? slightly about what’s going to happen, or what we think is something. So, to make things Interviewer: Okay. Are going to happen later on or in the next episode. Yeah. easy for me, I connected my Interviewee: Yes, those the official pages? DSTV now on my laptop so in it’s like you, it Interviewer: Okay. And what type of shows is it you usually which I do watch series and happens that you Interviewee: Yes. watch together? soapies like maybe three find the particular times or four times a week, but person is watching Interviewer: Okay. And Interviewee: We watch Lockdown which plays on channel most of the times I only watch something that you what type of stuff do 161 as well as 16 and Rhythm City which is on 194. Yeah. movies and I do watch them also wanted to they usually post on alone. watch so you can there that you like to Interviewer: Do you chat about the shows on whatsapp? kindly join them comment or share? and watch it Interviewee: Not really, not really on WhatsApp cause in most together. Interviewee: Mostly they cases when I watch something with people, it happens to be, post about the trailers, we watch it like in person. So, discussing it will also take Interviewer: Okay, and then they post place in person and not over the phone. and was there about, they mostly give ever, or do, have us like a platform to say Interviewer: Uhm, so one of the things that they also said is you ever that, do you think this is that people tend to post updates about the show, or like experience that going to happen or that videos or their opinions on WhatsApp Status. Have you also most of the girls in is going to happen? And seen that? your commune they tell us “Okay, next 153 watch the same episode this is going to Interviewee: Yes, that’s very true, especially with something show, let’s say on happen”, and you know like unexpected happens on the show. You see statuses of a Saturday and stuff that makes you people posting the name of the character or the name of the everyone kind of anticipate, or can’t wait show and actually being or falling in love with the show. It happens to come for the next show to happens quite a lot. together on a come up on air. Saturday to watch Interviewer: How, can you like mention one, like a recent one the show? that happened and kind of like explain what was going on?

Interviewee: Yes, it Interviewee: So, it was on Lockdown. The character named happens a lot of Zanele, she happened to be cripple, but a lot of people time, it happens, actually thought that she was cripple and she couldn’t walk. and you find that And then there was this one time that she literally stood up only those, like out of her roll chair, because they wanted to stab her. And they are related to she stood up and everyone was just shocked and like. Cause common soapies she acted that cripple part so well and there was so good on and common screen that you actually believed that “Oh, now Zanele is series, you know? crippled”. It turned out she was not crippled, she just acted to And ja, we watch it be crippled in order for her to prevent her being killed by her together. And it’s jail inmate. So that was just something else. kind of like funny how we actually Interviewer: So, when this happened, what happened on know or predict WhatsApp Status, or even in person? You can explain both. what’s going to So, when it came to WhatsApp Status, what did people post happen and, you or say? know? Following up on the series Interviewee: Okay, after the show it was just all about and the stories. Lockdown. People posting things about Lockdown, things that Zanele is like the main character and if like she was happened to have been killed, we wouldn’t have watched Lockdown. And in person it was just something else. We couldn’t believe, it was like it happened in real life, but it was just acting. So, it was just something that was so amazing in person and on WhatsApp Statuses, people posting, not only one, but even more than one. Even more that five people would actually post about what happened in Lockdown on that day.

Interviewer: Okay. And in person you guys, you spoke to a few or a bunch of people that were talking about the show as well? 154

Interviewee: Yes, because we, all of us thought that she was actually cripple but turned out that she was not. So, our conversation was mainly based on but how, but why? And later as the show developed, then we got to know, “oh, this is why she pretended to be crippled”, in order for her to, you know, to not get killed inside of the jail.

Okay, that’s very interesting. So, you guys say that you, in terms of your fandom you mostly talk to people in person? It’s not an online thing for you?

Yes.

Interviewer: And do you feel that when it comes to the South African shows that the fandom, let’s say the Lockdown fandom, is more like in person, face to face, uhm instead of being like happening on Facebook or on Twitter?

Interviewee: Yes, I would say that, ‘cause looking at the social media platforms, a lot of people are not following the handle, or a lot of people are not commenting. So, it actually shows that people are more interactive in a personal manner. Because you find that not only my age group, but people that are younger than me and even people who are older than me, who do not have access to internet connections, you know? They do talk about it, and people who do not have social media, they do interact with it on a more personal manner. So, I think it goes beyond the social media platforms. It’s more of a personal thing and personal interaction between the audiences about the show.

Interviewer: Okay, so do you, would you then say that the reason that maybe that South Africans don’t interact as much on social media about their fandoms like, you know people in America do, is because they don’t have as much access to internet? Or they can’t afford to do that?

Interviewee: Yes, I would say that. Taking you back to what you said about the other interviewees, that people, a lot of people are complaining about data, and a lot of people don’t 155

have Wi-Fi access, only like they have DSTV at their homes. So, a lot of people could actually do that without involving social media. So, when it comes to fandoms also, the pages and stuff like that, it rarely happens in South Africa. Because we are restricted to the prices of data, we are restricted to Wi-Fi access, we are restricted to people actually having knowledge about what’s going on about the show on social media. So, a lot of people don’t really pay attention to social media when it comes to shows and interacting with the shows on a daily basis on social media.

Interviewee I watch TV on You Tube and This participant does not I think it is a, I personally prefer talking about it face to face 15 like online. Yeah, you can say follow or interact in any than going online and talking about it. There’s interaction on every day, I watch every day. fan pages or official the twitter feed on Twitter where we discuss all of this, it Most of the time I’m watching pages regarding the happened while you are watching the show live, and they do alone. It happens once in a shows she watches, discuss it. But for me, because I watch it way later, I wouldn’t while when I’m watching with online. interact with people because they’re just gonna give me someone. I live on campus. spoilers and all that.

Interviewer: On your laptop. Interviewer: So, if you’re watching a show, do you chat to Cool. So, what I kind of want people on WhatsApp about what happened? to know. I saw you said you were a big fan of, uhm, The Interviewee: Yes. Yes, I do. Queen and a lot of shows that are on Mzanzi right? Interviewer: Okay and have you noticed, or have you yourself uhm, posted anything about a show on your WhatsApp Interviewee: Yes. Status? Like an update or an “Oh my gosh, this just happened”, type thing? Interviewer: Okay. Uhm, so when it comes to these shows, Interviewee: Yeah, I have. are you watching them on You Tube as well, or some other Interviewer: Okay how regularly do you do that? online site where you get those? Interviewee: It just depends on how, what can say, how interesting that episode is. It maybe happens once in a Interviewer: I watch them on month. You Tube. Interviewer: Okay, and do any of your friends or family post on there?

156

Interviewee: Yes.

Interviewer: Okay and what type of stuff would you and your family post, or friends post about a show on status?

Interviewee: I’ll post like if something happens that is interesting or that is educational or a character that does something interesting.

Interviewer: Okay and you would say that uhm, besides from you posting uhm, friends or family or people posting on WhatsApp Status about shows, that’s like a regular thing that happens?

Interviewee: Yeah.

Interviewer: Okay, and do people, if you post something on WhatsApp Status about a show, do people regularly comment on it?

Interviewee: Just a few, a few people.

Interviewer: Okay, so you do have discussions around it though?

Interviewee: Yeah.

157

APPENDIX C Examples of fan art created by interviewee participants

Image 1:Interviewee one Fan Art Image 2: Interviewee twelve Fanfiction Book Image 3: Interviewee twelve Fanfiction Writing p.1

Image 4: Interviewee twelve Writing p.2 Image 5: Interviewee twelve Writing p.3 Image 6: Interviewee twelve Writing p.4

158

APPENDIX D One-on-one interview transcriptions Interview 1: Timecode & Clip Name Speaker Dialogue 00:47 Kirsty Watson Interview Interviewer Hi. 1 00:48 00:48 Kirsty Watson Interview Kirsty How are you? 1 Watson 00:49 00:49 Kirsty Watson Interview Interviewer I’m good and you? 1 00:50 00:50 Kirsty Watson Interview Kirsty Good Thanks. 1 Watson 00:51 00:51 Kirsty Watson Interview Interviewer Thank you so much for going this. I really appreciate it. I’m 1 just so irritated that this flippin load shedding stuff is 01:00 throwing everyone off. 01:00 Kirsty Watson Interview Kirsty Oh, ja it’s a pain is the ass. Where are you? Where do you 1 Watson stay? 01:04 01:04 Kirsty Watson Interview Interviewer Uhm, I’m in Weltevreden Park. 1 01:07 01:07 Kirsty Watson Interview Kirsty Oh shit, are we gonna get hit? 1 Watson 01:10 01:10 Kirsty Watson Interview Interviewer Ja, we, we weren’t supposed to have any load shedding 1 today, only at like four, and then I just got up cause I’m, I 01:24 took a nap and uhm, my fiancé told me, “Oh no, we’re getting load shedding in like 20 minutes”. I was like “Oh no!” 01:24 Kirsty Watson Interview Kirsty I’m also in Weltevreden Park. 1 Watson 01:26 01:26 Kirsty Watson Interview Interviewer What area are you? 1 01:28 01:28 Kirsty Watson Interview Kirsty Uhm I’m by like a Garpes school. I don’t know if you know 1 Watson where that is? 01:35 01:35 Kirsty Watson Interview Interviewer I’m close to Hillfox. 1 01:36 01:36 Kirsty Watson Interview Kirsty Ja, I’m pretty close to Hillfox as well. 1 Watson 01:40 01:40 Kirsty Watson Interview Interviewer Okay so, I’m gonna try and make this quick. I don’t have 1 like a bunch of stuff to ask you, your survey was quite 03:07 comprehensive… Interviewer explains the study… okay, so I’m just gonna go through your survey. I just have few, okay. So, I just want to find out, do you live alone or do you

159

have, are you living with someone? Kids or something like that? 03:07 Kirsty Watson Interview Kirsty I live with my whole family and my fiancé. 1 Watson 03:11 03:11 Kirsty Watson Interview Interviewer Okay cool. So, you said that you do watch television with 1 your family and your friends a few times a week. So, do you 03:23 kind of watch with your family every day or what’s the type of TV situation like? 03:23 Kirsty Watson Interview Kirsty It’s mostly like if there’s a movie or something that we all 1 Watson find interesting that we watch together. Uhm, ja. 03:32 03:32 Kirsty Watson Interview Interviewer Cool but mostly do you watch alone, or do you and your 1 fiancé watch together? 03:36 03:36 Kirsty Watson Interview Kirsty Mostly me and my fiancé. 1 Watson 03:38 03:38 Kirsty Watson Interview Interviewer Okay. And you said you have access to Netflix. Is that the 1 only platform you have access to? Or is there something 03:48 else you watch on? 03:48 Kirsty Watson Interview Kirsty Mostly it’s either Netflix or YouTube. That’s all we watch on. 1 Watson 03:54 03:54 Kirsty Watson Interview Interviewer So, no DSTV? No SABC? 1 03:57 03:57 Kirsty Watson Interview Kirsty No, not at all. 1 Watson 03:59 03:59 Kirsty Watson Interview Interviewer Me neither, I don’t even, I just have Netflix and Showmax at 1 this point. So, all you need really, all you need. So, on 04:13 Netflix, what type of stuff do you watch? How regularly do you watch? 04:13 Kirsty Watson Interview Kirsty We probably watch like every day, like after work, we’ll 1 Watson watch something on Netflix. It actually depends, let me see 04:48 if I can pull up my Netflix account. At the moment we’ve been watching a lot of Sons of Anarchy, so that a, like a series, an American series. Lucifer we’ve been watching a lot of. The thing is, my list just gets so long, and I haven’t actually watched all the things on the list yet. So that’s kind of what’s happened to us. 04:48 Kirsty Watson Interview Interviewer I actually feel like a bit apprehensive when I look at my list, 1 I’m like “uhh, I have so many things to watch. Where am I 05:05 going to get time?” 05:05 Kirsty Watson Interview Kirsty And then like you go through Netflix again and then they’ll 1 Watson add a bunch of stuff, and you’re like, “oh I really want to 05:15 watch that, but I haven’t finished this, oh no, what am I going to do”. So ja. 05:15 Kirsty Watson Interview Interviewer So, is there a reason why you only do You Tube and 1 Netflix, instead of like traditional TV? 05:22 05:22 Kirsty Watson Interview Kirsty I like the, I like how instant it is. So, if I want to watch that 1 Watson particular show, I can watch it. And then on DSTV and 05:57 normal TV you have to wait, you know, till Wednesday night at 7 o’clock. And I don’t want to do that. I want to watch 160

when I want to watch. And you can then binge and watch a bunch of episodes, or just watch one. So, TV is quite limiting. It’s like, “here’s your one episode”. So, That’s not what I want to do. 05:57 Kirsty Watson Interview Interviewer Do you end up binging a lot? Are you a big binger? 1 05:59 05:59 Kirsty Watson Interview Kirsty Yes. The thing we normally will find one series and will 1 Watson watch a lot of it, but normally not to complete it. At some 06:17 point like the story line just falls apart and like, we’re over this now. We don’t really watch a lot of things to completion. 06:17 Kirsty Watson Interview Interviewer And then you also said you watch television at a friend’s 1 house or somewhere away from your own home a few 06:26 times a month. Where would that be? 06:26 Kirsty Watson Interview Kirsty It would just be at a friend’s place, if we’re just hanging out, 1 Watson sometimes we’ll put on a show or You Tube to watch. 06:45 Nothing to hectic where, like you have to come over to watch this. It’s just something that we do. 06:45 Kirsty Watson Interview Interviewer Okay. So. Okay, then we get to the fun fandom stuff, which 1 is why we’re here. You said that you’re a big fan of Game 07:02 of Thrones 07:02 Kirsty Watson Interview Kirsty Yes. 1 Watson 07:03 07:03 Kirsty Watson Interview Interviewer Me too. I just binge watched the whole series again in 1 preparation for season 8. So, I’m like “ahhh’. 07:09 07:09 Kirsty Watson Interview Kirsty I wanted to do that, but like it gets so much. I don’t know if I 1 Watson can. 07:14 07:14 Kirsty Watson Interview Interviewer They actually, on You Tube they have a great channel that 1 kind of compacts all the seasons. So, I watched that from 07:55 season 1 to 3, because I don’t like the first few seasons with Ned dying and everything. So, I just watched from season 4 on.

So obviously Game of Thrones, there’s a huge online fandom, you know, a bunch of sites and stuff. And you do say that you do follow both official program sites and fan pages basically. Just talk to me. What type of sites are you following, what do you do on them? What interests you about fan pages? 07:55 Kirsty Watson Interview Kirsty Well fan pages, a lot them I like uhm, a lot of them have like 1 Watson their own like fan art, or you know, they try and like pick 08:41 apart the story. Like they’re like, “Oh Jon Snow is actually a Targaryen, blag, blah, blah”. [unclear audio] from the series. I like just reading up on people’s like theories about things and what they are doing with the information that they are receiving. I’m more of a spectator, so I don’t do a lot of creating myself. But I enjoy just like seeing what other people are saying. 08:41 Kirsty Watson Interview Interviewer You did say that you do write fan fiction yourself. 1 08:46

161

08:46 Kirsty Watson Interview Kirsty I’ve got one like little story, I don’t know why I find it 1 Watson embarrassing, but it was just something like. So, it’s about 09:20 Harley Quin and the Joker. And their relationship. So I, I don’t know, like I thought I had an interesting perspective on it. It’s nothing like I’ve shown anybody, its just every now and then, I’m like “oh ja, this could happen” and I like type it down. It’s not out there or anything, but it’s something that every now and then I play around with. 09:20 Kirsty Watson Interview Interviewer But do you read other peoples fan fiction as well? 1 09:23 09:23 Kirsty Watson Interview Kirsty Sometimes, not often. I don’t follow fan fiction a lot. But 1 Watson every now and then. 09:32 09:32 Kirsty Watson Interview Interviewer With your fan fiction, you said that it’s just for you. Why do 1 you feel like you don’t want to share it online or with friends 09:47 or anyone? 09:47 Kirsty Watson Interview Kirsty I feel like I don’t want to share with my friends because 1 Watson they’re not as interested in it. I dint think they would get it. I 10:02 don’t want to share it online because I’m worried that it would be ripped to shreds. 10:02 Kirsty Watson Interview Interviewer Do you feel like the online community is pretty…? 1 10:06 10:06 Kirsty Watson Interview Kirsty Oh yes. I’ve seen like how people react to other things. 1 Watson That’s fine, I don’t have to share that yet. Maybe if I’ve got it 10:26 all together and I’m happy with it, ill share it, but at the moment it’s just like a few chapters. It’s nothing serious. 10:26 Kirsty Watson Interview Interviewer And if you ever wrote something else that’s more popular, 1 like something for Game of Thrones or Avengers or 10:36 something like that. Would you share that or also not? 10:36 Kirsty Watson Interview Kirsty I don’t know. I haven’t been inspired by anything else, if 1 Watson that makes sense. I just thought, like I have an interesting 11:22 take on this. I’ll write this. But, no I haven’t really been inspired by anything else. Like the story I think is, I trust their story and don’t think it needs any changing. Like with Game of Thrones, “Jip, this is good, this is, I’m happy with what’s going on”. Nothing needs to change. 11:22 Kirsty Watson Interview Interviewer The reason I’m asking, is in fandom theory they kind of say 1 that fandoms are like a community and I understand that it 11:51 is. But they say there’s kind of like this acceptance of everyone’s art. People can freely express themselves. Bit I’m not sure if I agree with that, I do think internet bullying, with everyone being anonymous and saying things has made that kind of very difficult for us. 11:51 Kirsty Watson Interview Kirsty I wouldn’t say that they’re not. I wouldn’t say that people 1 Watson are all accepting of things. Especially if like you, like I don’t 12:51 know if you watch Supernatural. Everybody was like “oh we ship Sam and Dean”. And now to me I’m like, they’re brothers, leave them alone. And like if you see a relationship where other people like, like there’s like proper arguments of people like, “I think that Dean and Castiel are together” and then other people are like “no I think Sam and Dean are together”. And that’s like two factions. I wouldn’t say that it’s all-encompassing.

162

12:51 Kirsty Watson Interview Interviewer You don’t feel like you really feel safe if you were like to 1 comment online. Generally, if you go onto fan sites, do you 13:08 kind of, do you share the, obviously there are a lot of memes and things going around. Do you kind of sometimes download them and share them with friends? 13:08 Kirsty Watson Interview Kirsty Yes, people who understand it, understand the context. 1 Watson The jokes and stuff, they’re great. I love the memes and 13:29 that. I can share those no problem with like some of my friends, because you don’t have to be like in depth to understand those kinds of jokes. So, I share those a lot. 13:29 Kirsty Watson Interview Interviewer Do you think between yourself and your friends who kind of 1 watch the same programs, there might be like type of a 13:42 mini fandom for you guys where it is safer than being part of the online fandom? 13:42 Kirsty Watson Interview Kirsty Yes, definitely. I mean like we can get together and like 1 Watson just, “Oh my gosh, did you see this, oh my gosh ja dadada”. 14:19 We can fangirl over some stuff, and I’ll neve be like, “oh you idiot, you think that this is going to happen”. You don’t do that to your friends, even if we disagree, were not going to fight over it. If you put stuff online people get like super passionate about it and try and fight you, like okay never mind. 14:19 Kirsty Watson Interview Interviewer They will rip you apart. You also talk about kind of using 1 your phone and stuff while you’re watching TV, you’re 14:38 googling facts about the program and you guys kind of chat about the program. What do you chat about after or during the time that you’re watching, let’s say Game of Thrones? 14:38 Kirsty Watson Interview Kirsty Say like if we think, “Oh I think that person is going to die”, 1 Watson or like “Who’s that actor, I swear I’ve seen them before”, 15:12 and well google the actor. Oh, it’s that person, they were in whatever, whatever. It’s mostly about the show itself, every now and then it will be like “Oh yeah, I reckon this is going to happen” or “this is happening because of that thing that happened previously”. Just general chat. 15:12 Kirsty Watson Interview Interviewer You say you don’t comment like on social media generally 1 when it comes to programs and stuff. You don’t really 15:29 comment online? Or have you just generally made statements online? 15:29 Kirsty Watson Interview Kirsty Not really. Like again, I just like spectate and take in 1 Watson information. I don’t often put out. I won’t really comment on 15:58 stuff. I will share things on my own like personal Facebook or whatever. If I find a cool picture, I would share that. I’m not really commenting on other people’s stuff. 15:58 Kirsty Watson Interview Interviewer Is once again because you don’t want to create agitation 1 and stuff? 16:02 16:02 Kirsty Watson Interview Kirsty I’m a bit of an introvert so I just like to sit and think “That’s 1 Watson kind of cool”, scroll past, “That’s kind of dumb”, scroll past. I 16:19 don’t really feel it’s necessary to comment on everything. 16:19 Kirsty Watson Interview Interviewer So, also in, I’m trying to finish this in four minutes. In 1 fandom there’s this idea also that there are people that are 16:50 the head of the fandom and people that know more, and they pass their knowledge along. Obviously, they create fan pages and things like Wiki fandoms and stuff. Do you agree that there is something like that and do you kind of want, or

163

feel like you can participate on online fandoms even if you are not chatting online or commenting? 16:50 Kirsty Watson Interview Kirsty I definitely feel that there would be someone at the top if a 1 Watson fan page and then there would be regular people who 17:29 comment and interact more often. And sometimes I do find it intimidating to say something or comment or publish something, because I am not apart if the in group. I’m just like a ghost in the forums and the pages, just like spectating. Never really doing anything. 17:29 Kirsty Watson Interview Interviewer In general, you know, knowing what you know about 1 fandoms. How would you describe South African fandom? 17:45 Would you say we do have a fandom community and it’s just very quiet? What is your opinion on it? 17:45 Kirsty Watson Interview Kirsty I go to a lot of the rage and comic con and geek expos. I 1 Watson see a lot of people who are obviously big, big fans of 18:46 certain things. And I think if you try hard enough you will find a community in South Africa where you would fit in. I haven’t felt the need to delve so deep into fandom, I don’t need to get a group of friends who only speak about Game of Thrones Or you know be like Game of Thrones centric. I’m sure if that is something that people would want, they could find it in South Africa. They just have to look for it. 18:46 Kirsty Watson Interview Interviewer Do you think it’s not as accessible here as it is in other 1 countries? 18:51 18:51 Kirsty Watson Interview Kirsty Ja, I mean, like even buying things that are for your 1 Watson fandom, some are more easily accessible than other. If you 19:18 want a specific thing you would have to pay out your nose to get it from America or from China. So, I would say it is more difficult here. 19:18 Kirsty Watson Interview Interviewer Awesome. Thank you so much for doing this. I’m glad we 1 could do this quickly. So helpful, I really appreciate it. 19:30 You’re an awesome person and I would love to get to know you a bit more, we sound a lot the same. We’ll keep in touch and thank you.

Interview 2: Timecode & Clip Name Speaker Dialogue 00:00 Annetjie Morris Interviewer Okay, so just state your name and your age and where you Interview 2 live so that we know who you are. 00:10 00:10 Annetjie Morris Annetjie My name is Annetjie Morris, I’m 23 and live in Roodepoort Interview 2 Morris Noord, North. 00:17 00:17 Annetjie Morris Interviewer Okay perfect. So, the aim of this study… Interviewer Interview 2 explains the study… I’m just going to jump in. In your 01:44 survey you said that you mostly watch international programming, right. So, do you watch any South African TV or any type of South African content? 01:44 Annetjie Morris Annetjie I sometimes watch a few programs, but I know, sometimes, Interview 2 Morris it’s not very often when you find me in the lounge watching 02:14 TV. Like my family will be watching Binnelanders or they’ll watch, will be watching 7de Laan. And that thing on KykNET, Skelmpies, I think. That was rather interesting. That’s the only ones I’ve actually watched. 164

02:14 Annetjie Morris Interviewer Okay, so who do you live with at your place of residence? Interview 2 02:19 02:19 Annetjie Morris Annetjie I live with my uncle, my aunt and my grandmother. Interview 2 Morris 02:24 02:24 Annetjie Morris Interviewer So, do you, you’re saying you sometimes watch with them. Interview 2 So, do they kind of all sit together at night at a specific time 02:39 in the week to watch these programs or are their TV watching habits quite irregular as well? 02:39 Annetjie Morris Annetjie With my grandmother it’s usually, she’ll watch 7de Laan, Interview 2 Morris because that’s one of the soapies that she loves. And then 03:12 I’ll often go sit with her to, just like see how her day’s been and then we’ll watch it together. And at night when I come to the house, I’ll tend to sit with my uncle and my aunt to see how their day was. And then, ja they watch it religiously as well, because I think after that, the news is on as well, so we’ll sit and watch that. 03:12 Annetjie Morris Interviewer Okay, my mom does the same thing, so I’m used to that. In Interview 2 terms of your TV watching habits, you only watch with them 03:34 when you want to catch up on what their day was like and stuff like that. But do you generally watch by yourself, other stuff? 03:34 Annetjie Morris Annetjie I generally do, ‘cause my schedule is very irregular and my Interview 2 Morris hours on campus is so long. So generally, I tend to come 04:01 home at like 7 after a long day, and then I still have to work and then I’ll take a little break and then I’ll watch like an episode or two of like a Korean drama if I really want to. 04:01 Annetjie Morris Interviewer Okay, so where do you watch, on what do you watch? Interview 2 04:06 04:06 Annetjie Morris Annetjie I basically watch on Netflix, I’m on Netflix most of the time I Interview 2 Morris would say. That’s the one platform that I utilise the most, 04:24 because of the shows and the qualities of the shows. 04:24 Annetjie Morris Interviewer Okay, so you think the quality of programming that Netflix Interview 2 offers, which is mostly international programming is much 04:35 better than, in your opinion, than what South African channels offer? 04:35 Annetjie Morris Annetjie Personally, it’s very hard to find Korean dramas to watch Interview 2 Morris on, so Netflix is like a nice platform to watch that on, 05:11 because they offer you different, uhm, culturally, they’re more culturally aware, I think. And then they filter the content and personalise the content according to like what you watch. And the stuff that I’m mostly interested in is like Korean and Asian dramas, and a few French movies as well. 05:11 Annetjie Morris Interviewer Okay, that’s cool. You and my friend would get along very Interview 2 well, she’s exactly the same. Okay cool. Where am I 05:28 going? So, you say, you obviously describe yourself as a fan? 05:28 Annetjie Morris Annetjie I am yes. Interview 2 Morris 05:29 05:29 Annetjie Morris Interviewer Why would you say that? What in our behaviour and stuff Interview 2 that you do makes you feel like you can describe yourself 05:36 as a fan? 165

05:36 Annetjie Morris Annetjie Basically, with one of the shows that isn’t international on Interview 2 Morris Netflix is Shadowhunters. I have all of the author’s books 06:34 that made the series and translates the scripts, and I have two books that are actually signed by her as well. And then I have, three, three A2 drawings that I did of the characters of the books basically. So, I’m absolutely in love, and then I also have little memorabilia as well. And then I also follow the Instagram and I also follow her website and stuff, and I also get newsfeeds, basically emails, if any updates come along on there. 06:34 Annetjie Morris Interviewer So, you’re very in touch with every single aspect of this Interview 2 program? 06:37 06:37 Annetjie Morris Annetjie Yeah, basically. And then if, like with the Korean dramas as Interview 2 Morris well, I have certain actors that I like and then I’ll follow the 07:00 actors as well on my social media and then if I see they have a new film out or a new series, I’ll check it out. And I like it and I comment on it. 07:00 Annetjie Morris Interviewer So what you’re basically describing is that a fan is Interview 2 someone who interacts, not just watching the program, but 07:20 someone who is following fan pages or official pages and who’s read, if it’s like a program that is based on the books, who has read the books. And who is making fan art and that type of stuff? 07:20 Annetjie Morris Annetjie Yes, I think a fan would be like who actively engaged in the Interview 2 Morris contents that it gives you and then you create more. 07:34 07:34 Annetjie Morris Interviewer You’re saying a fan is only a fan if they take the content Interview 2 that’s been given and create more content based on that? 07:43 07:34 Annetjie Morris Annetjie Yeah, and basically just like actively engaging with like the Interview 2 Morris stuff as well. 07:48 07:48 Annetjie Morris Interviewer In what way? Interview 2 07:49 07:49 Annetjie Morris Annetjie The social media, having discussions with other people Interview 2 Morris about it, creating new content, sharing new ideas, their 08:04 opinions on it. 08:04 Annetjie Morris Interviewer Okay. And then you also said you create fan art obviously, Interview 2 and you’ve shared that on your social media as well? 08:12 08:12 Annetjie Morris Annetjie Yes, I have. Interview 2 Morris 08:13 08:13 Annetjie Morris Interviewer And how’s the reaction been to that? Have you gotten a lot Interview 2 pf people commenting, has it been largely supportive, have 08:21 you gotten some negative feedback? 08:21 Annetjie Morris Annetjie What’s really interesting as well with the fan art is the Interview 2 Morris author of the book is like really open to fan art and a lot of 08:45 people in that specific fandom is very nice so I’ve gotten a lot of positive feedback as well, from it, which is really nice, and it’s encouraging. 08:45Annetjie Morris Interview Interviewer Okay, have you gotten any negative comments on the 2 work? 08:51 166

08:51 Annetjie Morris Annetjie No not really. Interview 2 Morris 08:52 08:52 Annetjie Morris Interviewer So, do you feel that in general, let’s take the Interview 2 Shadowhunters fandom. Do you think in general that the 09:05 Shadowhunters fandom is very supportive in an online environment? 09:05 Annetjie Morris Annetjie I do feel that they are very supportive. Like for instance, if Interview 2 Morris you have a look at the LGB community, the show is 09:50 basically being cancelled and the fandom actually didn’t want the show to be cancelled. So basically, what they did is they raised money to prove how large the fandom is and then they raised quite a big amount of money. But then instead of giving it to the show they donated it to charities of the show, like LGB community and everything, to like show just how strong the supporters, the fandom, basically is. 09:50 Annetjie Morris Interviewer Okay so do you feel like, that you can at any time comment Interview 2 or post something within this fandom, and it will be received 10:05 positively, and people will react positively to it. 10:05 Annetjie Morris Annetjie I do feel that way, I do, cause a lot of times when you’re Interview 2 Morris having a down day and you comment on stuff, you actually 10:20 actively engage with them and then they’ll be supportive and very helpful and nice towards you. 10:20 Annetjie Morris Interviewer Okay, so obviously you have internet connection at your Interview 2 house or university? 10:29 10:29 Annetjie Morris Annetjie Yes. At both. Interview 2 Morris 10:30 10:30 Annetjie Morris Interviewer At both. So, would you, have you come across other South Interview 2 African fans on the fan pages that you are a part of? 10:40 10:40 Annetjie Morris Annetjie I have, a couple of my friends have actually, is fans, and a Interview 2 Morris couple of my friends that was here that have moved 10:52 overseas that are also fans. 10:52 Annetjie Morris Interviewer So, these are all people that you knew personally before Interview 2 knowing them online in the fandom? 10:59 10:59 Annetjie Morris Annetjie Yes. Interview 2 Morris 11:00 11:00 Annetjie Morris Interviewer In general, are they mostly woman, what race are they, Interview 2 what age? More or less. 11:08 11:08 Annetjie Morris Annetjie They’re mostly females, we tended to have a book club Interview 2 Morris together, once a month. Well we tried to. And their ages, 11:29 they’re all Caucasian whites, and then they range from 21 till 24. 11:29 Annetjie Morris Interviewer Okay so obviously, you’re in a section of fans that are, that Interview 2 has a lot of internet access, and that are able to interact 11:57 online freely. But in terms of the rest of the South African population, do you think that the rest of the South African population is as active or can be as active online as you are? Or do you think there isn’t much interest in fandom in South Africa? 167

11:57 Annetjie Morris Annetjie Personally because of what I’m studying I’m recently, I’m Interview 2 Morris looking at connectivity in Africa and how the connectivity 12:43 with the internet affects people, and I do feel that a lot of South Africans can, or they do, or they are interested in fandoms, but the way we communicate about it is very different. Like a perception, uhm, I think we need to rethink how to communicate in South Africa, if that makes sense. 12:43 Annetjie Morris Interviewer How, in what way would you suggest that we communicate Interview 2 then? 12:47

12:47 Annetjie Morris Annetjie How do I say it? So basically, within South Africa, the most Interview 2 Morris internet usage would come from mobile phones basically, 13:26 so I would rethink, like by creating platforms on mobile phones to connect through the internet to allow people access to fandoms, would be an interesting concept to actively engage with them. 13:26 Annetjie Morris Interviewer And do you think the current amount of you know social Interview 2 media with Tumblr and Instagram and all that type of stuff. 13:47 Does that not allow for enough access to fandom or do you think people just don’t interact in fandoms in South Africa especially in the way that you and the people overseas do? 13:47 Annetjie Morris Annetjie I think personally everyone is, the exposure towards a lot of Interview 2 Morris social media and how to use the social media, I think would 14:27 be a bit difficult for someone who has like, not a big phone, but an older version of a phone. So maybe like catering towards older models would be an interesting way to resolve that problem for them to communicate with fandoms. 14:27 Annetjie Morris Interviewer Perfect. Okay great. I think that is all I need from you. Is Interview 2 there anything you want to add or ask before we go? 14:38 14:38 Annetjie Morris Annetjie No, I’m good. Interview 2 Morris 09:50 14:38 Annetjie Morris Interviewer Happiness. Thank you so much for helping. Interview 2 14:43

Interview 3: Timecode & Clip Name Speaker Dialogue 00:59 Nicola Smit Interview 3 Interviewer Thank you so much for doing this on a public holiday, I 01:02 know everyone wants to chill today. 01:02 Nicola Smit Interview 3 Nicola Yeah, no problem. 01:04 Smit 01:04 Nicola Smit Interview 3 Interviewer Okay, I’m going to make this really quick, cause I don’t 02:05 have a bunch of questions for you. Just so that you have some background… Interviewer explains the study… based on your survey I just have five questions. So, I see here that you listed one of the programs, local programs that you watch is The Queen. That’s right? 02:05 Nicola Smit Interview 3 Nicola Yeah. 02:06 Smit 02:06 Nicola Smit Interview 3 Interviewer Okay cool. Tell me about that. ‘Cause I don’t watch The 02:17 Queen. I’ve seen a few episodes but that’s not generally 168

something, you know, us white people watch. So, I was very surprised. 02:17 Nicola Smit Interview 3 Nicola So, I actually got into it by accident cause my sister is like 02:37 Smit an umlungu, like she hangs with all the black people and these are like her types of thigs, and I got into it by accident. So, like I now watch it with her most nights, and I do skip an episode every now and then, but I’m really into it and what’s happening and everything, and I think it’s quite a cool show. 02:37 Nicola Smit Interview 3 Interviewer ‘Cause I also put it on now and then when some friends 02:55 come over and I’ve seen the episode, and then it feels like something I could watch. But I just have this thing against South African stuff. So, I’m like, “I have to watch these things”, but I just can’t get myself to do it. 02:55 Nicola Smit Interview 3 Nicola I would never have seen it out of my own, so if my sister 03:00 Smit wasn’t watching it, I probably wouldn’t have watched it either. 03:00 Nicola Smit Interview 3 Interviewer Oh ja, uhm so you said that you watch, so you have a 03:09 normal TV set with DSTV at home? 03:09 Nicola Smit Interview 3 Nicola Yes. 03:09 Smit 03:09 Nicola Smit Interview 3 Interviewer Okay, and you don’t have access to Netflix or Showmax at 03:14 home? 03:14 Nicola Smit Interview 3 Nicola No. 03:15 Smit 03:15 Nicola Smit Interview 3 Interviewer At all? Okay do you have internet at home? 03:17 03:17 Nicola Smit Interview 3 Nicola Yes, capped internet though. 03:20 Smit 03:20 Nicola Smit Interview 3 Interviewer Okay cool. Just checking. ‘Cause I was like, I’m trying to 03:32 see if people’s internet connection is kind of the reason why most people aren’t on Netflix and Showmax and stuff like that. 03:32 Nicola Smit Interview 3 Nicola Ja, we don’t have Fibre in our area or anything so it’s like 03:42 Smit we get like, and also our finances aren’t that great so we so we can’t really afford like uncapped ADSL for instance, so ja. 03:42 Nicola Smit Interview 3 Interviewer Ja, I get you. Okay cool, that helps. So, when you’re 03:52 watching TV, you said you’re watching with family or friends. So, do you live with your folks, or how is your living situation? 03:52 Nicola Smit Interview 3 Nicola Uhm, I live with my father and my sister. 03:55 Smit 03:55 Nicola Smit Interview 3 Interviewer Okay. And you guys watch together? 03:57 03:57 Nicola Smit Interview 3 Nicola Yes. 03:58 Smit 03:58 Nicola Smit Interview 3 Interviewer Okay. Do you always like, every night kind of sit down and 04:06 it’s your time for TV, or is it kind of erratic whenever you want to watch? 04:06 Nicola Smit Interview 3 Nicola No, it’s pretty much every night. Everyone will get home 04:15 Smit from work or wherever they’re at and then our father will make supper, and we will eat and watch TV. 04:15 Nicola Smit Interview 3 Interviewer Okay, and it’s like the same show every night, everyone 04:20 knows what’s happening, uhm?

169

04:20 Nicola Smit Interview 3 Nicola It’s not, we don’t really have a schedule for shows, uhm 04:39 Smit because we have DSTV we record most of the shows. Like we’ll be like, well tonight we’re in the mood for watching Game of Thrones and we’ll watch that. Like if things are showing at certain times, we’ll catch up or, it’s not like a set schedule for when we’ll watch stuff. Except for The Queen. The Queen happened every night at nine o’clock. 04:39 Nicola Smit Interview 3 Interviewer Okay so that’s like a family affair now? 04:41 04:41 Nicola Smit Interview 3 Nicola Well it’s me and my sister. My father like is not really into it. 04:44 Smit 04:44 Nicola Smit Interview 3 Interviewer Okay, uhm so you watch The Queen. Are there any other 04:52 local programs that you watch besides The Queen? 04:52 Nicola Smit Interview 3 Nicola Uhm no, not really. Not that I can think of. I used to be quite 05:00 Smit into Generations. 05:00 Nicola Smit Interview 3 Interviewer Oh ja. 05:01 05:01 Nicola Smit Interview 3 Nicola But I haven’t watched that in quite a while. 05:03 Smit 05:03 Nicola Smit Interview 3 Interviewer Okay so The Queen is like an anomaly for you at this 05:07 point? 05:07 Nicola Smit Interview 3 Nicola Ja, pretty much so. 05:09 Smit 05:09 Nicola Smit Interview 3 Interviewer Okay so you said that you follow fan pages uhm, online, 05:20 like official fan pages and you know, made up fan pages and stuff. Like what programs are those surrounding? 05:20 Nicola Smit Interview 3 Nicola Uhm, so those are for mainly the, like the DC Universal, like 05:28 Smit the Arrow, Flash, Superbowl. Those type of shows. 05:28 Nicola Smit Interview 3 Interviewer Okay. 05:30 05:30 Nicola Smit Interview 3 Nicola It’s like all the superhero stuff. Those are the main ones I 05:33 Smit follow. Ja. 05:33 Nicola Smit Interview 3 Interviewer So, is it around like the actual games, or the comics, or the 05:39 movies or like everything combined? 05:39 Nicola Smit Interview 3 Nicola Uhm, no mainly on the series. Like the series is the main 05:44 Smit part, ja. 05:44 Nicola Smit Interview 3 Interviewer Okay, cool. And do you ever like, I know a lot of people like 05:53 chatting on there. I don’t personally chat, ‘cause I’m too scared to make comments online. So, do you not comment? 05:53 Nicola Smit Interview 3 Nicola Ja, I feel like I don’t know enough to like, I’m scared to ask, 06:04 Smit and they’ll judge me or say that I’m say something wrong or something like that. 06:04 Nicola Smit Interview 3 Interviewer Ja, I feel the same. Like whenever I like, I’m super into 06:44 Game of Thrones and Shadowhunters and that type of stuff. And whenever I want to post something, I’m like, “ah someone like a super fan is going to come back at me”. And it happened, ‘cause I posted, they did like a fan, like a mix-up of a couple, that wasn’t actually a couple in the series, but I wanted them to be a couple. And someone posted a picture and I was like “Yes, I love this”, and then everyone came back at me like “Interviewer, gross, what the hell, you can’t be liking this stuff”. And I was like “ow, ow, ow”. I just deleted my comment after a while, cause I was like, this is insane.

170

06:44 Nicola Smit Interview 3 Nicola Ja no, I am the same. 06:45 Smit 06:45 Nicola Smit Interview 3 Interviewer Ja so it’s scary. Uhm, so obviously The Queen is the only 06:59 local show you watch. But do you, are you on like’ The Queen’s fan page or like official page for updates and stuff? 06:59 Nicola Smit Interview 3 Nicola No, I’m not. I haven’t actually gone into checking if that’s a 07:11 Smit thing. ‘Cause I’ve also not seen many South African shows get a lot of attention. 07:11 Nicola Smit Interview 3 Interviewer Okay, do you feel like when it comes to South African 07:21 shows, there isn’t as big as a fan base online as there is for international programming? 07:21 Nicola Smit Interview 3 Nicola Ja, I definitely feel like that. 07:24 Smit 07:24 Nicola Smit Interview 3 Interviewer Okay, so ja, cause I’ve always, I actually had a hard time 07:56 finding any South African fan pages on Facebook. Like I found one, but it was like all of the SABC shows combined. They didn’t have like a specific program page. So, it’s, it would actually be interesting to know how the fans of those shows then communicate. Like obviously you and your sister then have a chat about the show during and after. 07:56 Nicola Smit Interview 3 Nicola Ja. 07:57 Smit 07:57 Nicola Smit Interview 3 Interviewer Ja, what do you think? How do you think fans of like South 08:03 African shows, how do they communicate? 08:03 Nicola Smit Interview 3 Nicola I think it’s like a, a group thing. People come together in 08:33 Smit groups and be like, “so did you watch The Queen last night?”, or I think it’s more like, like word of mouth. I don’t really think there’s really many, maybe WhatsApp groups. I don’t know, but I personally have not seen any. Like I know for instance back when I was studying film, we would have industry guests come over. It was really frustrating to do research on then, ‘cause even just like an actor, there’s not that much information on them. Like it’s really difficult to get information actually. 08:33 Nicola Smit Interview 3 Interviewer Did you study film you said? 08:37 08:37 Nicola Smit Interview 3 Nicola Uhm, I studied, but I dropped out. I studied it for a year. 08:42 Smit 08:42 Nicola Smit Interview 3 Interviewer Okay, where did you study? 08:43 08:43 Nicola Smit Interview 3 Nicola The Academy of Sound Engineering. 08:46 Smit 08:46 Nicola Smit Interview 3 Interviewer Oh cool, is that in Joburg as well? 08:47 08:47 Nicola Smit Interview 3 Nicola Ja. 08:47 Smit 08:47 Nicola Smit Interview 3 Interviewer Ja, I think my cousin was also there. Okay that’s pretty 08:55 cool. So, you have some idea of what’s happening? 08:55 Nicola Smit Interview 3 Nicola Yes. 08:56 Smit 08:56 Nicola Smit Interview 3 Interviewer Okay, so obviously then if you’re saying that fandoms aren’t 09:15 like, South African fandoms aren’t communicating online, but they’re like doing the word of mouth thing, do you then think that there is definitely a fan base for South Africans to be part of? Like in terms of South African programming?

171

09:15 Nicola Smit Interview 3 Nicola I do think so yeah. I think the shows are doing something 09:24 Smit right. There are so many people who are tuning in and they have been going on for so long. 09:24 Nicola Smit Interview 3 Interviewer Ja, obviously people can’t just be watching and not doing 09:30 anything about it. They can’t just not talk about it. 09:30 Nicola Smit Interview 3 Nicola Exactly. 09:32 Smit 09:32 Nicola Smit Interview 3 Interviewer Okay and you said you create fan art as well. What type of 09:37 fan art do you do? 09:37 Nicola Smit Interview 3 Nicola Uhm, again it’s like, uhm mostly superheroes and stuff. The 09:59 Smit international things mainly. But I haven’t done them in quite a while. I used to love for anime, I used to have an anime fan page. Uhm so ja, uhm. It has been a while. 09:59 Nicola Smit Interview 3 Interviewer So, I’ve spoken to a few other people who aslo do like fan 10:17 art and I feel like, whenever I talk to South African people who do fan art, they kind of laugh and like talk about it under their breath. Like they shouldn’t be doing fan art. Like is there kind of this feeling that you share that your’e ashamed or embarrassed for doing that? 10:17 Nicola Smit Interview 3 Nicola No, I don’t think I should be ashamed or embarrassed, I 10:26 Smit just don’t want anyone around me to find it. 10:26 Nicola Smit Interview 3 Interviewer Oh, I hear you. So not ashamed talking about is but just the 10:32 other people seeing it generally. 10:32 Nicola Smit Interview 3 Nicola Ja. 10:33 Smit 10:33 Nicola Smit Interview 3 Interviewer Okay, so you’re not, did you then post anything, any of your 10:47 fan art online, like on Grambler, no, no, Instagram and Tumblr? 10:47 Nicola Smit Interview 3 Nicola Ja, I have a pretty popular-ish Instagram account, like 2000 10:59 Smit plus followers. So, I post the stuff on there. 10:59 Nicola Smit Interview 3 Interviewer Okay, you put your own fan art on this page and then 11:04 people will, do they react to it or? 11:04 Nicola Smit Interview 3 Nicola Ja, and I would take comments from other people as well 11:18 Smit and be like, so is there anything you want to see, anything I can do more of? You know what type of, I do edits as well, so what type of edits. 11:18 Nicola Smit Interview 3 Interviewer Oh, that’s so awesome. I would love to see that link 11:29 actually. So, you’re not just a fan, you’re a creator fan. Like you’re into this. You’re very active. That’s so cool. I haven’t met someone who does that. 11:29 Nicola Smit Interview 3 Nicola I’m not active anymore. I, it’s been dead for like a year now. 11:38 Smit Uhm ja, I used to be very active. 11:38 Nicola Smit Interview 3 Interviewer Well that’s so cool. ‘Cause that’s more than anyone I’ve 13:16 spoken to. Because generally people are just like no, they follow like a page on Facebook or they like would share a meme, but no one makes their own stuff, which I feel is like a very American thing to do. So, to find a South African fan and who does that, cause I write fan art or fan fiction rather. I write fan fiction. Secretly no one must read it. I’m just like, ‘cause it’s so embarrassing actually. But it’s nice to know that someone else is, also does that, that I’m not the only random person out here trying to do that, so it’s really cool. Um okay, generally then just in terms of how you interact with the fandoms. So, you, I had a bunch of questions of things about, do you feel safe, you know chatting online or being within the community? Do feel that there is a 172

community of fans? ‘Cause some people say that no, there is no such thing like fan community. Just people who like the same thing. And then obviously there definitely is a social connection community between programs and stuff like that. So, in your opinion do you think that there is definitely a tight knit community of fans that you can interact with and who knows the things and who you can go to who know something or understand something? 13:16 Nicola Smit Interview 3 Nicola Ja, I do feel like that. Like uhm, most recently with 13:45 Smit Endgame coming out and everything, and just the amount of people who come together, and we all feeling the same things and I feel like it’s like. I feel like we feel a bond over something. It does feel like a community to me, I would like go to these people and be like, obviously I don’t know them I wouldn’t like divert all my personal information. Ja, I do feel like it’s a close knit community. 13:45 Nicola Smit Interview 3 Interviewer And you said previously that you don’t post online cause 14:02 you’re scared that someone’s gonna like correct you or something. So, do you think that there’s like professional, there’s like a hierarchy of professionals who are like better fans than you are a fan? 14:02 Nicola Smit Interview 3 Nicola Uhm, ja like I, if I do post something very vague, I would 14:24 Smit never try and say I’m right or anything. But I definitely think that there’s people who gain more traction and uhm, you know. Ja I do think there’s a bit of that. But it’s not super, it’s very calm, but it is there. 14:24 Nicola Smit Interview 3 Interviewer Okay so you haven’t experienced any backlash yet from 14:33 the fans or communities regarding your stuff. 14:33 Nicola Smit Interview 3 Nicola No. 14:34 Smit 14:34 Nicola Smit Interview 3 Interviewer You are so lucky. So lucky. Okay uhm, let me just check. I 14:53 see here you said that when you and your family watch TV, you’re quiet. That you see it as a time where you’re all quiet and you’re just watching the program. So, you’re not chatting about it in between? 14:53 Nicola Smit Interview 3 Nicola No, no not really. If it’s something that’s super extreme, 15:13 Smit maybe we will have a chat, but then the show like has to be paused. Often times someone has a conversation, I have to tell them to pause just to [unclear audio] because uhm, for me personally I just like to sit there and things, uhm ja. 15:13 Nicola Smit Interview 3 Interviewer Okay uhm, but after. So, you watch the program, and you 15:33 don’t talk because you want to, you don’t want to miss anything, which I get. Afterwards, do you then talk about is? Let’s say The Queen. Do you and your sister then talk about it, what happened, are you like gossiping kind of about the events of the day? 15:33 Nicola Smit Interview 3 Nicola Occasionally, it’s not like a common thing but it does 15:39 Smit occasionally happen yes. 15:39 Nicola Smit Interview 3 Interviewer Okay, but is it more, do you chat more or like engage more 15:47 when it comes to international shows though? 15:47 Nicola Smit Interview 3 Nicola Uhm, ja I don’t think there’s that much of a huge discussion 15:55 Smit about either. Something big has to happen. 15:55 Nicola Smit Interview 3 Interviewer Okay. So is your fandom just kind of your personal thing 16:02 that you interact with? 16:02 Nicola Smit Interview 3 Nicola Yeah. 16:04 Smit 173

16:04 Nicola Smit Interview 3 Interviewer Okay, cool uhm is there anything you wanted to add or ask 16:10 before I go? 16:10 Nicola Smit Interview 3 Nicola No, I can’t think of anything 16:16 Smit 16:16 Nicola Smit Interview 3 Interviewer Okay if you do think of something that you do still wanted to 16:34 say or, you can just voice note me as well. ‘Cause I think I have everything I need from you. Uhm ja, okay thank you so much for doing the interview. I really appreciate it. 16:34 Nicola Smit Interview 3 Nicola No problem, glad to help. 16:35 Smit

Interview 4: Timecode & Clip Name Speaker Dialogue 00:31 Zara Interview 4 Interviewer Okay cool, thank you ladies so much for helping out. I 03:01 really, really appreciate it. [external interference]. So, I’m just gonna recap what the study is about so that you kind of understand a bit more what I’m trying to achieve with this whole thing… Interviewer explains the study… so the first thing I want to hear from you is just to find out, more or less, what is your living situation like? So, do you live with someone and what is your TV consumption like? So, a typical day in your life, your watching TV, being with family, what would that be like? 03:01 Zara Interview 4 Zara Okay so to start you off, I’m married, and we live in a 03:42 separate uhm, attachment right, to the main house. We live with my mother-in-law and my-sister-in law. So, they have the house upstairs and we have our own one downstairs. And then we watch TV, I watch TV every single day. Like I clock in for the news obviously, but series is 7de Laan every single day, unless I’m busy. But then since Game of Thrones, it’s been like every Monday night we clock in for that. Ja. 03:42 Zara Interview 4 Interviewer Do you watch at ten every Monday? 03:44 03:44 Zara Interview 4 Zara I watch at ten every Monday or if, if the episode leaks, then 04:16 we go, we have a site that we watch it from. So I don’t know if I, I don’t think I mentioned that in my, in the survey, but we do, if it leaks and we find that the buzz on the internet is that the episode has been leaked, like I think the second one was leaked, we watched it then the Sunday night. 04:16 Zara Interview 4 Interviewer Okay so you’re very, uhm, I don’t even notice when things 04:28 leak, and I follow Game of Thrones everywhere. So how, what pages are you on, or what are you following that you see that? 04:28 Zara Interview 4 Zara Okay so like, on Facebook like there’s multiple Game of 05:44 Thrones pages, right? So, they’re all named Game of Thrones, all of them. So, if I like just clicked on anyone, since like watching the first season, you know you go on Facebook and you, oh there’s a Game of Thrones page and it’s also named Game of Thrones, but then there’s another one and another one. All of those that I’ve clicked on, and then I follow the official one as well. So, it’s the, the fandom created ones that now would leak that information. ‘Cause obviously we’re taking away from the original, you 174

know what I mean? It’s illegal. So ja, it’s like, with us we can’t wait, because I don’t have access to the full bouquet of DSTV, so therefore I don’t have access to catchup, so we use Showmax. And Showmax only loads the episode at ten o’clock. So, if we can get it sooner, we all like watch it sooner, ‘cause it’s a lot to still stay up, you know? So, it’s either we watch it a Monday or we watch it the Tuesday. 05:44 Zara Interview 4 Interviewer Yeah, we tend to watch it the Tuesday, cause I can’t stay 05:57 up until ten. It’s way too late. So, I have to stay off any social media from the Sunday to the Tuesday evening, ‘cause it’s just gonna spoil everything. They’re very hyper. 05:57 Zara Interview 4 Zara That’s a smart thing to do. 06:00 06:00 Zara Interview 4 Interviewer Okay cool, so you have, you watch 7de Laan, which is like 06:24 a daily thing you watch every single day. Okay 7de Laan and the news. And then one of the shows you watch is Game of Thrones, but I saw you had a, like a huge list of shows that you watch and I’ve seen all of those so I was like “ah, I know exactly, know exactly what you watch”. So, these are like a mix of things that are on Showmax and Netflix and DSTV as well? 06:24 Zara Interview 4 Zara Yes. 06:25 06:25 Zara Interview 4 Interviewer So, you obviously have internet connection at your home? 06:28 06:28 Zara Interview 4 Zara Yes. 06:29 06:29 Zara Interview 4 Interviewer Okay, so when you are watching TV, is it just you watching, 06:37 or is it the whole family coming together to watch? 06:37 Zara Interview 4 Zara No, it’s just, so with us, because my mother-in-law and 07:19 sister-in-law live upstairs, my mother-in-law watched TV upstairs. And we all watch TV in our lounge downstairs. But it would just be myself and my husband and our toddlers usually sleep, you know, when we’re sitting in front of the TV. So that’s how we watch. On occasion my sister-in-law will join us. But it’s very rarely like we got together for the first episode of this season of the season of Game of Thrones, with all our cousins. And all our cousins came to our house and we had like a watch party. So, we decided to do it on the first and the last episode of Game of Thrones. 07:19 Zara Interview 4 Interviewer That’s very nice. 07:22 07:22 Zara Interview 4 Zara That’s what we did. 07:23 07:23 Zara Interview 4 Interviewer Okay, great so, you kind of have a very put-out schedule of 08:19 what you watch. So that’s cool. And then you said that while you’re watching TV, you’re also on your phone. So, one of the things I’m looking at as well is that second screen viewing, like which means that you’re watching TV, but you’re also busy on like another app or a device, is like a huge thing now. And I think that most of the times people who are fans, uhm, I don’t think in your case, I think in your case you know you’re a fan. You’re quite, you’re quite up to speed with everything. But I think in most cases people who don’t see themselves as fans, don’t notice that they are exhibiting fan behaviour and one of them is while you’re 175

watching the show, you’re also like googling facts about the show or you’re commenting about it and stuff like that. 08:19 Zara Interview 4 Zara Yes. 08:20 08:20 Zara Interview 4 Interviewer So, you definitely said that you do, do that. So, do you, 08:30 besides from, do you chat with your family and friends about the program over WhatsApp while you’re watching, or? 08:30 Zara Interview 4 Zara So, while I’m watching, unless, so I’m such a nerd. You’re 09:09 gonna laugh. So, on my WhatsApp currently, there’s a Game of Thrones group that I’m in, right? So, we discuss things as it happens. So like, for the battle of Winterfel we took, like I took to WhatsApp immediately, “Oh my goodness guys, did you see x, y, z happened. And then this means that this prophecy is gonna be in this”. You know, we were like discussing theories immediately, because of the impact that the episode had on us. 09:09 Zara Interview 4 Interviewer Yeah, did you like the episode? 09:10 09:10 Zara Interview 4 Zara [unclear audio]. I did, I did, uhm some people thought that it 09:42 was lazy writing, some people hated that the knight king just died like that. But for me, I felt that Arya, it was justified that she killed the knight king, because if we look at her journey from the beginning of the series till now, she’s been training for this the entire time. So, for us it was like so cool. You know. 09:42 Zara Interview 4 Interviewer I was also just kind of glad that he died, ‘cause he’s like this 09:47 malice type character I was like, “I wish this would end. I want to see what happens with Cercei and everyone else”. So, I was like it’s fine. 09:47 Zara Interview 4 Zara The battle, the whole episode had me on the edge of my 10:02 seat, because you don’t know who’s gonna die, who’s not gonna die, you know. So, we were discussing that at the time. Generally, I don’t speak to anyone, I wouldn’t like message my mother or you know? You know what I mean? It would have to be specifically like with regards to the episode or people who watch it with me. 10:02 Zara Interview 4 Interviewer So, this WhatsApp group, is it like, is it just family members 10:30 that are also fans or is it like friends, or is it random people that joined a group? How did this group come about? 10:30 Zara Interview 4 Zara Okay, so this group came about because uhm, like us as 12:12 cousins, we, it’s myself and [unclear audio] uhm ja, so it’s three, my husband, that’s four family members. And then we have five family members and then two friends joined us. So, we decided the day, there’s this cool quiz going on at the beer house in Fourways, and it’s brought on by a company called Quiz Night South Africa, and they had a Game of Thrones, they have multiple Game of Thrones quizzes. So, we created the group because we were like, “Okay, we’re just gonna post information on the group in case people didn’t know what to search or to study. So that’s basically to just share information. But now we keep it to discuss series, when the next Game of Thrones quiz is happening that we’re gonna go to. Uhm, you know, who’s gonna watch where, are we gonna have another watch part, how’s it gonna go down. So, everything in that group

176

revolves around the series. There’s nothing unrelated that, we don’t like talk about anything else, you know? It’s just the stuff for Game of Thrones So, like we’ve entered this quiz twice, and we’ve come second twice. So, it’s like we’re talking and we need to discuss some more, because when we enter the third one we want to be first. Or else we’re gonna call ourselves the second sons. 12:12 Zara Interview 4 Interviewer That’s so clever. 12:13 12:13 Zara Interview 4 Zara It’s like really, it’s really like, I would say people would be 12:25 like “You guys are such nerds”, you know? But we love it, we find it so interesting, so that’s what we used to create the group for. 12:25 Zara Interview 4 Interviewer So, is the WhatsApp group around Game of Thrones, is 12:32 that the only group you have that’s surrounding a series? 12:32 Zara Interview 4 Zara Yes. 12:33 12:33 Zara Interview 4 Interviewer Okay, is it a group that you would consider inviting random 12:41 people to, like other fans on the internet and stuff? Or do you feel like you should keep it family orientated? 12:41 Zara Interview 4 Zara So, for now it’s just family orientated, but I want, I don’t 13:17 think that we would not. You know to look at the aspect of having people, random people to discuss with us. If we do that it would be, it would be fine but then control it. ‘Cause you know, then the number it will increase, and everyone will wanna join. So, if we do open it up to people, to strangers, I would have to have like a certain number of people that I would allow into the group. And then leave it at that. 13:17 Zara Interview 4 Interviewer So, do you feel like WhatsApp group is a better platform for 13:32 you guys to discuss it and let’s say creating a Facebook group and doing something on Twitter? Why would you say that? 13:32 Zara Interview 4 Zara I think so. Mainly because we are able to discuss things 15:14 and respectfully do that you know? I feel like there’s us, there’s us kind of fans and there are really some emotional kind of fans. People get really angry when you don’t accept their point of view or you choose to challenge their discussion. I’ve seen it, I just went, the day that I watched the battle of Winterfel, I went onto Instagram and it was like a blown-up argument, you know. So, for that reason I feel that the group is like a more safe and respected space, you know, I wouldn’t discuss it, I don’t discuss Game of Thrones on Facebook. I just don’t, if I do it’s probably because I shared a meme, or I shared a photo. And I said something with regards to the photo. And even so, like I noticed when I do that, there are people who don’t watch Game of Thrones that find that I’m, insulting their intelligence or say that they are not clever enough to watch it. Or you know, they don’t understand that the internet is a, it is a platform, or it is you know, it’s just full of different kinds of people, it’s very diverse. And I feel like if everyday there’s a joke, or you know what I mean, there’s memes and people take it too like personally. So, for me my WhatsApp group is like the best space for us to all discuss and explain why we feel this or what we say that.

177

15:14 Zara Interview 4 Interviewer Okay. I think that’s a common fear. Maybe amongst most 15:36 fans. But I feel like most of the South African fans that I’ve spoken to have said that they don’t like to comment online, because they feel that people are gonna like retaliate or too violent or emotional or opinionated. And I totally agree, I actually had this same type of experience. I watched Shadowhunters, I don’t know if you’ve seen Shadowhunters. 15:36 Zara Interview 4 Zara Yes, the Mortal Engines or something like that? Yes. 15:41 15:41 Zara Interview 4 Interviewer Yes, Mortal Engines ja. And I posted, someone posted a 16:23 photo of a couple on the group, or on Instagram that isn’t actually a couple in the show, but we would love them to be a couple. And I was like “Oh my gosh, yes”. And then I was the only one saying yes, and everyone came back at me, like “Gross, that’s disgusting Interviewer, how could you?” And I was just like so overwhelmed. I took down my comment, ‘cause I just felt so like attacked, very scary. So, I don’t know, do you think most people feel that way? Or do you think maybe it’s a more South African, uniquely South African thing, that we’re more conservative in the sense that we don’t like to argue things online or be bombarded online? 16:23 Zara Interview 4 Zara I don’t think that, I could maybe say typically like allocated 17:17 to South Africans. I think there are fans all over the world who might feel the same way we do. Because I mean today, I’m gonna use a very like [unclear audio] example. Like if there’s a picture that trolls feminism and you laugh at it and you’re a woman and you comment in the post, it’s like “hahaha”, you get attacked. You know what I’m saying. So, for me, I feel like society is so, so uhm, what’ the word, sensitive that it even will come, and you know, if it even starts to affect fictional things. So that’s why I just stay away. I’d rather just not join the conversation. So, for me there must be, it has to be all over the world, you know. I think, I think so. 17:17 Zara Interview 4 Interviewer I see that besides that you did say that you create fan art. 17:25 So, was that just the memes? 17:25 Zara Interview 4 Zara No so, sorry I think I must’ve clicked it accidently. I don’t 18:04 create fan art, but I share pictures of people who has created their fan art. So, like there’s a, I should send you the link of it actually. There’s a, I couldn’t find it at the time. It’s an Instagram page, right? And on this Instagram page, there’s like hundreds and thousands of fan art with regards to Game of Thrones So, I would share that, but I personally don’t create it. I do like maybe memes or something like that. But I haven’t in a while. I haven’t in a while though. 18:04 Zara Interview 4 Interviewer ‘Cause you did say, I found it interesting that you do make 18:23 your own memes, ‘cause most people who make fan art just write something and they kind of keep it to themselves. I haven’t found anyone who makes their own memes. So, like when about did you do that, why did you stop doing it? Just generally? 18:23 Zara Interview 4 Zara So, I don’t know if you are familiar, but like I won’t say this, 19:47 ja I would say round about the time that people. There was like this brief period on the internet, South African internet,

178

where people were creating memes with regards to local South African things, and they used a meme app. So what the app does is it gives you the photo of, so for example, I can go and search for on the app and say Jon Snow, right, or Ned Stark, and it would put a photo of Ned Stark and then allow you to write on the photo. That is like, I would say that is like the memes I made, but I never constructed the image, or you know. That was just [unclear audio] on there. I haven’t done it in a while, I maybe did it like twice and this was like years ago. It’s just because it’s too much work, I feel. I don’t have the energy to like when I find something to go and make a meme about it. I just feel like the internet is so busy, it’s so like congested that you don’t need to do that. You’ll find someone who made what you thought, and you’ll just share, because it’s funny or you know. So that’s why I stopped. Because people do this every day so let them do it. I’ll just share if I find it funny. 19:47 Zara Interview 4 Interviewer So, the memes that you made, were they with, were they 19:55 related to Game of Thrones, or were they like South African jokes that you used Game of Thrones pictures for? 19:55 Zara Interview 4 Zara Some of them were like South African. And some was like, 20:45 related to Game of Thrones. So, for example, I need to find it, I will send it to you. There was one that, it’s got a photo of Ned Stark and it said something about, “One does not simply get up at 4 o’clock in the morning to eat”. ‘Cause we were fasting that time, you know. So, it was like, the struggle is real to get like up so early in the morning and eat, you know. There was a lot of circulation in like the Muslim community on Facebook, where you find that the meme relates to Muslims and then there were Afrikaner jokes that we found funny. Cause some of it’s hilarious, and then the rest was like Game of Thrones 20:45 Zara Interview 4 Interviewer That’s so cool. Okay let’s see. I think I might be done with 21:01 you. So, the last thing is just, obviously then you said that you do see yourself as a fan. 21:01 Zara Interview 4 Zara Yes. 21:02 21:02 Zara Interview 4 Interviewer In the whole sense of it. So, if you’re a fan, you know you’re 21:35 a fan, you participate, like you chat with people, you do create memes now and then or you share them. So, you are actively involved. How would you, so in your opinion, looking at what we’ve spoken about, South African fans. What would you say the climate of fans is in South Africa? What’s happening, are they there? Why do you think it’s not as obvious for them to come out as in the US for example? 21:35 Zara Interview 4 Zara So one, to answer the first question, I feel like there’s 23:35 definitely a climate of fandoms in South Africa. And it’s multi-faceted, but it’s mainly for me, the biggest ones would be Game of Thrones and Harry Potter. There’s a huge presence and I’ve seen that with regards to the quizzes that I’ve gone to. There’s so many people that show up and they are so competitive. So, there’s definitely a climate. The reason we might be invisible, may be because, I would say maybe it’s because with regards to the fact that we don’t make our online presence that present. So, we don’t get to go full out, we don’t discuss with regards to like, we’re not

179

so emotional about ourselves you know? Like when we’re talking about it. There might a few, a good few that are, that would disagree with what I’m saying, but I that that might be the reason why we look invisible. And also, because there’s so many other things going on, like with regards to series in South Africa. The local series scene, I feel like it’s so big that it shadows the international series. You know? So, with regards to maybe, I know so many people that are fans of local series, like you know, and I don’t, I only watch 7de Laan. But, even the 7de Laan scene is huge. I mean the actors come and visit the rally at school, the rally at malls. So, I think that the competition between the two is the reason why we might be a little invisible. If your study was based only on local, you’d find that there’s more of a presence. 23:35 Zara Interview 4 Interviewer Okay, because I think in terms of what I was looking for, I 24:18 found it easier to find fans in South Africa who watch international stuff. And from what you’ve said, you post about Game of Thrones which is an international show right? And like you’re saying the local scene is very busy, but then my question is, where are the fans of local South African shows? Where are they chatting to each other? And where is their fandom happening? So, do they express their fandom differently then? ‘Cause our Game of Thrones fandom is very online based. So where are they doing their stuff? 24:18 Zara Interview 4 Zara I think if we compare the local fans, I think that their fandom 25:59 is different, because it’s not the same, like I’ll say, let me explain to you why I say this. It’s because I’ve never heard of a 7de Laan quiz, I’ve never heard of people discussing the characters and their stories, you know? In 7de Laan for example or Isidingo. Any of the local series. Also, I don’t think it’s that captivating enough, you know, like there’s fandom, but it’s not like so big. It’s not like something to rave about constantly you know? ‘Cause I, I don’t know. I just feel like the whole, people, when they like something, they will express their attitude towards it differently. And if you compare 7de Laan and Game of Thrones, it’s way different. The one is reality based and the other one is fictional. So, fiction is always gonna win, you know? ‘Cause I mean, it’s stuff that will never happen in real life, but it’s so much more exciting than you discussing some characters HIV plot in 7de Laan, you know what I’m saying? It’s like “Ah okay, we deal with this every day”. People prefer to forget about reality and dream a little you know? So, for me I think the fandom is just different. They attract us in a different sense. It’s there, it’s just not as big. 25:59 Zara Interview 4 Interviewer So, when you’re watching 7de Laan at night, after or while 26:12 you’re watching the episode, or after the episode or the next day or whatever. Do you ever discuss that episode with friends or family? Or do you just kind of leave it? 26:12 Zara Interview 4 Zara If something big happens, like unless there’s something 26:53 that we never saw coming or a huge like, okay I’ll give you an example. So, for example in 7de Laan there was this scene where one of the lead female characters has a boy murdered, you know? That to us was like “Oh my word, she

180

killed him, he was so young, how could she do that?” She was trying to cover up that she was having relationships with him or whatever. So, because of the particular character who got killed it was like a shock. So, then we’ll discuss it, but generally, no. 26:53 Zara Interview 4 Interviewer So, it never goes further than you just discussing it in your 26:58 own home? It’s just like, a word of mouth thing? 26:58 Zara Interview 4 Zara Yes. Like “Oh did you hear, oh yes, I saw, yes, I watched 27:05 it”. But that’s it, it doesn’t go further. 27:05 Zara Interview 4 Interviewer Okay, great, I think we’re done. Could you just for the 27:15 record state you name, surname and where you live so that I have it on the record as well? 27:15 Zara Interview 4 Zara Okay, so my name is Zara, and then Lalloo and I live in 27:33 Constantia Kloof, Roodepoort, Johannesburg.

Interview 5: Timecode & Clip Name Speaker Dialogue 00:40 Fairuze Morgan Interviewer Thank you very much for doing the survey on last minute. It Interview 5 really does. 00:46 00:46 Fairuze Morgan Fairuze No problem. Interview 5 Morgan 00:47 00:47 Fairuze Morgan Interviewer Can you just state your name and surname and where you Interview 5 live just for my voice recording? 00:52 00:52 Fairuze Morgan Fairuze Okay, my name is Fairuze Morgan and I live in reside Interview 5 Morgan Florida, Johannesburg. 00:59 00:59 Fairuze Morgan Interviewer Perfect… Interviewer explains the study… so, based on Interview 5 your survey, I just want you to kind of explain to me what 03:24 your living situation is like and in a normal day in your life, how do you watch TV, who do you watch TV with, what do you watch and what are you doing while you’re watching? Just a scenario explanation. 03:24 Fairuze Morgan Fairuze Okay so, on a daily basis I do watch local TV shows. Interview 5 Morgan International shows I do watch, but that I watch more 04:24 streaming and downloading. So, yes, I would say I watch TV every day. Probably about four hours a day at night. And then, so and yes, also by myself mostly. You said you also wanted to know if I’m on my phone? I think yes, I am on my phone, but just chatting, not really about the show, but maybe just within the first five minutes of you know, getting into watching the show, or whatever I’m about to watch. Just that first five minutes and then I’m just on my own. But I try not to be on my phone the entire time that I’m actually watching something. 04:24 Fairuze Morgan Interviewer Okay, so you’re very, if you’re watching something, it’s kind Interview 5 of your time, you just want to focus on that program? 04:28 04:28 Fairuze Morgan Fairuze Yes. Interview 5 Morgan 04:29 04:29 Fairuze Morgan Interviewer Okay, so you say you watch alone, and I saw you said Interview 5 here, most of your watching happens on DSTV and stuff. 181

04:43 So, Isidingo is one of the shows, local shows you watch. What else do you watch that’s like local programming? 04:43 Fairuze Morgan Fairuze Local programming, I watch Master Chef, I watch 7de Laan Interview 5 Morgan uhm, what else? What? The Dinner Date show on BBC. I 05:07 do watch Come Dine with Me. That’s the type of my, that’s what I can think of now. 05:07 Fairuze Morgan Interviewer Okay. Interview 5 05:09 05:09 Fairuze Morgan Fairuze That’s local, that’s local stuff. Interview 5 Morgan 05:11 05:11 Fairuze Morgan Interviewer Okay, and do you, all of this is happening on DSTV Interview 5 obviously. So, you don’t, where you stay, do you have 05:21 internet connection at your house? 05:21 Fairuze Morgan Fairuze Yes, I do, yes. Interview 5 Morgan 05:22 05:22 Fairuze Morgan Interviewer And you said you don’t have Netflix or Showmax. So, is Interview 5 that just a choice that you made financially, or is it you just 05:32 don’t need it? 05:32 Fairuze Morgan Fairuze I feel like I don’t need it, because when I wanna watch Interview 5 Morgan something, I said I’ll stream it if it’s an international show. I’ll 05:51 stream while downloading. So, for me there is no point of Netflix or Showmax. I can just, you know, stream or download from sites that I usually use. 05:51 Fairuze Morgan Interviewer Okay. Cool, then I want to find what was the interesting Interview 5 thing. Okay, you said that when you’re using your phone, 06:25 it’s mostly just to kind of, you don’t chat while you’re watching the show. But in general, when it comes to international programming, so let’s say Game of Thrones, are you part of any online fan pages or WhatsApp groups surrounding that? 06:25 Fairuze Morgan Fairuze Okay, we do have a, there’s an incoming call. No, it’s okay. Interview 5 Morgan Game of Thrones, yes, we have a WhatsApp group and we 06:51 discuss in depth. And you know Facebook as well I’m part of the Wikithrones group. And I do actually engage in that group as well. 06:51 Fairuze Morgan Interviewer Okay, so you definitely, do you, if you’re, you said a Wiki Interview 5 Game of Thrones group? 06:57 06:57 Fairuze Morgan Fairuze Game of Thrones, yeah. On Facebook Interview 5 Morgan 06:58 06:58 Fairuze Morgan Interviewer So, do you actually comment on that group yourself? Interview 5 07:05 07:05 Fairuze Morgan Fairuze Yes, I do. Interview 5 Morgan 07:08 07:08 Fairuze Morgan Interviewer Okay, and in terms of commenting online, do you feel that Interview 5 you can comment freely, or do you feel like there’s, like 07:24 things you can talk about and things you can’t? Because people might react like differently or. How do you feel about commenting online?

182

07:24 Fairuze Morgan Fairuze Well for me all the Facebook groups that I’m apart of I Interview 5 Morgan usually comment freely. I don’t ever feel, uhm, that there’s 07:53 any prejudice or you know, I know that there will be controversial responses based on what I’m saying. Maybe people don’t agree with what I’m saying, but I don’t ever feel afraid to actually voice my opinion on the group or on whatever we are discussing. 07:53 Fairuze Morgan Interviewer And have you ever made a comment and people have Interview 5 reacted negatively? 07:58 07:58 Fairuze Morgan Fairuze No, not negatively, no not really. Not negatively. They Interview 5 Morgan disagree yes, but not in like a antagonising kind of way, no. 08:15 08:15 Fairuze Morgan Interviewer Okay, you’re lucky. I haven’t had the same experience. Interview 5 08:21 08:21 Fairuze Morgan Fairuze Oh my gosh. Interview 5 Morgan 08:22 08:22 Fairuze Morgan Interviewer I don’t comment online, I’m just too scared now. So, what Interview 5 did I want to ask now? I’m going blanc today. 08:33 08:33 Fairuze Morgan Fairuze It’s okay, it’s Sunday. Interview 5 Morgan 08:34 08:34 Fairuze Morgan Interviewer Yes, and it’s late already. I have one more interview today Interview 5 so three in a row and I’m gonna be so tired. Oh, I wanted to 08:51 ask, the Facebook page of Game of Thrones, the Wiki Game of Thrones page. Is that like an international page, or is it South African fans who created it? 08:51 Fairuze Morgan Fairuze No, it’s an international page. Because you have to request Interview 5 Morgan to become a member and they ask you a question based 09:08 on the show. And then if you get the answer right then you become a member of the group. So, it’s not South African based. 09:08 Fairuze Morgan Interviewer Okay, so would you say that you yourself, do you watch Interview 5 more local shows or more international shows? 09:16 09:16 Fairuze Morgan Fairuze Definitely more international. Sadly, but ja, definitely more Interview 5 Morgan international. 09:23 09:23 Fairuze Morgan Interviewer Why would you say you prefer international shows to local Interview 5 shows? 09:27 09:27 Fairuze Morgan Fairuze I think it’s about the variety of shows that’s available Interview 5 Morgan internationally. That excites me, because I don’t like to 10:00 watch the same kind of show and I feel like a lot of South African shows are always about the same thing, you know. So, that’s for me the main reason why I prefer international shows. Also, the quality. The quality of shows that they give us. It’s always at a higher standard so. 10:00 Fairuze Morgan Interviewer Okay, so what I spoke to Zara about was that international Interview 5 fandoms were very vocal online about things like Game of 10:38 Thrones, for example. But obviously there is a big South African like group of people who watch South African shows and who are fans of South African shows. So, would 183

you say that, do you think like there’s a different way that South Africans interact comparing international shows with local programming? We’re like not at the same way when we talk about them. 10:38 Fairuze Morgan Fairuze I don’t think that there’s a difference in that sense. I think, Interview 5 Morgan because if you look at Facebook page for local shows, like 12:00 for example 7de Laan, people are very vocal on that page, you know, they’re not afraid to say how they feel about a certain episode and what they think about characters. Even though they can be quite rude and that, but I think it’s just a matter of, you know, people internationally I guess it’s also the access to internet. That makes a difference, because you know like most of the, of these fandom groups are international, were created internationally. And I do think the access to internet makes a difference, but I don’t think that we as South Africans are not interested, you know, in creating a fandom around a show. Because it’s there, it is there, it’s just not maybe on various platforms. You know like other shows and things like that. It’s mainly on Facebook and maybe Instagram, maybe Twitter, yeah. But it’s not as, you know, widespread as international shows. 12:00 Fairuze Morgan Interviewer So, ‘cause, what do want to say? What I also noticed is, Interview 5 obviously because Game if Thrones is international, it’s 12:59 gonna have thousands of pages, fan pages, but when you’re googling local programs, there would be maybe one fan page about that show. Usually it’s just like official pages and stuff like that. So ja, I agree with you. I think internet access is definitely has an impact on that. I’m just wondering, because obviously there are a few pages where we discuss things online. But maybe, are South African fans not more inclined to express their fandoms through word of mouth and WhatsApp groups and stuff. Instead of like posting stuff online, we talk to each other in person and we have like debates about the show and characters in person? 12:59 Fairuze Morgan Fairuze That could actually be a big factor, because I don’t think as Interview 5 Morgan South Africans it’s within us to actually go, like I don’t think 13:56 me myself that I would sit and create a page, you know, specifically dedicated to my favourite show. I don’t think I’d do that. I’d rather go and follow somebody else’s page. And ja, I think we would rather discuss it in person. I think that that’s true, now that you actually mentioned it. I just don’t think that we are, I just don’t think that we’re that type of people, you know, to like sit and create this page for this specific show. And I just, no, I don’t even know anybody that has ever done that. So, no. 13:56 Fairuze Morgan Interviewer And uhm, what I was also thinking is you guys created your Interview 5 own WhatsApp group to discuss Game of Thrones, which 14:39 is more like a safe haven to discuss your opinions than putting it online. And what I found from the other interviews I’ve done, is that most of the interviewees say that they don’t even like posting online, because they’re scared of being retaliate against and all that type of stuff. So, I’m wondering, have you heard of any other WhatsApp groups that your friends or family maybe are on, that’s not surrounding Game of Thrones, but some other program. Or

184

have you heard them, you know, talking about stuff on WhatsApp about a program, instead of like talking about it online? 14:39 Fairuze Morgan Fairuze Well I can’t say specifically that I know of people who have Interview 5 Morgan like a group that we do. But I know, I think that yes, people 15:29 will be reluctant to post online, because they’re you know, scared of what people are gonna say. But it’s also a matter of you don’t really know that many people that like the same show as you do. So, you kind of just keep it to the people you know, keep it small, in your circle. Like in terms of local shows I would like to talk to somebody who I know watch the same show and talk about it over the phone, or we’ll talk about it when we see each other. You know, yeah, it’s more face to face than texting about it or posting about it. 15:29 Fairuze Morgan Interviewer Okay, that is very interesting. Okay, I think that is all. So, Interview 5 just in general, what other thigs that I’ve noticed or what 16:26 I’ve, or what I theorise, is that most South African people don’t see themselves as fans or they don’t know they are fans. They’re doing things that would classify them as fans, but they don’t know it. I think you obviously know that you are a dedicated fan, the WhatsApp group and everything. So, I don’t even have to ask you if you know that you’re a fan. But have you, in your experience, have you ever spoken to someone or explained something to them and then you kind of, where you’ve notice that they might be a fan of the show but they don’t really, they say “no, I’m not a fan”, but you can see that they are? 16:26 Fairuze Morgan Fairuze I guess I do, because while you were just talking about that Interview 5 Morgan I was just thinking we participated in Game of Thrones quiz 17:13 night and I am so into it and would say “Guys let’s just dress up”. And they’re like “No, no not really”. But I guess there’s also the extent of your fandom, you know, how far you’re actually willing to take your fandom. Are you that extra or are you not? I think everybody that I know, that I speak to about whatever show, I know that they might like it as much as me, or you know, we like it the same. So, yeah. 17:13 Fairuze Morgan Interviewer Okay awesome. Thank you so much for doing the Interview 5 interview, I really appreciate it. And I’ll let you guys know 02:05 how it turns out in the end.

Interview 6: Timecode & Clip Name Speaker Dialogue 00:16 Amy Ingram Interview 6 Interviewer Thank you so much for doing the interview. I really 02:38 appreciate it. I’m going to record the interview so I can just transcribe it later. Could you just state you name, surname and where you live in Joburg, just for the record? 00:38 Amy Ingram Interview 6 Amy Shure, okay. My name is Amy Ingram and I live in Windsor 00:42 Ingram East which is in Randburg in Johannesburg. 00:42 Amy Ingram Interview 6 Interviewer So, before we start… Interviewer explains the study… my 02:59 first question to you. I saw on your survey, you said that you only watch international programs. So, I just want you to, just go through a typical day in your life. Where do you stay? Who do you stay with? And when you’re watching your international programs, what are you watching? What 185

are you watching on? Who are you watching with? Just generally what happens when you watch TV? 02:59 Amy Ingram Interview 6 Amy Well I stay in a flat with my long-time partner and it’s just 04:00 Ingram the two of us. And so basically on a weekday it’s sort of at Wits from 8 until 5. And then I come home, and I sort of just want to sit on the couch. That’s when I will put on Netflix, ‘cause that’s sort of the only streaming channel that we’re like subscribed to. We don’t even have a TV licence, so we have a smart TV. We don’t have the SABC’s or anything, we don’t have DSTV. So that’s pretty much it. And since Netflix doesn’t have many South African shows, that why I’m watching international stuff. 04:00 Amy Ingram Interview 6 Interviewer Was it only after you and your partner moved in when you 04:16 kind of lost track of South African shows? Did you have access to them before that? Like your parents, watching together? Or not at all? 04:16 Amy Ingram Interview 6 Amy When I was sort of from a child to maybe early high school, 05:06 Ingram we had the SABC and E-channels, and we sort of watched 7de Laan and that type of thing. But I think that was the main South African shows, I would say it was just 7de Laan. We weren’t really into Isidingo, Generations or anything like that. Because then you would still watch Days of our Lives which obviously would be international. Then I lost that, because we didn’t have a TV anymore, in sort of later high school years. Then I moved out and then sort of it was Netflix. 05:06 Amy Ingram Interview 6 Interviewer Obviously, you’re not watching any local shows, so you 05:29 can’t speak for people who do watch local shows and local fandoms. But when it comes to the fandoms that you are a part of, which shows and fandoms do you most interact with most? 05:29 Amy Ingram Interview 6 Amy I am not the posting type, so I wouldn’t necessarily post 06:02 Ingram myself about it, but I do go and look at other people’s posts. That would be with Game of Thrones, and then Rupaul’s Drag Race and I think that is the only two at the moment. Because I go through like, when a new season is out, I am very much with that program and following it the whole time. And then when the season is over, then I might pick up on something else. 06:02 Amy Ingram Interview 6 Interviewer You follow like fan pages of the programs online, on some 06:14 platform? 06:14 Amy Ingram Interview 6 Amy Yes. It’s normally Instagram, because I like the memes and 06:33 Ingram those sort of posts. But otherwise I go out looking, like go on BuzzFeed or go on Reddit and specifically look if there’s a hashtag or whatever. 06:33 Amy Ingram Interview 6 Interviewer Okay cool. How regularly would you say, let’s say you’re 06:54 watching Game of Thrones, are you interacting or chatting to people while watching the show or after the show, about the show? Or is it just you kind of watch the show and then you just now and then scroll through some memes online? 06:54 Amy Ingram Interview 6 Amy Pretty much as soon as I’ve watched the episode I would 07:35 Ingram go and scroll through all the memes. Especially with Game of Thrones, you know someone has already put something online by the time that South Africa gets it. So, you know I already want to be part of the joke. So ja, I would always go almost immediately and the next day I would be chatting to

186

friends about it. Being like “Oh did you see last night, blah, blah, blah”. So ja, there’s definitely a lot of my family members watch it, my boyfriend watches it, some friend of ours watch it. So, we chat about it at length afterwards. 07:35 Amy Ingram Interview 6 Interviewer Would you say your version of fandom interaction is more 07:48 word of mouth with people you know than commenting or chatting online or doing things online? 07:48 Amy Ingram Interview 6 Amy No, because I think that, like you mentioned earlier, there 08:24 Ingram isn’t sort of a South African forum, if I can put it that way, where people go and chat about these things. I always feel that I’m chatting with people who are oversees and then they don’t see things the same way as I do. Or they’ve seen it hours or days before me and I’m behind on the conversation. So ja, that’s how I feel. So, I don’t really go to a forum. 08:24 Amy Ingram Interview 6 Interviewer What was interesting with one of the interviews that I just 08:50 did. It’s a family and they actually created a Game of Thrones WhatsApp group for their family and friends and they chat and go to like quizzes and stuff for Game of Thrones. So, you don’t have a WhatsApp group for family of friends which you chat on? 08:50 Amy Ingram Interview 6 Amy No, that actually a very good idea. But no, I don’t have that 08:56 Ingram setup at the moment. 08:56 Amy Ingram Interview 6 Interviewer Let’s say you’ve just watched an episode of Game of 09:16 Thrones and you’re reeling it at this point, what would you do after that? For a week after that, how do you interact with people and the show after the episode has aired? 09:16 Amy Ingram Interview 6 Amy Honestly if I’m in whatever conversation sort of I’m in, I will 09:53 Ingram eventually would say “Do you guys watch Game of Thrones”, if I don’t know them well enough to know if they watch Game of Thrones, ‘cause I don’t want to like, I’m not the type of person to leak spoilers or anything that, I hate that. So I’m, I automatically ask and then if they say no, I’m like why, you have to get with the program. And then uhm, ja if they do, then it’s like immediately I could talk with them for an hour about the last episode, ja. 09:53 Amy Ingram Interview 6 Interviewer Okay great, let me just see. I don’t think there was a bunch 10:24 of stuff I wanted to ask you. Let me just double check. I think that was about it. The only thing I wanted to, but you already answered it. I just wanted to know why you only watch international shows. But you did say it’s because you don’t have access. Is it just an access issue? 10:24 Amy Ingram Interview 6 Amy To be honest, it’s not like you how mentioned, an internet 11:30 Ingram connection. It’s not even like that stopping me from getting Showmax or whatever. Before we decided to get Netflix, we did say “Are we going to get Netflix, are we going to get Showmax”. Because we were like we don’t really watch that much TV to get both. So, we got Netflix because it has more stuff that we were already watching than Showmax did. And plus, we weren’t fans of local shows, so what, you know get Showmax. But now I feel like there’s a lot more shows coming out, so that’s South African shows that I would actually be interested in. So, now I’m like “Uh should I actually get a Showmax account because it might be worth it now”. So, for me it was like a year or more ago that it wasn’t worth it, but now I mean, they’ve released a few

187

stuff recently that are, that I thought actually that’s worth my time. So, I don’t know if that helps you. 11:30 Amy Ingram Interview 6 Interviewer No, it does. Where do you, so I watched the Game of 11:42 Thrones episode on Showmax, ‘cause it comes out on the Monday at ten. Where do you watch it on? Do you stream it, or do you download it then? 11:42 Amy Ingram Interview 6 Amy I normally just stream it from whatever program like like a 12:02 Ingram good quality version. Like my internet at home is fairly okay for it to run fine. So ja, we just stream it like as soon as we get home from Wits, pretty much. 12:02 Amy Ingram Interview 6 Interviewer Okay so, is it like the series online or 123 movies, that type 12:07 of platform? 12:07 Amy Ingram Interview 6 Amy Yes, that type of platform. I can’t remember the exact name 12:17 Ingram now, but it might be like a Putlocker or something like that. But you know what I mean, ja. 12:17 Amy Ingram Interview 6 Interviewer So, it is an illegal site? 12:18 12:18 Amy Ingram Interview 6 Amy Yes. 12:20 Ingram 12:20 Amy Ingram Interview 6 Interviewer No, I’m joking. I was also like maybe I should just download 13:27 these, ‘cause Showmax releases them at ten on a Monday, at ten at night and I can’t stay awake that long. So, we only end up watching on a Tuesday evening so I can’t even go onto any type of social network that I have, ‘cause it’s just full of Game of Thrones stuff. So, it’s been torture these past few weeks. Okay, I think that’s all I needed from you. Obviously, you said that when, when I ask you questions about uhm, “Do you feel that you can talk to people online, do you feel safe?” You said when it comes to friends and family you can always kind of give your opinion to them and you’ll feel fine. But then I asked you know about online pages and stuff, and you said most of the time that you feel like you can comment to strangers or people online. So, is it just because you feel like you don’t want to be bombarded with feedback or? 13:27 Amy Ingram Interview 6 Amy Pretty much ja. I think I’ve had people who engage with 14:13 Ingram other people on Facebook through the comments or whatever. And then there’s just this whole back and forth and people get nasty and all that kind of things. So, I try and stay away from it just because I’ve heard about other peoples like nasty experiences. I mean even if you say something that’s fairly innocent, people can turn it into something quite nasty. So, that’s why I don’t particularly like to get involved. I normally like as far as I go, will like tagging somebody else in a post and being like “Look at this”. But otherwise that’s is, ja. 14:13 Amy Ingram Interview 6 Interviewer I feel exactly the same way, ‘cause I had the same type of 14:51 experience with people like backlashing at me. So, I just like, don’t comment at all. And do you think it’s like, obviously internationally people feel this way, that they can’t comment online. But every single person that I’ve interviewed so far for this, has said that they don’t feel, they don’t comment because they don’t want to, you know, be ridiculed or get into a fight. So, do you think that South Africans are more like conservative when it comes to that? They don’t like to put themselves out there like that.

188

14:51 Amy Ingram Interview 6 Amy I think so, because I think we’ve had a couple of cases in 15:26 Ingram this country, fairly recently where people got such a backlash over social media. And it’s not necessarily about TV shows, but about anything, anyone is expressing their opinion about anything, and you know it sort of going to court and stuff. So, I mean, I feel like a lot of people have learnt that, you know, a lesson from that and would rather just not say anything on social media, because of that, ja. 15:26 Amy Ingram Interview 6 Interviewer Okay, cool. And then you did say that you do feel that there 15:41 is a community surrounding the shows that you watch. So, you don’t feel alone, you feel there is a bunch of people online. If you wanted to you can go to and talk to? 15:41 Amy Ingram Interview 6 Amy Yes, definitely. Ja. 15:43 Ingram 15:43 Amy Ingram Interview 6 Interviewer Okay, cool. That is all I have for you, thank you so much. I 15:50 really appreciate it. 15:50 Amy Ingram Interview 6 Amy Oh, it’s a pleasure. 15:52 Ingram 15:52 Amy Ingram Interview 6 Interviewer I’ll keep you up to date of what happens and if I need your 15:57 help with something again, I’ll let you know.

Interview 7: Timecode & Clip Name Speaker Dialogue 00:20 Asavela Mongo Interviewer Hi it’s Interviewer. Interview 7 00:21 00:21 Asavela Mongo Asavela Hello. Interview 7 Mongo 00:22 00:22 Asavela Mongo Interviewer How are you? Interview 7 00:24 00:24 Asavela Mongo Asavela Good thanks and how are you? Interview 7 Mongo 00:25 00:25 Asavela Mongo Interviewer I’m good thank you. Thank you so much for agreeing to do Interview 7 the interview, I really appreciate it. 00:30 00:30 Asavela Mongo Asavela It’s okay, yeah. Interview 7 Mongo 00:32 00:32 Asavela Mongo Interviewer Okay so it’s really gonna be quick, I don’t have a lot of Interview 7 questions for you. I just have to record our call so that I can 00:47 write it down later. So, would you mind for the recording to state you name and surname and where you live in Johannesburg? 00:47 Asavela Mongo Asavela No, I don’t mind. Interview 7 Mongo 00:49 00:49 Asavela Mongo Interviewer Sure. You can go ahead. Interview 7 00:52 00:52 Asavela Mongo Asavela So, my name is Asavela, my surname is Mongo, I stay in Interview 7 Mongo Auckland Park in Johannesburg. 00:58 189

00:58 Asavela Mongo Interviewer Perfect. Okay so just a quick review on what I’m doing for Interview 7 my study… Interviewer explains the study… so let me just 02:44 get your survey here. So, the questions I’m going to be asking today is just based on answers you gave in your survey. 02:44 Asavela Mongo Asavela Okay. Interview 7 Mongo 02:45 02:45 Asavela Mongo Interviewer Okay, so can you describe to me like, a general day in your Interview 7 life? How would you, if when you arrive home, where do 03:10 you live? Who lives with you? And when you guys watch TV, do you watch TV alone, do you watch with other people? How do you watch TV? Just describe your general day when it comes to TV watching. 03:10 Asavela Mongo Asavela Oh okay, well when we get home, we mostly watch TV, Interview 7 Mongo uhm if it’s something we are all interested in. For example, 03:28 The Queen, we most often watch it as a family. And then the kids they watch cartoons alone. 03:28 Asavela Mongo Interviewer So, do you live at home with your folks and kids? Or what’s Interview 7 the house situation like? 03:36 03:36 Asavela Mongo Asavela No, I live in res, there’s no TV at res. I’m just describing Interview 7 Mongo when I’m home. 03:42 03:42 Asavela Mongo Interviewer Okay so what happens at res? Do have like some type of Interview 7 access to any uhm shows, or do you kind of watch on, 03:52 uhm, a laptop? Or what’s happening there? 03:52 Asavela Mongo Asavela Oh yes, we have access to You Tube and you know the Interview 7 Mongo DSTV online app? 03:56 03:56 Asavela Mongo Interviewer Yes. Interview 7 03:57 03:57 Asavela Mongo Asavela Yes, I use those. Interview 7 Mongo 03:59 03:59 Asavela Mongo Interviewer Okay, so what device do you watch on? Interview 7 04:02 04:02 Asavela Mongo Asavela I watch on my laptop most of the time. Interview 7 Mongo 04:04 04:04 Asavela Mongo Interviewer Okay, so you’re a laptop watcher, that’s cool. So uhm, with Interview 7 your DSTV app, you then, what type of shows do you 04:15 watch? Also watch The Queen and like South African shows? 04:15 Asavela Mongo Asavela Yes, uhm Scandal, Generations and if I have some time, Interview 7 Mongo Lockdown. You know all the South African series. 04:26 04:26 Asavela Mongo Interviewer Okay cool, and is it usually just you watching on your laptop Interview 7 alone or do you watch with other people who live in res with 04:33 you? 04:33 Asavela Mongo Asavela I watch it with a friend sometimes. Interview 7 Mongo 04:37

190

04:37 Asavela Mongo Interviewer Okay cool. So, while you’re watching with your friend, do Interview 7 you guys chat about the show while you’re watching it as 04:44 well? 04:44 Asavela Mongo Asavela Yes, yes. Interview 7 Mongo 04:45 04:45 Asavela Mongo Interviewer Okay, what do you guys usually chat about? Interview 7 04:47 04:47 Asavela Mongo Asavela We usually like predict what’s going to happen next, or why Interview 7 Mongo something happened in the story, why something 05:06 happened on the main character on The Queen. And then we’ll be like [unclear audio] or why it’s happening and then predict what will happen on the next episode. 05:06 Asavela Mongo Interviewer Okay. Uhm so what I’ve noticed with most of the people Interview 7 that I’ve interviewed is that most of them don’t really, when 05:44 it comes to local shows, they don’t really post comments online or have like groups online, that are dedicated to South African programs. So, for example there wouldn’t be a fandom site for The Queen of Facebook. Right? Is that something that you have also come across, or are there like fan sites that you follow on the internet when it comes to South African shows? 05:44 Asavela Mongo Asavela No, I don’t follow any, it’s just that I’ve seen comments on Interview 7 Mongo You Tube, but I’ve never commented, and I’ve never 06:00 followed any social media outside the local show, or anything like that. Unfortunately, that’s it. 06:00 Asavela Mongo Interviewer Okay and is that the same for international shows? Or do Interview 7 you also now and then follow pages for international shows, 06:11 or comment on stuff about international shows? 06:11 Asavela Mongo Asavela I think the only thing that I follow is Empire. Interview 7 Mongo 06:15 06:15 Asavela Mongo Interviewer Okay and where do you follow that? Interview 7 06:18 06:18 Asavela Mongo Asavela On Instagram. Interview 7 Mongo 06:19 06:19 Asavela Mongo Interviewer On Instagram? Okay so uhm, I’m trying to figure out, when Interview 7 it comes to South African programs then, how do people, 07:03 how do fans of SA shows then interact with each other. So uhm, one of the participants said that they chat to each other over WhatsApp. So, it’s very much a word of mouth fandom. So would you say that when it comes to speaking to family and friends and to speaking to other people about South African shows, it’s more like you guys telling each other things and speaking to each other in person or over WhatsApp, than is, you know, posting something online? 07:03 Asavela Mongo Asavela We won’t really post something online, we would post on Interview 7 Mongo our WhatsApp and talk on our, let’s say something 07:31 happened on [unclear audio] but there’s no posting on Facebook most of the time, or any social media. But mostly WhatsApp and Instagram even. Sometimes people post videos of a scene and then we interact in the comments.

191

07:31 Asavela Mongo Interviewer Okay so you said you do it on WhatsApp over status. So, is Interview 7 it like the WhatsApp Status thing? 07:38 07:38 Asavela Mongo Asavela Yes. Interview 7 Mongo 07:39 07:39 Asavela Mongo Interviewer So, what would you post on there? Interview 7 07:40 07:40 Asavela Mongo Asavela Let’s say something happened, something big. For Interview 7 Mongo example, there’s a show called The Kingdom. [unclear 08:03 audio] so, I’ll post something about his wife or [unclear audio] and then people would reply [unclear audio] in the comments. 08:03 Asavela Mongo Interviewer Okay, so do you usually get a lot of people commenting on Interview 7 that then? 08:07 08:07 Asavela Mongo Asavela Yes, especially people who are interested and who watch Interview 7 Mongo it. 08:13 08:13 Asavela Mongo Interviewer Okay and is this like a regular thing that you do and that Interview 7 your friends do as well? 08:17 08:17 Asavela Mongo Asavela Only if something big happened in the show. Interview 7 Mongo 08:21 08:21 Asavela Mongo Interviewer Okay, great. Uhm so I think that is about all. Uhm, the only Interview 7 thing that I wanted to ask you, so do you know what the 08:41 whole meaning is behind fandom? And like what a fandom is? 08:41 Asavela Mongo Asavela I think it’s like on You Tube where there’s a group of people Interview 7 Mongo who usually watch a show and then they comment on it. 08:53 Yeah, I’m not sure if that’s what it is. 08:53 Asavela Mongo Interviewer Sure, yeah, so a fandom is literally just a group of people or Interview 7 like people all around the world, who share the same 09:38 interest and who like the same shows. And they generally will chat about it or will post photos, or you know, its just people who are very in love with the show and who want to talk about it. So definitely what you’re saying. So, I just wanted to find out from you if you think, even though South African fans don’t post things online when it comes to local soapies and things like that. Do you think that there is still a fandom surrounding like local programming? 09:38 Asavela Mongo Asavela I think so, even though we do not post about them on Interview 7 Mongo [unclear audio] or anything. I think so. 09:45 09:45 Asavela Mongo Interviewer Okay, why would you say so? Interview 7 09:48 09:48 Asavela Mongo Asavela Because, uhm if anything is posted by a celebrity, let’s say Interview 7 Mongo something on the show happens, and then a celebrity 10:00 comments about it, a lot of people comment about that show. 10:00 Asavela Mongo Interviewer Okay so there is some stuff that is happening online, but Interview 7 most of your discussions and you know sharing your 10:10 opinions and stuff, happens over WhatsApp then. 192

10:10 Asavela Mongo Asavela Yes. Interview 7 Mongo 10:11 10:11 Asavela Mongo Interviewer Okay perfect. I think that’s all I have for you. Thank you Interview 7 very much. 10:16 10:16 Asavela Mongo Asavela Okay thank you Interview 7 Mongo 10:19

Interview 8: Timecode & Clip Name Speaker Dialogue 00:12 Eliane Kruger Interview Interviewer So, you can just state your name and your surname and 8 where you live in Joburg. Just so I have it. 00:18 00:18 Eliane Kruger Interview Eliane Okay, Eliane Kruger, Weltevreden Park. 8 Kruger 00:20 00:20 Eliane Kruger Interview Interviewer Okay so I don’t know if you kind of… Interviewer explains 8 the study… so the first, I just made some notes on your 03:35 survey, [unclear audio and interrupted audio], so the first thing that I noticed is you mentioned the stuff you do with your friends and your family and you write, you know you write books et cetera, but then you said “I’m not a fan”, or was that a mistake? 03:35 Eliane Kruger Interview Eliane Was it a specific, what was the question? Do you 8 Kruger remember? 03:38 03:38 Eliane Kruger Interview Interviewer It actually was “Do you consider yourself as a fan of local or 8 international programs?” 03:44 03:44 Eliane Kruger Interview Eliane Ah, international, yes. Local, not so much. There are some 8 Kruger things that I enjoy, but I wouldn’t like consider myself like a 03:54 fan to the extent that I am with international things. 03:54 Eliane Kruger Interview Interviewer So, what type of shows do you watch? 8 03:57 03:57 Eliane Kruger Interview Eliane Uhm, strange things that have come here from other 8 Kruger countries. Like I love Come Dine with Me South Africa, 04:21 Idols South Africa, South Africa’s got Talent. I love those and uhm, there’s this show, I don’t know what it’s called, something along the lines of Will You Marry ME, or something like that 04:21 Eliane Kruger Interview Interviewer Uhm, it’s not Date My Family? 8 04:23 04:23 Eliane Kruger Interview Eliane Date My Family, that one, I like that one. And uhm, okay, 8 Kruger so this came from, my family will not watch these shows, 05:09 but I stayed with a friend who’s African and whose friends are obviously African. And they watched a lot of African shows and in that, you know I participated, and I really enjoyed them. So, there’s that, and then there’s this other one that’s also African, I think it plays on SABC 1. Uhm, what is that one called? It’s like all about the wedding like

193

planning for the wedding. If I find it, I can just ask him, and I can just send it to you on WhatsApp. So, there’s that too. 05:09 Eliane Kruger Interview Interviewer Well it’s good to know you’re watching some South African 8 shows. I don’t watch any, ‘cause I don’t have like a normal 05:36 TV at home. I only have Netflix and Showmax. Even on Showmax, like I see something and I’m like Afrikaans things and stuff, I can watch these maybe, and then I just never do, ‘cause I feel like when I watch South African stuff I just identify too much with the characters and it makes me uncomfortable. Because I know people like that. 05:36 Eliane Kruger Interview Eliane It’s also like, most of the ones that I’ve watched you’ll notice 8 Kruger are with other people. So, my aunt was a huge fan of 7de 06:08 Laan, so I would watch 7de Laan with her, but never by myself. When I was growing up, when Isidingo was still a huge thing, my whole family watched that all the time. And things like, what’s the other one, Generations as well. Which I’m surprised is still going, that I found out is still going. 06:08 Eliane Kruger Interview Interviewer It’s still going. They changed the name of it, but it’s still 8 going. [unclear audio] 06:12 06:12 Eliane Kruger Interview Eliane So ja, all of those I watch with other people, because I 8 Kruger wouldn’t necessarily go for it myself. 06:20 06:20 Eliane Kruger Interview Interviewer So, obviously you said one of the shows you watch is 8 Game of Thrones. So, do you follow Game of Thrones 06:36 pages and do you comment. Generally, what do you do after a Game of Thrones episode, when you are geeking out? What is your? 06:36 Eliane Kruger Interview Eliane Immediately go to my friends and be like “Did you watch 8 Kruger the latest episode?” 06:40 06:40 Eliane Kruger Interview Interviewer Okay, so would you do that via WhatsApp or? 8 06:43 06:43 Eliane Kruger Interview Eliane Usually WhatsApp, cause I do know quite a few friends 8 Kruger who are fans. And then I have others who like we’ll be 06:56 hanging out in person and they’ll scream to me and be like “Have you watched the latest episode?”, and I will be like “No, no spoilers please. Don’t say anything”. 06:56 Eliane Kruger Interview Interviewer I haven’t seen the last episode. 8 06:58 06:58 Eliane Kruger Interview Eliane And then they’ll be like. The last two I haven’t seen, ‘cause 8 Kruger I don’t have internet at my place yet. So 07:02 07:02 Eliane Kruger Interview Interviewer So, you haven’t seen the big battle either? 8 07:03 07:03 Eliane Kruger Interview Eliane I actually have been going over to a friend to watch at her 8 Kruger house. I’m going on Friday to her house. So ja, it’s stuff like 07:28 that. And then usually what I find quite interesting is they’ll find somebody else in the room to talk about it. They’ll immediately be like “Have you watched it?” And then they’ll start talking about and I’ll be like “Guys I’m sitting right here”. 194

07:28 Eliane Kruger Interview Interviewer That frustrates me. Also, you, oh, some of my friends came 8 over and we were also, ‘cause it comes out on Showmax 07:41 on a Monday night at ten. I not gonna stay up until ten, I’m tired at like eight already. 07:41 Eliane Kruger Interview Eliane These friends that I’m going over to, they wake up at 3 am 8 Kruger to watch it as it drops. And they get snacks and everything, 07:51 it’s a thing. The whole family. 07:51 Eliane Kruger Interview Interviewer That’s amazing. I don’t have that type of commitment, like. 8 07:57 07:57 Eliane Kruger Interview Eliane I did when I was 16, but now not so much. 8 Kruger 08:01 08:01 Eliane Kruger Interview Interviewer I wouldn’t, no. We just got a new puppy as well, so I’m just 8 like waking up nine times a night already. So, it’s fine. I 08:08 need my sleep. 08:08 Eliane Kruger Interview Eliane Puppy is practice. 8 Kruger 08:09 08:09 Eliane Kruger Interview Interviewer It is. And we got like a miniature dachshund that’s like eight 8 weeks old. So, she’s like a puppy, puppy. 08:17 08:17 Eliane Kruger Interview Eliane That’s so cute. 8 Kruger 08:18 08:18 Eliane Kruger Interview Interviewer It’s very cute, but I’m just. 8 08:20 08:20 Eliane Kruger Interview Eliane But also, a nightmare. 8 Kruger 08:21 08:21 Eliane Kruger Interview Interviewer And I’ve just started leaving her at home alone. Because 8 we had to train her and you’re not allowed to leave more 09:00 that two, two and a half hours, because she’s so tiny. But like the moment she doesn’t see me, I’m at home, but she doesn’t see my feet or something, she starts to cry. It’s like very traumatic in my house at the moment. But I digress. Okay so, we were talking about, you talk to your friends after the episode. Then you also said that you follow pages online, so what? 09:00 Eliane Kruger Interview Eliane So, if I haven’t, I deliberately go and use free Facebook, 8 Kruger ‘cause the majority of spoilers come in image form. Like 09:42 memes, so if I have however then they’ll be there, or there’ll be funny things or whatever. I have a little bit of a weird habit where if it’s just been posted and no comments are on there, I try to make the first comment really witty so that it starts a conversation and then there’s this whole thing of other fan people who know where I’m coning from. Then I’m like, this a community kind of feeling. So, I have that. 09:42 Eliane Kruger Interview Interviewer And you don’t feel, like you don’t feel threatened or afraid to 8 post online? Like scared of a comeback? 09:49 09:49 Eliane Kruger Interview Eliane No, not really with most fandoms. I will say that I am a 8 Kruger fangirl, like I become a little bit of an advocate for like the 10:20 whole thing that I’m fangirling over. Which means there are a lot of disagreements, especially, one of the ones is Harry 195

Potter, even though it’s so old, it’s still going. The fandom is still here. My soul, I watched that series way too much in one year. 10:20 Eliane Kruger Interview Interviewer I know. And I can like word by word say [unclear audio] 8 10:22 10:22 Eliane Kruger Interview Eliane Same. So ja, Harry Potter is like my number one. Like 8 Kruger there’s nothing that beats that. But it means that there’s a 10:58 lot of heated disagreements with other fans in the comment sections, and that sort of thing. ‘Cause, my soul, this fandom can be toxic sometimes. It’s seriously can. And a lot of people will be genuinely asking questions or say like the ships, I’m sure you’ve seen the ships of characters that aren’t actually together. 10:58 Eliane Kruger Interview Interviewer I’m pretty much in the Drary section. 8 10:59 10:59 Eliane Kruger Interview Eliane I love Drary, but my favourite is Geormione. 8 Kruger 11:04 11:04 Eliane Kruger Interview Interviewer I like them as well, but not as much as Drary. 8 11:07 11:07 Eliane Kruger Interview Eliane Drary is adorable. But then obviously there’s some people 8 Kruger that will be like, no what would you ship other people. Or 12:19 that character isn’t gay so why are you doing this kind of thing? They don’t get it, so that turns it into kind of a thing, because sometimes a lot of fans will attack another person’s view and I’m just like why? Like you can disagree with it sure, you are fully within your right to do that. Like, I’m not too big on Snamione, like Snape and Hermione, but you know. And there are other people who are like Snape shouldn’t be redeemed like we shouldn’t like him. He’s a horrible character, that kind of thing. And I’m on the off because JK Rowling herself said he’s a grey character. He’s not good, he’s not bad, he’s human… kind of thing. So, with those there’s a lot of attacks. So, with things like Game of Thrones, I think because it’s still happening, they aren’t as hectic. Like if a few years on and if George ever finishes the books, I’m sure there probably will be those sorts of attacks. 12:19 Eliane Kruger Interview Interviewer Yeah, I think that the main conflict in Game of Thrones is 8 going to be between the book readers and the series 12:29 watchers. Like Harry Potter as well. 12:29 Eliane Kruger Interview Eliane And at this point it’s completely different. And George has 8 Kruger already said like it’s a different thing. 12:35 12:35 Eliane Kruger Interview Interviewer Okay so you’re definitely very active in an online 8 international fandom. So, in that sense you’re very much a 12:50 fan. So, I’m not even gonna question your [unclear audio] 12:50 Eliane Kruger Interview Eliane Twitter, Twitter was the thing that got me into, like I had 8 Kruger entire accounts dedicated to a fandom. So, there are lots 13:33 on Twitter where all they do is post, like all those Tumblr posts that you see. Twitter. So, like there there’s like a community of like live tweeting and stuff like that. Where while you’re watching you’ll constantly make comments and

196

because you choose your follower basis based on who you follow, there’s a lot of relatable accounts where they’re all doing similar things. And that again brings up comments and stuff like that. So, like with Game of Thrones if I could, I would be live tweeting it. 13:33 Eliane Kruger Interview Interviewer So, did you create these pages yourself as well? So, not 8 just following other people? 13:39 13:39 Eliane Kruger Interview Eliane Yeah. 8 Kruger 13:40 13:40 Eliane Kruger Interview Interviewer Okay, you’re very much in that shit. Obviously then you, 8 when it comes to. 13:48 13:48 Eliane Kruger Interview Eliane I’m getting a whole sleeve full of my fandoms. 8 Kruger 13:50 13:50 Eliane Kruger Interview Interviewer Oh, I also want to do that. Actually, I already have Scam, 8 it’s a Norwegian show. So, I have Scam here and that’s 14:01 from Call Me By Your Name. 14:01 Eliane Kruger Interview Eliane Oh, I actually recognise that. 8 Kruger 14:04 14:04 Eliane Kruger Interview Interviewer Yeah so, I’m already halfway there and then I have this big 8 piece planned for my back for when I’m not pregnant 14:17 anymore. Then I’ll have Harry Potter, then I’ll have Game of Thrones, Lord of the Rings, Shadowhunters. 14:17 Eliane Kruger Interview Eliane Oh, we’re right at the same ally. We are there. 8 Kruger 14:22 14:22 Eliane Kruger Interview Interviewer So, when it comes to merchandise, you buy merchandise 8 as well? 14:26 14:26 Eliane Kruger Interview Eliane Yes. 8 Kruger 14:34 14:34 Eliane Kruger Interview Interviewer So, in terms of your online fandom, I don’t really have 8 questions, ‘cause you kind of don’t fall within like the 14:56 general fan community. But you did say that you watch some local shows. One of the things I’ve noticed from the other interviews is that most of the local programming doesn’t happen online like or chat about it online. 14:56 Eliane Kruger Interview Eliane Yeah, they don’t. 8 Kruger 14:58 14:58 Eliane Kruger Interview Interviewer Like they do chat about it in person and over WhatsApp, so 8 it’s very much like a word of mouth. So, I just want to know, 15:14 when you’re watching local shows or when you used to watch it, what was happening in your household and your friends? 15:14 Eliane Kruger Interview Eliane So, we were obviously talking about it in person like we all 8 Kruger [external interruption] so we’re talking about it while we’re 16:02 watching it and that sort of thing. But there were like one or two people who would watch Idols at the same time as me, or I even had a friend into Idols last year. So, we spoke about that and this particular friend, we all went to college 197

together, so we actually had a group where we al spoke about what was happening in Idols and that sort of thing. 16:02 Eliane Kruger Interview Interviewer Like a WhatsApp group? 8 16:03 16:03 Eliane Kruger Interview Eliane Yeah, a WhatsApp group. So ja, and like we’d be like 8 Kruger waiting for our friends to come on and do her thing. So, it 16:36 was that. And there are one or two people who were like after the fact, I do ask their opinion. Will You Date My Family, I know this one girl who watches it as well. Which I only found out after and then each time after the episode I’d like message her and be like “have you watched it?” and “What did you think of this one?” And she’ll be like “No, I totally thought he was gonna pick the third one”. So, stuff like that. 16:36 Eliane Kruger Interview Interviewer I think I’ve seen that episode. I’ve actually, I’m lecturing as 8 well and I put it up as one of the shows that my students 16:46 are supposed to watch [unclear audio] Shame on me. 16:46 Eliane Kruger Interview Eliane No, it’s a really cool show. It’s like there’s a lot of shows like 8 Kruger that internationally as well. There’s the one, I can’t 18:02 remember what it’s called, but this one person cooks for another person and that person goes to three different people and then at the end they pick them based on a, the date and b, the food. It’s British. And then there’s, I loved Room Raiders when I was a kid. Which I also similar. One guy, or one girl goes to three men or woman’s houses and they just go though their room and tries to get like an idea of who they are based on their room. The thing is you can’t prepare for this. They just randomly pick you up like and throw you in a van. And so, in the van is a screen and the woman who are watching this guy go through their room, or visa versa. Like they just sit there, and the person has like, kind of like how you get three help lines in game shows. This person has three like questions or something like that, like where he can communicate with the girl. Like he’ll find something in there and be like “Okay what the heck is this?” So, it’s that sort of thing. 18:02 Eliane Kruger Interview Interviewer Okay, so when it comes to local shows, does it, like you’ll 8 also not, not post anything. It’s just chatting with people 18:14 about it? 18:14 Eliane Kruger Interview Eliane I noticed with local shows, Indians mostly follow the pages. 8 Kruger And I have a lot of Indian friends. So, when they share 18:33 memes, say of 7de Laan then I can still understand them, even with a memory. I’ll share those but I don’t actively go for it. So yeah. 18:33 Eliane Kruger Interview Interviewer It’s interesting that I also did two interviews with Indians 8 yesterday. And they were like it’s a very interesting topic, 18:51 and I was like “Really”? I clearly have a misconception about who watches 7de Laan. Yeah and they have like a whole discussion about is, so. 18:51 Eliane Kruger Interview Eliane It’s not all Afrikaans people. 8 Kruger 18:53 18:53 Eliane Kruger Interview Interviewer Okay I think that was about it. So, about the books that you 8 write. It was under the fan art section. So, is It like fan 19:15 fictions?

198

19:15 Eliane Kruger Interview Eliane Sometimes it’s fan fiction. I don’t get paid for the fan fiction 8 Kruger so that’s more of a side thing. But on Hermione, I rewrote 19:50 the Goblet of Fire onwards, I rewrote the entire series in such a way that Draco and Hermione get together, because like they, something happens at the Hall, like an she walks off from Ron and Draco comes in. I loved it, so 19:50 Eliane Kruger Interview Interviewer I need to read that. That is so good. Okay so it’s fan fiction. 8 Do you share it? 19:56 19:56 Eliane Kruger Interview Eliane I used to, not so much anymore cause I don’t have as 8 Kruger much time to dedicate it, but I used to share it on Wattpad, 20:16 but then they had like a whole copy right issue with Harry Potter specifically. And now I share it on fanfiction.net and sometimes on archive of our own. 20:16 Eliane Kruger Interview Interviewer People obviously comment on it and stuff [unclear audio] 8 do you then share it with friends, or do you collaborate? 20:26 20:26 Eliane Kruger Interview Eliane There is one girl who’s also a writer who we back and forth, 8 Kruger we have been talking about actually starting a, what was it 21:05 on? I think it was an anime, we wanted to do like a little fan fiction together, ‘cause she’s constantly sending me stuff and I’m constantly sending her stuff. So, ja she’s like the one. There used to be one or two more that I’m not friends with anymore. But ja, so if I know people who like would appreciate it, like you would obviously appreciate it. Then I will just be like, I wrote another chapter, so stuff like that. 21:05 Eliane Kruger Interview Interviewer Okay cool. I think I have everything. 8 02:05

Interview 9: Timecode & Clip Name Speaker Dialogue 00:48 Naomi Ntshaba Interviewer Can you for the record just state your name, surname and Interview 9 where you live in Joburg? 01:04 01:04 Naomi Ntshaba Naomi I am Naomi Ntshaba. I am 20 years old and I live in Interview 9 Ntshaba Auckland Park. 01:11 01:11 Naomi Ntshaba Interviewer Okay cool so… Interviewer explains study…. So I don’t Interview 9 have a lot of questions for you, I just want you to start half 02:40 explaining kinda where you live, do you live with people how many people do you live with and generally in a day of your life or a week of your life what’s you TV watching, series watching like how do you watch TV what do you do? 02:40 Naomi Ntshaba Naomi Okay uh is it still the same if I stream online? Interview 9 Ntshaba 02:46 02:46 Naomi Ntshaba Interviewer Yea so TV doesn’t just generally just mean a TV set, it’s Interview 9 whatever you watch. 02:52 02:52 Naomi Ntshaba Naomi Okay. So typical day obviously I go to school, I get there Interview 9 Ntshaba around 5 Johannesburg here at res. I start watching TV 03:14 around half past 7 ‘cause Scandal starts. Half past 7 eTV Scandal starts. And then at 8 The River starts.

199

03:14 Naomi Ntshaba Interviewer What do you watch those two on? Interview 9 03:15 03:15 Naomi Ntshaba Naomi Uh on my PC. I stream on catchup, the catchup app. Interview 9 Ntshaba 03:20 03:20 Naomi Ntshaba Interviewer Ah DSTV catchup. Interview 9 03:22 03:22 Naomi Ntshaba Naomi Yes. Interview 9 Ntshaba 03:22 03:22 Naomi Ntshaba Interviewer Okay cool. And you watch that every night at the same Interview 9 time? 03:23 03:24 Naomi Ntshaba Naomi Yes. So, it’s Scandal at half past 7 and The River at 8 and Interview 9 Ntshaba then afterwards I just watch a series on my, cause I’ve got 03:37 like a hard drive and then I would watch The Fixer afterwards. 03:37 Naomi Ntshaba Interviewer Okay cool. And uhm you’re in Res you said. Do you watch Interview 9 alone generally or are you always watching with someone? 03:44 03:44 Naomi Ntshaba Naomi I watch alone. Unless uhm sometimes I do watch at the TV Interview 9 Ntshaba room, but when it’s like a very exciting when I feel like I 04:02 want to watch with people and get different reactions. That’s when I go down and then people are there. And then we all watch together. 04:02 Naomi Ntshaba Interviewer How regularly does that happen? Interview 9 04:04 04:04 Naomi Ntshaba Naomi Not often. Just when I’m like I’m really bored. Interview 9 Ntshaba 04:08 04:08 Naomi Ntshaba Interviewer If you guys watch together who choses what you watch on Interview 9 that day? 04:16 04:16 Naomi Ntshaba Naomi Uhm, people, I realise that students watch the same thing Interview 9 Ntshaba like in terms of popular shows. You know ‘cause I 04:33 remember last year there was this popular show Igazi. It was very popular so every Sunday everyone would go down and watch it. So I only go down when I know that everyone is watching. 04:33 Naomi Ntshaba Interviewer So everyone would go down on a Sunday to watch it Interview 9 together. And when you guys watched it together would 04:40 you guys like be chatting about the show and? 04:40 Naomi Ntshaba Naomi Yea of course and get different reactions. It’s very, like Interview 9 Ntshaba you’re in a cinema when you are watching with different 04:48 people so there’s like different reactions and different comments. Yea 04:48 Naomi Ntshaba Interviewer Okay that sounds quite fun actually. But uhm you don’t do Interview 9 that often now? 04:54 04:54 Naomi Ntshaba Naomi No. Interview 9 Ntshaba 04:55

200

04:55 Naomi Ntshaba Interviewer It was just kinda with that show. Okay. Uhm then. I just Interview 9 wanted to know, sorry, you said that you don’t, so obviously 05:40 like I said with fandoms the whole thing now is that to be fan you have to be active online right. You have to like post stuff and be active. Uhm but in your survey, especially with the other people I’ve interviewed, I’ve noticed that, ja when it comes to international shows they follow like maybe one page or they do stuff. But when it comes to local shows uhm and you also said the same thing, you don’t follow any fan pages or official pages online. 05:40 Naomi Ntshaba Naomi I just comment. Like I just post my own stuff. Interview 9 Ntshaba 05:44 05:44 Naomi Ntshaba Interviewer So what would you post? Interview 9 05:45 05:45 Naomi Ntshaba Naomi Uhm recently something was happening in The River, so I Interview 9 Ntshaba looked for a picture on the internet and then I put that on 06:11 Instagram and then I wrote: “This episode was lit. So you must watch.” ‘Cause I needed someone talk to about that. So, I usually post like videos of Scandal, like I take a video like on WhatsApp and I post it and I’m like “Oh my gosh” this moment. But you know I never go and follow. Yea, I just post stuff like that. 06:11 Naomi Ntshaba Interviewer Do you feel like that’s a very general thing that happens Interview 9 with local shows? Are a lot of people doing their like posting 06:23 pictures just commenting by like themselves on stuff? 06:23 Naomi Ntshaba Naomi Yea, because I don’t know if they go and follow other Interview 9 Ntshaba pages, but what I know is that they definitely do like show 06:42 us what they are watching and they comment on it. ‘Cause that’s how I get series you know when I see okay please send me that series. So ja a lot of my friends do that as well. 06:42 Naomi Ntshaba Interviewer So you post a picture or a video on Instagram and then do Interview 9 a lot of people comment on that? 06:48 06:48 Naomi Ntshaba Naomi Ja they do, ‘cause even I can show you on Instagram the Interview 9 Ntshaba other time I posted The River, and then I was like, uhm, 07:21 there’s this bad girl Lindiwe and I wanted her to get arrested and stuff but then what happened was that her husband kicked her out, and the kids you know. They were angry at her. So I was like on Instagram I wanted her to go down but not like this, this is heart-breaking. And then a friend of mine was like, no, she had to go down. So you know they comment and stuff like that. So yea It’s quite nice. 07:21 Naomi Ntshaba Interviewer And do they ever, does it get a bit nasty the comments or is Interview 9 it usually like positive stuff? 07:27 07:27 Naomi Ntshaba Naomi No. Unless we like chatting like face to face now we talking Interview 9 Ntshaba about it people have different views, but it never gets nasty. 07:36 People have different views. 07:36 Naomi Ntshaba Interviewer So, do you talk about it a lot face to face with people? Interview 9 07:40

201

07:40 Naomi Ntshaba Naomi Yea I do, but not here at school, with my friends. Like did Interview 9 Ntshaba you watch this, yea we did, yea. If my friend says she 07:57 stopped watching because Lindiwe doesn’t go down and you it’s not nice and we’re watching and there’s no resolution. So yea we do talk about it. 07:57 Naomi Ntshaba Interviewer Okay. Then you also said that you post, like you wouldn’t Interview 9 follow stuff but you would post something on your 08:13 WhatsApp Status. So I’ve noticed that’s a thing that people do. Uhm can you describe what that means and what you do when you do that? 08:13 Naomi Ntshaba Naomi When I post on my WhatsApp Status? Interview 9 Ntshaba 08:14 08:14 Naomi Ntshaba Interviewer Yea like about shows and stuff. Interview 9 08:16 08:16 Naomi Ntshaba Naomi Oh, okay so I was watching The Fixer right and there is Interview 9 Ntshaba Olivia Pope and there is the president and they’re always in 08:38 love and you know they have this romance. So like when I am watching, I take a video you know of that moment then I comment like “Oh my gosh, will they ever be together?” You know. Yea. And then this other guy was like “Oh my gosh, please send it to me”. And then I sent it to him and then he also posted it. 08:38 Naomi Ntshaba Interviewer So, he posted you WhatsApp Status? Okay. Generally, Interview 9 when you post things on WhatsApp Status, do a lot of 08:47 people see it and comment? 08:47 Naomi Ntshaba Naomi Yes. Interview 9 Ntshaba 08:48 08:48 Naomi Ntshaba Interviewer And has that ever like sparked a group discussion or like a Interview 9 big discussion? 08:52 08:52 Naomi Ntshaba Naomi Uh, not like a group, but like different people asking me Interview 9 Ntshaba okay what’s that series, can I see it, please send it to me? 09:16 Like also now there’s this new Netflix series Narcos. I posted about him like, oh my gosh, my cousin really put me on with Narcos, it’s a must watch. So other students from my class were like please send it to me. You know so stuff like that. 09:16 Naomi Ntshaba Interviewer So would you say that when it comes to local shows, Interview 9 instead of doing, commenting things online and stuff, it’s 09:29 more like a face to face, verbal or over WhatsApp, I feel like WhatsApp is a big thing? 09:29 Naomi Ntshaba Naomi Ja, uhm I feel like a lot of people don’t have access to that Interview 9 Ntshaba amount of data to actually go and look for pages and stuff 09:48 so we just comment on the platforms that we can access that is easy like WhatsApp and Instagram. I feel like it is easier that way. 09:48 Naomi Ntshaba Interviewer WhatsApp is cheaper or? Interview 9 09:51 09:51 Naomi Ntshaba Naomi Yea and its easily accessible. We can get onto WhatsApp Interview 9 Ntshaba every day. Without having to go onto a website. You know 10:02 when you go onto a website it’s like people you don’t know will comment and it doesn’t have that much of an effect. 202

10:02 Naomi Ntshaba Interviewer Okay so, ‘cause I heard a lot of people say that even when Interview 9 it comes to international shows, they won’t comment online 10:34 because they’re scared. Not scared, but they don’t want to like have people come back at them online ‘cause it can get a bit so do you think like South Africans, not just because it’s like uhm very expensive to post online, do you think we’re maybe more conservative in the sense that we would rather argue about a show face to face than have it online? 10:34 Naomi Ntshaba Naomi Yea, you I don’t think South Africans would like it if we go Interview 9 Ntshaba online and then we comment and then people with different 10:55 views started attacking you because like people can take things in a different way. So, you might as well put up something up, your opinion, and in your own safe space and people you know will comment on that. Yea. 10:55 Naomi Ntshaba Interviewer Okay. I think that’s all I need from you. Cool were there any Interview 9 questions you had for me? 11:05 11:05 Naomi Ntshaba Naomi No. Interview 9 Ntshaba 02:05

Interview 10: Timecode & Clip Name Speaker Dialogue 00:00 Thato Phiri Interview 10 Interviewer Okay, just for the record state your name, surname and 00:06 where you live I Joburg. 00:06 Thato Phiri Interview 10 Thato Phiri Well my name is Thato Phiri, I stay Soweto in 00:15 Johannesburg. 00:15 Thato Phiri Interview 10 Interviewer Okay, Interviewer explains the study… the main thing I just 02:34 want you to start with is explain to me like in a general day in your life or week in your life. Where do you live? Who do you live with and when it comes to watching series or TV or any type of media, what do you do? What happens? When do you watch? How do you watch? Just talk to me. 02:32 Thato Phiri Interview 10 Thato Phiri Okay so, I’ve stated I stay in Soweto. I stay with my mom, 03:18 grandmother, my brother and my aunt. So daily, I wouldn’t say I watch TV on a daily, because I’m not really a fan of television. I would say I’m more of a series type of person, but I do actually, I watch, I do watch television, but not daily. 03:18 Thato Phiri Interview 10 Interviewer But you do watch series? 03:19 03:19 Thato Phiri Interview 10 Thato Phiri I do. 03:20 03:20 Thato Phiri Interview 10 Interviewer You’re separating the two, right? So, it’s TV, which is on an 03:27 actual TV box, and then series. What do you watch series on? 03:27 Thato Phiri Interview 10 Thato Phiri I usually watch series on my laptop. So ja, but when I watch 05:06 television, I do watch soapies, cause usually at home there’s only, okay there’s two televisions, but the main one is in the house. So, I’m sort of forced to watch what everyone watched. So ja, but there are a couple of soapies that I really, I would say I follow. But mainly I watch [unclear audio] on weekends. That’s when I would say I actually do have time to watch. So, in regard to, I wouldn’t, me watching that series, I wouldn’t say I’m a fan of the series. 203

Cause, I don’t want to say that I’m influenced by the people that I stay with per say, but it’s usually like, “Oh, there’s that soapie, I didn’t watch it during the week so I might as well just watch it now”. And there’s like, what can I say, I watch Mzanzi Magic, ‘cause it plays both international and local shows. So, there’s also my favourite international soapie. So, I would say that I follow television because of that. 05:06 Thato Phiri Interview 10 Interviewer International stuff. So, you would say that when it comes to 05:16 local versus international, you would describe yourself a fan of the international shows but not local shows? 05:16 Thato Phiri Interview 10 Thato Phiri Not really. I don’t, I wouldn’t consider myself a fan of shows 05:42 international, ‘cause even the international shows, it’s also influenced. Okay, not really influenced, but I watch it ‘cause it’s there. 05:42 Thato Phiri Interview 10 Interviewer It’s like white noise at the end of your day? 05:43 05:43 Thato Phiri Interview 10 Thato Phiri Ja, it’s in a way something that I do just to pass time, cause 05:57 I can’t really sleep early so, I just watch the thing, but it’s not a regular thing, I would say. 05:57 Thato Phiri Interview 10 Interviewer Okay, so it isn’t something you would, if you know a new 06:06 episode of a show is coming out, you would make sure that you watch it? 06:06 Thato Phiri Interview 10 Thato Phiri That I watch. Yeah, no. It’s not the case. 06:08 06:08 Thato Phiri Interview 10 Interviewer Not for any show? 06:09 06:09 Thato Phiri Interview 10 Thato Phiri Yeah, not for any show. 06:11 06:11 Thato Phiri Interview 10 Interviewer Okay, that’s very interesting. I haven’t met someone like 06:31 you. Okay so, what your main thing is that, because you don’ stay up to date with shows, you don’t feel like you have to watch shows immediately. That makes you think that you don’t qualify as a fan? 06:31 Thato Phiri Interview 10 Thato Phiri Yeah, like you said, it’s probably, the reason behind, not 06:58 having a thing. People define fan in different ways. So, I don’t consider myself a fan cause I’m not really as enthusiastic about sitting down for a show or you know? Ja. 06:58 Thato Phiri Interview 10 Interviewer So, when you, like deleting what everyone else thinks fan 07:06 means. What do you think it means? 07:06 Thato Phiri Interview 10 Thato Phiri What do I think? 07:09 07:06 Thato Phiri Interview 10 Interviewer Like if someone says, “I’m a fan”. What’s the first thing that 07:14 comes up in your head of that person? 07:14 Thato Phiri Interview 10 Thato Phiri A fan. I would say it’s, for me fan is someone who is 08:19 actually like basically obsessed about a certain, I would say show, a person, characters and, and. So, for me, I would describe someone like if they say for instance people who follow Game of Thrones, they are fans of Game of Thrones So, they made sure that when Game of Thrones came whatever, I am there and I’m gonna watch this. So, that’s when someone says I’m are a fan, that’s the idea that comes to my mind. Someone who makes sure that whether, okay even if it’s not at the time that it premiers, but they make sure that no matter what, no matter when, I will make sure that I watch this show, I watch this film, I watch

204

whatever. You know, so yeah, that’s the idea I get when someone says I’m a fan. 08:19 Thato Phiri Interview 10 Interviewer Okay, so for you are watching TV, it’s literally just, it’s when 08:47 you get home. You’re either watching TV because your family is watching something. So, when you get home and your family is watching something, do you not feel any like inclination or like, not like intense need, but like feeling like okay it’s time for this show, I’m gonna sit down now and I’m gonna watch it? 08:47 Thato Phiri Interview 10 Thato Phiri More than anything, I would say, a person, my aunt, is like 10:28 crazy fan of soapies [unclear audio], so at times she’ll be sitting in front of, she’ll be shouting and you’d hear her from the bedroom and like, okay I want to go see what’s happening that makes my aunt shout this much. So, I would say in most cases, that’s how I end up watching that soapie or television show. So, I wouldn’t say it’s because, so, I wouldn’t say when I find my family watching, I wanna watch it, no. sometimes it’s just go, I’m a fan of reading actually. So, I would rather go to the bedroom and read something or I’m a curious person naturally. So, I would google something, and I would find something interesting, I would go there and just do research, a whole lot of research for that thing. Or just basically, or just take, I wouldn’t say a time out. But just time to myself. Just to reflect and that’s the kind of person I am. So ja, when I watch it, it’s because I’m like so, so interested to know what’s making my aunt go bezerk over this. So, when I get there and I just watch her, and I’m like oh so this why, you know. So, ja. 10:28 Thato Phiri Interview 10 Interviewer Okay so, obviously because you’re not as involved in TV or 11:08 series watching as most people I’ve interviewed, it’s a bit harder to do this. But have you, have you notice with some of your friends on WhatsApp or people that you know and stuff like that, that they watch the same type of shows, or even with your family. They watch the same type of shows as you. So, what happens, let’s say you your family are watching a show together. You’re all sitting in the living room, you’re watching a soapie. What’s happening, are you guys like talking about it or? 11:08 Thato Phiri Interview 10 Thato Phiri Yeah, we do. ‘Cause some of, I would say some of the 14:01 soapies, the local soapies that we watch, it’s something that we relate to. So, discussing such I would say, I would also have inputs on, okay in this situation, I would’ve done this, you know? And also, being a film student, I’d say, this is how I’d go about chasing this story, you know. Oh, and I would say, oh this is interesting, I wouldn’t have thought of doing this had I written this television show. So, yes and also, I do communicate with some of my friends, cause usually they watch like Mzanzi Magic and [unclear audio] so, you know, and going on Twitter. I’m not as active, I just go there just to browse through. So, when something interesting happens in a soapie, there’s usually like a hashtag or something there. I read through some, on some of the reviews that people have. Do we also relate as my family would also relate to the certain show? And the different opinions that people have, like I said, I’m a very

205

curious person so it’s really interesting to find different views from different people. So, it also gives me that opportunity to find out how people are, make sense of certain things. So, as a family my mom would have a say on certain things, so, also the level of I would say the different age groups that we are at and it’s a female dominant house so, it’s actually interesting sitting there and hearing different views. ‘Cause we are different generations, so I get to hear different aspects from, ‘cause obviously certain views that people have are sometimes influenced from the year that they were born. This is how I grew up, therefore this is how I’ll come about making sense of this. So ja, that’s, we do, we do. And there’s sometimes a fluent debate on certain things ‘cause there’s a clash like I say, different generations, so different views on that show. 14:01 Thato Phiri Interview 10 Interviewer So, how regularly does it happen that you have these 14:06 debates? 14:06 Thato Phiri Interview 10 Thato Phiri It’s mostly on weekends ‘cause the family is all there, my 14:46 mom, my aunt, no one is at work, no one is at school. So, it mostly happens from Friday to Saturday. That’s when like we usually, it’s basically a catch-up session okay, on a rundown of how the week was. ‘Cause usually during the week, everyone would get home, just tired and just want to sleep. We eat, sleep and whatever we have to do. So, I would say it’s our, those debates are our bonding sessions as a family. So ja, we usually do it on weekends. 14:46 Thato Phiri Interview 10 Interviewer And have you noticed on WhatsApp that people or like your 14:59 friends or yourself or your family, that people use WhatsApp Status as a way to comment on series and stuff? 14:59 Thato Phiri Interview 10 Thato Phiri Ja, I have. And like it’s a thing. So, they would also use the 15:18 hashtags from Twitter, Facebook you know? And they’d bring it to WhatsApp Statuses. 15:18 Thato Phiri Interview 10 Interviewer So, would you say it’s more, there’s more discussion on 15:23 WhatsApp than there is in Twitter and Facebook when it comes to local shows? 15:23 Thato Phiri Interview 10 Thato Phiri No, I wouldn’t say, I would say it’s on Twitter. ‘Cause 16:29 sometimes they screenshot what they said on Twitter and share it on status. For them I would say it’s more important to have a say on Twitter first then WhatsApp. Rather that going from WhatsApp to Twitter. They’d go from Twitter to WhatsApp. So, also even for people like me, who aren’t as active on Twitter and Facebook. Yeah, WhatsApp is the main frame of commenting and I’d also comment like, “Oh my God, this is what I think also”. Showing their frustrations, I’d share my frustrations, you know, when certain characters do certain things that… you know? And we, it becomes, and I’d say it’s also a way of debating with my friends. Cause we also share different views. So,ja. 16:29 Thato Phiri Interview 10 Interviewer So, would you say that people choose to do it over 16:37 WhatsApp Status because WhatsApp is cheaper and more accessible to everyone than Twitter or Facebook? 16:37 Thato Phiri Interview 10 Thato Phiri Yes, definitely. Compared to any other social networks, 17:01 WhatsApp is the cheapest. And I would also say that it’s convenient ‘cause you get to interact directly with the

206

people that you actually know. So yes, WhatsApp, it’s definitely also convenience for many people. 17:01 Thato Phiri Interview 10 Interviewer So, would you say that if you post on Facebook or Twitter 17:15 that the chance that people that you don’t know who might be nasty and like create conflict. It’s a bigger chance that they’re gonna comment on that? And it’s gonna create trouble. 17:15 Thato Phiri Interview 10 Thato Phiri Yes, definitely. Because, people like I said, people all have 17:49 different views. So, there are certain people who, I would say don’t really have debating etiquette, cause they want their views to be heard and some probably think what I know is the right, is always right. So, ja, people would do that. I’ve experienced it also. Ja, definitely. 17:49 Thato Phiri Interview 10 Interviewer Okay cool, I think that’s all I need from you. Is there 17:57 anything else you wanted to add or ask? 17:57 Thato Phiri Interview 10 Thato Phiri No. Oh, can I ask this? Do you think, okay I don’t know how 19:08 to construct this question? You being a fan of international more, don’t you think that it also influences the thing about not having reviews and not having basically a film platform, like international that have a website, where it’s dedicated just for that TV series, show or whatever. Do you think it’s also influenced by us being more on the international side watching TV, series and, I would say majority actually watches international shows more than local shows? So, do you think that actually does influence the question that you had about not having platforms and fandom stuff? 19:08 Thato Phiri Interview 10 Interviewer What my theory is after interviewing people and looking at 20:30 all the surveys that I’ve done, is that I think with international programs there are billions of people overseas who have already created the platforms, the pages and things for us to watch. Definitely the fact that we are more inclined to watch international shows, makes that fandom bigger and gives it a better chance of flourishing. But I think what happens with South Africans is because with international shows it’s easy, we can just go online and follow Game of Thrones page, that’s it. With local shows, no ones done that so, it’s actually up to us to do the work. And most people say they’re either not big enough and of the series to do that or in my opinion, I think that South African shows or fandoms aren’t really based, they aren’t online fandoms. I think it’s more of like a word of mouth type of thing. Because South Africans, we’re very vocal people. We like arguing about things in person and discussing things in person ‘cause we’re like visually verbal people. So, I don’t think that creating a Facebook page for The River would be as affective as discussing it in person or doing it over WhatsApp Status or something like that. What do you think? 20:30 Thato Phiri Interview 10 Thato Phiri I don’t really know, but I also believe so. Even when you 21:36 post a status on WhatsApp for instance about The River. People yes will comment, but the fluent discussion will happen in person. Let’s say a friend decides to post that “Okay this lady from The River, I don’t like her because I don’t like what she did”. She’ll post just a brief thing, it won’t be as intense, you know, as it happens in person. So ja, I actually do agree with you when you say, it’s something

207

that we are more vocal, physically vocal, personally vocal that we are on social media. So, yeah that’s something to look at, to look into. 21:36 Thato Phiri Interview 10 Interviewer And I think also, ‘cause our internet connection, 22:29 connectivity is very low. We have very low rates of people that are actually connected or have access to data who can chat, who can go onto a Facebook page with like bazillion photos, cause every photo is gonna take data. And we can’t afford that, I mean our data prices are fricking high. So, I think we’ve had to with the change in technology, we’ve had to adapt and make our own version of online fandom, which then would be Twitter that’s not as data you know, consuming. Or WhatsApp which is free or just talking in person. I mean fandom started with people talking I person or sending texts to each other. I think we’re more of a primitive fan base than what is happening overseas. 21:29 Thato Phiri Interview 10 Thato Phiri Yeah, that’s definitely an interesting topic. 22:31

Interview 11: Timecode & Clip Name Speaker Dialogue Corrine Engelbrecht Interview Interviewer Okay let me start with that. Interviewer explains the 11 study… [skype interruption] Interviewer further explains the 00:05 study… so, the first thing I want is just for you to state you 04:23 name, surname and the area that you’re living in Joburg. Corrine Engelbrecht Interview Corrine I’m Corrine Engelbrecht and [unclear audio] 11 Engelbrecht 04:23 04:29 Corrine Engelbrecht Interview Interviewer Okay just say that again cause the video made like 11 “Kgggg”. 04:29 04:32 Corrine Engelbrecht Interview Corrine So, I’m Corrine Engelbrecht and I stay in Notting Hill. 11 Engelbrecht 04:32 04:37 Corrine Engelbrecht Interview Interviewer Okay, perfect. It worked. ‘Cause you were like “Kggggg”. 11 04:37 04:44 Corrine Engelbrecht Interview Corrine I don’t know what’s happening, but at least it’s better now. 11 Engelbrecht 04:44 04:46 Corrine Engelbrecht Interview Interviewer Okay, so the first think that I want you to just kind of tell me 11 about is in your general every day, like in a, like if I was to 04:46 glimpse into your week, what is your TV or series or 05:10 whatever, what is your schedule like? Like where do you live? Do you live with people? What do you watch with people? What do you watch? How do you watch? Just generally what happens when you’re watching? Corrine Engelbrecht Interview Corrine Well, speaking of Game of Thrones, we actually on a 11 Engelbrecht Monday evening, we get together with a bunch of friends 05:10 and we will watch Game of Thrones together. And then my 208

06:06 husband and I, we watch normally during the week, we’ll watch whatever else. Like Flash and uhm, we’re not really enjoying it that much anymore, but we still watching it, just to get it over with. And then I watch Supergirl, he doesn’t like Supergirl. Ja, so we’ll mostly watch series together, whatever is on at the time. Pretty much after like dinner. We’ll make dinner, then we’ll watch series and then if there’s only like one thing, then we’ll just probably read, or just be lazy and watch something else on Netflix or whatever. Corrine Engelbrecht Interview Interviewer Okay so you have, what type of like video content stuff do 11 you have access to? So, is it like TV and Netflix and 06:06 Showmax? 06:16 Corrine Engelbrecht Interview Corrine Ja so, we actually share a DSTV account with someone 11 Engelbrecht from my husband’s work. So, we watch DSTV, but mostly 06:16 we just got that recently for Game of Thrones. Mostly we 06:44 watch Netflix, and then I also watch on, like Flash and stuff on CW. Through their website. Corrine Engelbrecht Interview Interviewer Cool. So, you’re very much connected to the interwebs? 11 06:44 06:48 Corrine Engelbrecht Interview Corrine Yes, we are. We even sold our TV ‘cause we just don’t use 11 Engelbrecht it. We watch everything on the laptop, so I don’t watch on 06:48 a TV. 07:00 Corrine Engelbrecht Interview Interviewer That’s interesting, we actually got the TV to connect to the 11 laptops, ‘cause we couldn’t handle the laptops. 07:00 07:05 Corrine Engelbrecht Interview Corrine No, we had a smart TV which could connect to everything, 11 Engelbrecht but we just decided we’re not really using it. ‘Cause it’s in 07:05 the other room and we’re just lying in bed watching series 07:24 anyway. So, we just decided to sell and rather just watch on the laptops. Corrine Engelbrecht Interview Interviewer That makes sense. So, one of the things in your survey, 11 you obviously you’re a very engaged fan when it comes to 07:24 Game of Thrones as well. I feel like most of the people that 07:55 I’ve interviewed are Game of Thrones fans. It’s like the biggest thing happening at the moment. So, I just kind of want to know, when it comes to the Game of Thrones fandom, or fandom in general, what do you do online? Are you chatting on groups online, are you creating fan fiction? Just what are you doing? Corrine Engelbrecht Interview Corrine No, I wouldn’t say I, what I like to do is after an episode I’ll 11 Engelbrecht watch like recaps. And I follow a few Facebook pages that 07:55 post memes and stuff like that. But I don’t do like the whole 09:02 fan fic thing or anything like that. I’ll mostly rather chat with my friends about it, so we like have a group where we chat about Game of Thrones. So, this week we were away and we didn’t get change to watch it with our friends, so we sent our thoughts on WhatsApp. And my best friend is in Dubai, so we’ll also like, she’ll say “Have you watched it?” And we’ll send like long paragraphs about the episode and what we thought and so on. So maybe more friends, I

209

don’t really interact with strangers. Unless it’s like them just saying something stupid on comments on Facebook or something. But I won’t join like forums or things like that. Corrine Engelbrecht Interview Interviewer So, the group that you guys have, it’s a WhatsApp group? 11 09:02 09:05 Corrine Engelbrecht Interview Corrine Yes, yes. 11 Engelbrecht 09:05 09:06 Corrine Engelbrecht Interview Interviewer And how many people more or less are on this WhatsApp 11 group? 09:06 09:09 Corrine Engelbrecht Interview Corrine So, we’re four people. 11 Engelbrecht 09:09 09:10 Corrine Engelbrecht Interview Interviewer Okay, and would you, so is it just like friends or is it family 11 as well? 09:10 09:16 Corrine Engelbrecht Interview Corrine No, so it’s me and my husband and then two friends. 11 Engelbrecht 09:16 09:19 Corrine Engelbrecht Interview Interviewer Okay, and would you ever consider adding more people to 11 that group as you find other fans or friends that like the 09:19 show? 09:25 Corrine Engelbrecht Interview Corrine I think so. I think the reason we made that group was just 11 Engelbrecht to arrange actually getting together to watch the show. So, 09:25 it’s not so much that we discuss. But maybe when it’s over 09:56 and we’re not actually getting together, we could probably use it as just a general group to discuss other stuff. Which is what we do anyway, when there’s, when Endgame, we went to watch that. We just discussed that on the same group as well. So, I guess it will just stay a social group eventually. Corrine Engelbrecht Interview Interviewer Okay, that’s actually very interesting that you say that 11 ‘cause what I found with the other interviews as well is that 09:56 WhatsApp is very, like a very big, it plays a big role in a 11:10 South Africans fans’ life. It’s like, ‘cause most people like you said, don’t feel comfortable to talk to random strangers online. ‘Cause most of the participants said that they don’t want to have like the chance of some interaction or conflict or something that makes them uncomfortable. And then most people said that they have WhatsApp groups for Game of Thrones So, you’re not the only ones who have a Game of Thrones WhatsApp group. So, it’s quite interesting that I found more people who have that. So, what my question would then be, if you’re not interacting, like you said you follow pages and so on Facebook and so on, so you are interacting online with the fandoms? Sharing memes and that type of stuff. But would you say

210

your biggest fan behaviour, like interacting with people, is happening in your personal groups, like on WhatsApp or in person? Mouth to mouth, ag face to face, rather. Corrine Engelbrecht Interview Corrine I think so. I think I do, obviously all the memes and things I 11 Engelbrecht get from Facebook. So, it’s kind of a bit of both, because 11:10 that’s where it originates. But then I will always share it on 11:57 WhatsApp rather than just sharing it through my Facebook page. ‘Cause there’s just a lot of people who don’t like Game of Thrones on my Facebook or whatever other thing it is you know? And you also don’t want to spoil, that’s the other big thing. I won’t say something ‘cause I don’t want to give spoilers away. So, I’d rather send it to people who I know have watched. I also interact quite a bit on Instagram, I don’t know if you know the bookish part of Instagram, it’s called bookstagram? Corrine Engelbrecht Interview Interviewer Okay, no I haven’t heard of it. 11 11:57 11:58 Corrine Engelbrecht Interview Corrine So, it’s basically like you take book photos instead of other 11 Engelbrecht photos. Everyone reviews books and things like that. But 11:58 there I also interact with people about shows. But so, 12:47 they’ll post like in their stories and then you can reply to that. But then again, I don’t post anything, just for fear of spoiling. And it’s people I’ve interacted with before, I won’t just interact with a complete stranger. But it’s people that I obviously haven’t met, it’s online people. So, I guess there is where I’m interacting, on an online level, if that helps. But I think it would be mostly, specifically for Game of Thrones anyway. It would be mostly WhatsApp. Corrine Engelbrecht Interview Interviewer Okay, I love your Hogwarts shirt by the way. I’m a massive 11 Hogwarts, ah Hogwarts, well Hogwarts also, but Harry 12:47 Potter fan. Massive Harry Potter fan. I just did, I did an 14:07 interview yesterday with a girl as well. I met her at Cresta and her and her friends have this like board game group that’s just about series and stuff. And they out me [sussed me out] on the group, and the first question they asked was, “So Interviewer, Star Wars or Star Trek”. And I was like ‘’Star Wars, but Harry Potter above all”. So, they we’re like, “Good answer”. Okay, it helps actually that you say that it’s mostly WhatsApp, ‘cause I feel like, ‘cause I feel like for most of the South African population that doesn’t have the type of internet access that you or I have, WhatsApp is like a more affordable way to interact with fandom than going onto Facebook or whatever. And the one thing that also came up is that a lot of people post like series stuff and photos and things on WhatsApp Status. And then people comment on that. And I myself have done that, I would post like a bunch of memes about Game of Thrones on WhatsApp Status. And then people will interact with me. So, is that also something you guys do? Or not really? Corrine Engelbrecht Interview Corrine No, I not trying it again, ‘cause I don’t want to, I’m like 11 Engelbrecht super bad about spoilers. So, if anyone ever spoils 14:07 something for me [unclear audio] so I don’t do that for 14:25

211

other people. What I do lately though is, there’s this, I don’t know if you’ve seen them, spoilers without context. Corrine Engelbrecht Interview Interviewer Yes, exactly, I do those. 11 14:25 14:27 Corrine Engelbrecht Interview Corrine [unclear audio] personally like in a direct message. ‘Cause 11 Engelbrecht the friends, let me say like the friends that I have that 14:27 watch Game of Thrones, don’t really use the status feature 14:53 as much. It’s mostly guys and they don’t care. But I do have a few friends that are girls that also like Game of Thrones Corrine Engelbrecht Interview Interviewer Okay so, I feel like it’s more of a specific cultural thing to 11 use the WhatsApp Status thing versus. 14:53 15:01 Corrine Engelbrecht Interview Interviewer Okay, then the other thing on your survey, you did say that 11 you do do some form of fan art. That you do share if you 15:01 feel like it. So, what is this fan art? 15:12 Corrine Engelbrecht Interview Corrine Oh, you asked something like “Have you previously” or 11 Engelbrecht something like that? 15:12 15:15 Corrine Engelbrecht Interview Interviewer Ja. 11 15:15 15:16 Corrine Engelbrecht Interview Corrine Ja, I don’t have the time anymore, but used to do like 11 Engelbrecht drawings and stuff. I’ve done like. So actually my, my 15:16 BTech Thesis was about cosplay in South Africa. 15:34 Corrine Engelbrecht Interview Interviewer Oh, nice. That’s so cool. 11 15:34 15:35 Corrine Engelbrecht Interview Corrine That was very cool. So understand you have like a very 11 Engelbrecht specific audience you’re trying to reach. But ja, so there, I 15:35 did like characters inspired by Loki and Harley Quin and, 16:19 oh and Daenerys. So, I designed my outfits and all of that, and I had to do illustrations and that sort of stuff. So, that I’ve shared online. I think on like Instagram. But then before that I would just do stuff for fun, like I sometimes did projects as well where I would draw something like Harley Quin or whatever. But ja, just mostly draw for fun otherwise. So, I haven’t done that recently. If that helps. Corrine Engelbrecht Interview Interviewer Okay, I would actually really like to read your study, that 11 would actually be very beneficial to what I’m doing as well. 16:19 16:27 Corrine Engelbrecht Interview Corrine Okay, I have to find it. Please remind me if I forget. 11 Engelbrecht 16:27 16:29

212

Corrine Engelbrecht Interview Interviewer I will, I will. I was, when you said that I was like “Oh my 11 gosh, I need to read that”. 16:29 16:34

Corrine Engelbrecht Interview Corrine I just need to find it. It was like 2015, so it’s been a while. 11 Engelbrecht 16:34 16:40 Corrine Engelbrecht Interview Interviewer Okay, so I don’t think in terms of fandom I really have any 11 more questions. I just want your opinion on the situation. 16:40 So, when it comes to SA fandoms and, obviously now you 17:06 have done studies as well yourself on it. What do you, what is your opinion on like our status the, the fandom community, like why aren’t we as visible? In your opinion. Corrine Engelbrecht Interview Corrine I think honestly if I see where most of the fandoms are, 11 Engelbrecht you know the discussions, a lot of people use Tumblr. I 17:06 don’t know if you’ve seen that, if you know about that as 17:54 well. You can even go, like go on Pinterest and you see related stuff, everything is just screenshotted from Tumblr. And honestly, I don’t know anyone who is South African [that] uses Tumblr. I think that’s where the gap is. People will use other memes, but I think the big fandoms are in Tumblr. I know there’s even some celebrities that reply to Tumblr post or whatever sometimes. And I’ve gone on there I was just like, what is happening? Corrine Engelbrecht Interview Interviewer I was so overwhelmed by Tumblr, cause I have an account 11 so I was like let me do this, I’m gonna be one of the 17:54 Tumblr people. And I was just, I couldn’t get into it. It’s not 18:04 like a very nice platform to use. Corrine Engelbrecht Interview Corrine No. It’s visually confusing. It’s not very user-friendly. I think 11 Engelbrecht that was the first thing for me. I was like, how does this 18:04 work? If I re-tweet or whatever you call it, re-post this now, 18:51 where does it go? What is happening? I think that’s a big thing, that’s a, it’s an American thing. Well, an international thing, but we don’t really use Tumblr. And I think that’s probably the reason why. And I guess another thing is I, we have a very culture where people are like “Oh, you’re nerdy” or, I don’t know how to say. Corrine Engelbrecht Interview Interviewer It’s like a geeky thing? 11 18:51 18:52 Corrine Engelbrecht Interview Corrine Yes, so people will be. People are more into video games 11 Engelbrecht and things like that. They won’t express as much as 18:52 they’re into series and things, I think. Ja, it’s difficult for me 19:13 to say, ‘cause a lot of my friends are nerdy as well. Corrine Engelbrecht Interview Interviewer ‘Cause I was actually. When I put up the post on Facebook 11 on asking for Shameless and Game of Thrones fans, I was 19:13 actually very surprised at how many people who replied 20:15 and who were like, like publicly admitting, you know, they don’t really watch this show. And I was like, oh I haven’t really seen that before, like I would have a few friends that are very big fans of the certain show that we talk to, but not like in a large scale or anything like that. So yeah, I think that’s, maybe that’s a big thing. I also think that when

213

it comes to local shows, there’s just a different culture or different … a different type of way of talking, ‘cause I think South Africans, we’re a very verbal, like in person type of culture. So, I think talking to people in person is like the big thing where this exchange happens. And what is sad is that all the theory that is coming out of the like fandoms at the moment, is saying that if you’re not interacting online and you’re not buying things and you’re not making fan art, then you can’t be considered a fan. So, you have to be online to be a fan. Corrine Engelbrecht Interview Corrine That’s [unclear audio]. Ja, I don’t know, I think. Ja, I think 11 Engelbrecht it’s a different kind of culture in South Africa. I don’t think 20:15 we’re, honestly, I just think it different, that we use a 20:38 different social media, is the biggest thing. Are you just focusing on as a TV series or are you just focusing on Game of Thrones and you said Shameless? Corrine Engelbrecht Interview Interviewer So, I did those because those are like the most watched 11 global TV programs at the moment, but my Thesis isn’t 20:38 focusing on one series, it’s just looking at TV viewer or like 20:53 South African TV watchers so. Corrine Engelbrecht Interview Corrine Okay, so it’s specific to TV. Okay, I just wanted to know. 11 Engelbrecht 20:53 20:57 Corrine Engelbrecht Interview Interviewer Yeah, cause that’s also what’s interesting, is that our 11 population is divided between people who have access to 20:57 internet and who have verged away from television to 21:22 Netflix and Showmax and people who are still like traditional TV watchers. So, it’s been very difficult, I have this like gap in my research, of two different types of society really, that I have to my study. Corrine Engelbrecht Interview Corrine Oh, that’s interesting. I would think the younger people 11 Engelbrecht would all be internet based. 21:22 21:28 Corrine Engelbrecht Interview Interviewer Yes, obviously we, we’re in an area that is fibre ready and 11 we can afford internet and everything. But most of the 21:28 people in the age group that I chose, I chose that 22:06 specifically, cause that’s like university students who wouldn’t be able to afford their own internet. And most of them still, they, actually even if they do have internet access, they still watch local shows. Like soapies and things on catch up and DSTV, internet DSTV and stuff. Yeah, I think maybe we’re the weirdos, we’re the anomalies that have like flown the nest. Corrine Engelbrecht Interview Corrine I don’t know, I haven’t watched a local show in… which is 11 Engelbrecht bad because there are, it’s actually us supporting the 22:06 local... But, it’s not as good quality, I think that’s the big 22:24 thing. The quality is just not on the same level as our international shows. Corrine Engelbrecht Interview Interviewer I think because of Netflix, I see a lot of like, local 11 programming and the quality for me has improved a lot. 22:24 And it’s like if you really watch it, the quality is actually 23:15 quite good. I just don’t like watching a South African show, ‘cause I’m, I relate too much to these people. It feels so uncomfortable for me to watch them. But, it’s very

214

interesting. Like you, you’re, you fall into the category of people who merge to the internet. And it was still interesting for me to know that you say, for you to say that you use WhatsApp mainly as your, like communicative tool to chat with fans. So, it does show that even though we have this divide in, you know, internet access, there’s still like a thread going. Corrine Engelbrecht Interview Corrine That’s interesting. I feel that it’s because of the internet 11 Engelbrecht access that a few people are using WhatsApp like you 23:15 said, instead of anything else. Ja, it’s the opposite for me, 23:30 it’s just ‘cause I don’t want to spoil it for people. Corrine Engelbrecht Interview Interviewer But ja, I think that’s all. Do you, did you have any more 11 questions for me or? 23:30 22:35 Corrine Engelbrecht Interview I Corrine No, but you can let me know if you have any other 11 Engelbrecht questions, you have my WhatsApp and email and 23:35 everything. 23:41

Interview 12: Timecode & Clip Name Speaker Dialogue 02:18 Shelby Kuhn Interview Interviewer Okay, so I just want to introduce you to what I’m basically 12 doing so that you understand what you’re doing. But before 02:36 we start, can you just, I’m recording this so I can transcribe it later. So, can you just state you name, surname and where you live in Joburg? Just for my record please. 02:36 Shelby Kuhn Interview Shelby Okay cool, my name is Shelby Kuhn. I live in, sorry I’ve 12 Kuhn literally just moved, uhm, I now live in Amorosa, 02:48 Roodepoort. 02:48 Shelby Kuhn Interview Interviewer Cool. 12 02:49 02:49 Shelby Kuhn Interview Shelby I don’t know, I don’t know if that’s relevant to your survey, 12 Kuhn but I think when I did it, I lived in Weltevreden Park. It’s not 02:58 that far, it’s like 10 minutes off the road, if that. 02:58 Shelby Kuhn Interview Interviewer Yeah no, it’s just that as long as it’s in the Joburg area it’s 12 fine. 03:02 03:02 Shelby Kuhn Interview Shelby Oh ja, ja it’s still in Joburg. 12 Kuhn 03:03 03:03 Shelby Kuhn Interview Interviewer Cool. So basically, what my study is looking at… 12 Interviewer explains the study… so we shouldn’t take more 04:42 than 15 minutes. 04:42 Shelby Kuhn Interview Shelby Ag no worries, this is a very interesting topic for me. Ja, I 12 Kuhn was, I studied… 04:48 04:48 Shelby Kuhn Interview Interviewer [phone ringing] Sorry, my husband tried to call my just now. 12 04:58 04:58 Shelby Kuhn Interview Shelby Okay, no worries. So, I was just saying that it’s interesting 12 Kuhn when I [phone ringing]. 05:23

215

05:23 Shelby Kuhn Interview Interviewer Okay I’m back. I’m so sorry. He wanted to know what we 12 needed from the grocery store and I forgot to tell him on the 05:53 message that I asked him to stop at the grocery store. It’s one of those days. 05:53 Shelby Kuhn Interview Shelby No don’t worry I understand, I completely understand that 12 Kuhn like. Okay so, I did marketing and there’s this thing, 06:02 marketing is lacking in its research on South African markets and all sorts of you know, on the cultural industry and film and TV and drama and all those fields. It’s seriously lacking the research. You know we got all overseas sort of research, but nothing in South Africa. And it’s a pity because we’re so, obviously so different than other countries. So, ja. 06:02 Shelby Kuhn Interview Interviewer Exactly, and I think also from the interviews that I’ve done, 12 I’ve kind of found that we do things very differently to 06:49 people overseas. Because we don’t have the same type of internet connection, you know because we can’t afford, we can’t all afford great internet. So, things tend to happen very differently. Uhm, okay, so my first question is just for you to just describe like a typical day in your life. Like when it comes to TV watching. So where do you live, do you live with someone that you watch TV with? How do you watch TV? You know when I say TV, I’m talking about like traditional TV or Netflix, series, whatever. Just describe generally what…what you do. 06:49 Shelby Kuhn Interview Shelby Okay so, when it comes to watching TV, general DSTV and 12 Kuhn Netflix. So, generally what happens is, uhm I live with my 07:24 mom and my aunt. And this is now very recent. So, I have just now moved in with my aunt and my mom and we watch TV in the evenings when I’ve made dinner, ja, sorry this, according to my survey a lot of things have changed. I don’t even remember your survey to be honest. I remember a bit of it, but I don’t remember the answers I gave. So, if my answers don’t correlate it’s because things have changed that drastically 07:24 Shelby Kuhn Interview Interviewer No, it’s completely fine. 12 07:25 07:25 Shelby Kuhn Interview Shelby Okay cool. So, in the afternoons, evenings we’ll make 12 Kuhn dinner and then we will watch together about an episode of 07:56 a crime series, because my mom and my aunt love crime. So, we watch that. Ja, and then I don’t know if this is relevant, but generally I, I’m not really keen on that. So, I’ll go into my room and watch on my computer instead. Not DSTV or Netflix though, that’s recorded series. And then I’ll go watch there. 07:56 Shelby Kuhn Interview Interviewer Okay so, what type of shows do you watch when you’re 12 watching on your laptop? 07:59 07:59 Shelby Kuhn Interview Shelby Okay well recently, now I’m watching this series called 12 Kuhn Haven and I’m also watching Game of Thrones I finally 08:08 cracked you know and watched those. 08:08 Shelby Kuhn Interview Interviewer How are you finding Game of Thrones? 12 08:10

216

08:10 Shelby Kuhn Interview Shelby I’m so upset hey, yoh. Have you watched it? Have you 12 Kuhn watched it? 08:17 08:17 Shelby Kuhn Interview Interviewer Yes, no I’m up to date. I’m completely up to date. 12 08:20 08:20 Shelby Kuhn Interview Shelby Okay I’m not up to date, I’m only on season, I forget, 12 Kuhn season 3. I’m very upset. I haven’t watched in a few days 08:33 because that’s how upset I am. Because I just watched the red wedding. 08:33 Shelby Kuhn Interview Interviewer Oh no, the red wedding is terrible. 12 08:36 08:36 Shelby Kuhn Interview Shelby I’m so upset. I refused. I wasn’t gonna watch any more, and 12 Kuhn now I’m sitting here, and I want to know what happens with 08:54 Jon Snow and Daenerys and all these people. I’m gonna crack and watch again, but I was so upset, you have no idea. I was so angry. 08:54 Shelby Kuhn Interview Interviewer I was actually, with the red wedding, I was more shocked 12 than angry, because I didn’t really, I don’t like Caitlyn Stark 09:11 at all. Like she irritates the shit out of me. And also, what is the son’s name? The one who also died in the red wedding? 09:11 Shelby Kuhn Interview Shelby Rob? 12 Kuhn 09:12 09:12 Shelby Kuhn Interview Interviewer Oh yes, Rob. I also thought he was an idiot because he’s 12 just like, he chose to marry that woman, knowing that 09:24 something would happen. I mean, I just give up on these people. 09:24 Shelby Kuhn Interview Shelby You know what, it was too, it was too much of a fairy-tale 12 Kuhn for me to leave, cause I knew something was gonna 09:49 happen. And everybody always goes on about how people die in Game of Thrones. So, I was like Don’t get attached, don’t get attached”. But it was just so cruel. The way they died, the way they kill others. And of course, it’s Filtch from Harry Potter, and I was like nah, I’m done with that actor. That actor must go to hell at this point. 09:49 Shelby Kuhn Interview Interviewer No, it’s a very traumatic series. Even now like with the last 12 season that has come out and stuff. 09:55 09:55 Shelby Kuhn Interview Shelby No spoilers. 12 Kuhn 09:56 09:56 Shelby Kuhn Interview Interviewer No, I won’t, won’t spoil. It’s not as good as any of the other 12 seasons, but still it’s like people just dying left right and 10:57 centre, so I’m just like, okay. Anyway, let’s get back to the topic. Okay, so you said that you watch on your laptop, and then, - oh, what did my computer do? Oh, that’s why. I’m pressing buttons -. Okay, so in your survey, most of the questions that I asked were related to kind of, uhm, when it comes to watching TV, after watching TV, during watching TV. What do you do with other people in terms of fandoms? So, things that I asked was “When you’re watching a TV program or after you’ve watched, do you discuss the program?” You said “Yes, I always discuss the program”. 217

So, tell me about that. How do you discuss? With whom? On what? Just tell me everything. 10:57 Shelby Kuhn Interview Shelby I wish I could. If you want to, I can send you screenshots of 12 Kuhn a conversation I’ve had with my boyfriend’s sister, if you 11:23 want. ‘Cause we often have discussions about Harry Potter and Game of Thrones and just, or how we feel about it. Like symbolism, so uhm, the topics that we end up discussing it. So, for example in Harry Potter, how we feel like. Are you familiar with Harry Potter? 11:23 Shelby Kuhn Interview Interviewer Yeah, very, very much. 12 11:25 11:25 Shelby Kuhn Interview Shelby We discuss the, the wishy washiness of the patronuses in 12 Kuhn Harry Potter and how we find it very problematic. How 12:29 Jinny is a symbol for strength in woman, but we disagree with that. And just, you know we delve into it. So, we explore like the writing. So, in Game of Thrones we think is written really well and also for television it’s written really well. And the actors are chosen well. So, those are the kind of examples, the things we talk about. Like that’s one thing I’ll talk about with Kerry. With Bradley I’ll talk about, my boyfriend. Sorry Bradley. I’ll talk about the emotions that it gives me, ‘cause he’s not so interested in all the, the technical things. He’s like different, so I would tell him how it made me feel and “Oh my lord, why am I so upset” or “Why am I so happy with this”, “Why do I love it so much?” You know. Like I don’t just “Oh, I love this series a lot”. It’s like why do I love it a lot? Is that a puppy? Awwwww. 12:29 Shelby Kuhn Interview Interviewer Yes, sorry. This is Lily. 12 12:34 12:34 Shelby Kuhn Interview Shelby So cute. Oh, my lord. 12 Kuhn 12:36 12:36 Shelby Kuhn Interview Interviewer She’s just been eating my clothes under the table and now 12 she’s trying to climb up. So, I can’t control her anymore. 12:34 12:34 Shelby Kuhn Interview Shelby Ag no man, cute. Oh, but ja, so I discuss a lot of things 12 Kuhn when it comes to series. I don’t really know what else 12:57 besides that at this point. If I think of it, I’ll let you know. 12:57 Shelby Kuhn Interview Interviewer Sure, so what I kind of want, what my hypothesis is is that 12 based on the interviews that I’ve done so far, is that South 14:02 Africans, when it comes to local shows and even international shows, we aren’t as inclined to interact online. To, like comment and be part of like big discussions regarding, let’s say the red wedding, on a Facebook page or on Twitter or whatever. And what most of the people said is that they feel that way because they don’t want to like, first of all expose themselves to people who don’t know them. And they don’t want to be in a situation where someone can attack them and stuff like that. So, what most of the other participants have said is that what they do, is they discuss series in person a lot. And then they discuss over WhatsApp and WhatsApp Status is like their most prominent form of discussion, ja. So, I kind of just want to know besides from your brother and is it your sister?

218

14:02 Shelby Kuhn Interview Shelby No, my boyfriend and my boyfriend’s sister. 12 Kuhn 14:03 14:03 Shelby Kuhn Interview Interviewer Oh yes. It’s your boyfriend and your boyfriend’s sister. 12 Sorry. Besides from them, what kind of, when it comes to 14:19 fandom like in total when it comes to series, do you ever have like a group discussion or groups that you discuss the show on or is it just with the two of them? 14:19 Shelby Kuhn Interview Shelby I mean there are more people I speak to, but not 12 Kuhn necessarily in a group kind of environment. 14:30 14:30 Shelby Kuhn Interview Interviewer Okay and are you, I think you said you do follow some fan 12 pages and stuff online when it comes to international 14:38 shows. Is that right? 14:38 Shelby Kuhn Interview Shelby Ja, I did, I deleted a lot recently because I don’t want 12 Kuhn spoilers. But ja, I used to follow CW, you know with the 15:02 Supernatural thing on, and the Vampire Diaries thing on. But then lot spoilers were coming, and I was like “Ah damnit, I gotta leave ‘cause I have to catch up”. So, I deleted it so I didn’t get the spoilers. 15:02 Shelby Kuhn Interview Interviewer So, were you like actively participating there, like chatting 12 with people and posting memes and stuff? Or we’re you 15:16 just like looking and re-posting things? 15:16 Shelby Kuhn Interview Shelby I would look, re-post and occasionally, okay not 12 Kuhn occasionally, very rarely comment on someone else’s. So, I 15:43 would look at the post, go into it and then see something funny and send a laugh out loud. And then just say “Oh, I love that moment when Dean did this”, or that person did this or that character did that. And then a bit of, it’s not like big massive discussions. I haven’t done that. 15:43 Shelby Kuhn Interview Interviewer Okay, so you said in your survey also that you buy 12 merchandise and that you do, or you did make some form 15:58 of fan art by writing stuff. So, tell me about that. 15:58 Shelby Kuhn Interview Nicola Uhm okay, so things, I don’t know if you re familiar with 12 Shelby Supernatural the series? 16:04 Kuhn 16:04 Shelby Kuhn Interview Interviewer Yeah. 12 16:05 16:05 Shelby Kuhn Interview Shelby You know the little pendant or the little star in the circle? 12 Kuhn 16:11 16:11 Shelby Kuhn Interview Interviewer Ja. 12 16:12 16:12 Shelby Kuhn Interview Shelby Well I don’t associate it with wicker and witchcraft and that 12 Kuhn nonsense, but I got a little pendant like that, small little 16:51 pendant and it would fit on a necklace or it would fit on a belly ring, that sort of thing. Me and my friend got it. I have no idea where it’s gone, it’s actually vanished in the move, somewhere around here. And one of the other things, oh ja, damnit, I thought I had my book here. But I have like a little book with the Supernatural emblem, the symbol on it and it’s got Sam and Dean on the inside. Things like, you know those little things, those plastic pops? With the different characters, all the different characters. 219

16:51 Shelby Kuhn Interview Interviewer Oh ja, ja. 12 16:52 16:52 Shelby Kuhn Interview Shelby I have one of those with Hermione in it. I want to collect 12 Kuhn more but they’re not cheap. 16:56 16:56 Shelby Kuhn Interview Interviewer Oh ja, they are very expensive. 12 16:58 16:58 Shelby Kuhn Interview Shelby Ja just like general fan items, I’m trying to think. I’m also 12 Kuhn into gaming, I don’t know if that’s relevant to you, but this is 17:09 a ring from the game, The Witcher 17:09 Shelby Kuhn Interview Interviewer Yeah, we’re actually playing that right now. 12 17:13 17:13 Shelby Kuhn Interview Shelby I love it so. [unclear audio] it’s amazing, I love it. I feel like 12 Kuhn we could really get along. What else is there? 17:26 17:26 Shelby Kuhn Interview Interviewer You said you write, fan uhm, fan fiction or something. So, 12 what type of stuff were you writing? 17:30 17:30 Shelby Kuhn Interview Shelby So, well I mean I would often either create another 12 Kuhn character in the world. So, I don’t know if you’re familiar 17:40 with Haven, maybe? 17:40 Shelby Kuhn Interview Interviewer Not very, I’ve heard of it but not really. 12 17:44 17:44 Shelby Kuhn Interview Shelby Okay, no, let me go back to Supernatural then. Because in 12 Kuhn Supernatural, I’m only saying Haven because I actually 18:42 have just been inspired to write now, I’m watching it. But in Supernatural, for example I’ve written quite a few, they’re not finished, they’re not compete finished stories, but I’ve written one where I created a sister for Sam and Dean. I’d throw her into the mix like I’ll go from season three and then events happening after season three are just different. You know, it’s taking its own toll. Things like that, I, or I would just throw myself into the mix and see what will happen and then, those are generally the stories that just go haywire. ‘Cause that’s just chaotic. What are some other? So, I’ll just create a character, I’ll throw some different things in, see how it would go. Because I’m a writer in general, I love writing. So, it’s good practice to do those things as well. 18:42 Shelby Kuhn Interview Interviewer And do you ever, you never share those online with 12 anyone? 18:48 18:48 Shelby Kuhn Interview Shelby No. No, I don’t. No. 12 Kuhn 18:52 18:52 Shelby Kuhn Interview Interviewer What is the reason for you not wanting to share it? 12 18:58 18:58 Shelby Kuhn Interview Shelby Generally, because I’m not really a fan of sharing fan 12 Kuhn fiction. I’ll share other writings. I have a feel like people will 19:29 judge me a lot for sharing a fan fiction story, you know? As in like Someone might believe that I’m stealing ideas or 220

what else. I’m trying to understand why I feel that way. I feel like I will just be judged by sharing that, ja. 19:29 Shelby Kuhn Interview Interviewer And the stories, do you share them with anyone else, 12 friends or family that like the same shows that you do? Or 19:38 not also? 19:29 Shelby Kuhn Interview Shelby No, not even. I’ve told the people that write the same 12 Kuhn shows, that I’ve written stories about it. But I’ve never 19:50 really, they’ve never really read it. 19:50 Shelby Kuhn Interview Interviewer Okay so, coming back to you guys chatting about Game of 12 Thrones or chatting about shows over the phone obviously. 20:00 Is that using WhatsApp? 20:00 Shelby Kuhn Interview Shelby Ja, most of the time it’s WhatsApp ja. 12 Kuhn 20:03 20:03 Shelby Kuhn Interview Interviewer Okay, and it’s mostly just your boyfriend and his sister and 12 who else do you usually chat to? 20:10 20:10 Shelby Kuhn Interview Shelby It’s my boyfriend, his sister, his mom actually as well. 12 Kuhn We’ve got that to talk about. A friend of mine, Marco. 20:24 20:24 Shelby Kuhn Interview Interviewer So, there is like a, like a group who you can go to. Not like 12 a physical group on WhatsApp, but like a group or friend 20:33 that you can talk to about the show? 20:33 Shelby Kuhn Interview Shelby Ja, different people that I go to and talk to ja, definitely. 12 Kuhn 20:38 20:38 Shelby Kuhn Interview Interviewer And I also saw that you said, I don’t know if that’s the same 12 now, but you said that a local show that you watch is 20:47 Isidingo? Is that still happening? 20:47 Shelby Kuhn Interview Shelby Not recently since I’ve moved. We’ve fallen out of that a lot, 12 Kuhn but we used to watch Isidingo, ja. 20:55 20:55 Shelby Kuhn Interview Interviewer So, religiously every, is it on every night? 12 20:59 20:59 Shelby Kuhn Interview Shelby Ja, it is on every night, or well it used to be. I don’t know if 12 Kuhn it’s changed, but it was on every night. I wouldn’t say 21:21 religiously, but I would say about four times a week. You know those shows are always so easy to catch up on what’s happening. You don’t miss a night and go, oh that’s what happened in this one. They’re quite predictable, especially if you have been watching it for a long time. 21:21 Shelby Kuhn Interview Interviewer So, obviously with Isidingo, you didn’t follow any fan pages 12 on Facebook or any other social media regarding that? 21:32 21:32 Shelby Kuhn Interview Shelby No, not really. 12 Kuhn 21:35 21:35 Shelby Kuhn Interview Interviewer When you wanted to talk to anyone about the show, was it 12 mostly just the people watching with you at that time or did 21:49 you ever go to work and then, you know kind of want to talk to someone about the show to recap the story or whatever? 21:49 Shelby Kuhn Interview Shelby Not really hey, there isn’t the same desire where it’s like 12 Kuhn with Isidingo as there are with other series that I watch. I’ll 22:39 stress the international series that I like watch. I think with Isidingo, if I’ve ever spoken about it with other people it will 221

be a case of more shock and horror that a white person is watching it. That’s what it was like at varsity, everyone was horrified that used to watch Isidingo, they were like “What, okay weird”. There would be an odd, the biggest thing I remember was actually a good couple of years ago where something big had happened in Isidingo with one of the characters. One of the big characters had died or something and everyone was like losing their minds and that was a case where it was like “Oh my goodness, did you see that on Isidingo, oh you don’t watch?” 22:39 Shelby Kuhn Interview Interviewer But is was mostly, when you did have a chance to speak to 12 someone who also watched the show, it was also just word 22:49 of mouth? Nothing happening online? It was all like in person? 22:49 Shelby Kuhn Interview Shelby No, it was word of mouth, only word of mouth ever. It was 12 Kuhn never a WhatsApp, never Facebook, never groups, never 22:56 anything. 22:56 Shelby Kuhn Interview Interviewer Okay great. I think that’s all. Was there anything you 12 wanted to add or ask? 23:04 23:04 Shelby Kuhn Interview Shelby No, not really. Not entirely sure which direction you’re 12 Kuhn gonna take this research in. So I don’t know, I don’t know 23:18 how I could say anything to help out. 23:18 Shelby Kuhn Interview Interviewer Yeah, I think at this point based on the interviews that I’ve 12 done, I kind of have an idea of where I’m going. Because 24:23 the first few interviews I did were mostly with like white women who live in and around my area, which is very fibre- connected. And they were all like big fans of international shows, so I didn’t get like a lot out of that. But once I started interviewing more participants of different races that don’t live in the area that we live in, I noticed this whole thing that you know, because they don’t have the internet access, they’re fanning out over WhatsApp and in person. And also, generally, I think based on what everyone says, most people just prefer international shows. And I think because international shows have such a big fan base already, that other people have created, we can kind of just fall in there. But South Africans are more like avoiders in that situation. They don’t really take part or comment. 24:23 Shelby Kuhn Interview Shelby I mean I feel like culture plays a very big role in that, you 12 Kuhn know. All, the world is all focused on the West. I don’t mean 25:23 that in a funny way, but it is a big thing. The West is such a big entity, you know and what happens. What they produce has always been such a big thing in and around the world. That, I think that’s become standard. It always, it gives someone a common ground. And in our, in South Africa culture is so vast and varied, that I don’t know if it’s a case of everyone’s coming in together to one place to find a way to connect. I don’t know, I wonder, it’s strange. But so, you’re doing this research. In what direction do you want to take it in exactly? So, you, are you just pointing out the facts of what South African fandom is like? Or are you like comparing it to American or Western? 25:23 Shelby Kuhn Interview Interviewer So, one part of the thesis is comparing it to the traditional 12 fandom, which is the American, Western fandom based on 26:12 theories that already exist about what fandoms should be.

222

One of the big theories is that fandom today, you can’t be a fan unless you’re online. So, everything about fandom is supposed to be online now. And if you’re not online you’re not a fan. And obviously that’s not possible for like 80% of our nation, you know? So, that’s the first reason that I was wanting to look into this. And then the second part is kind of creating my own model of what I think fandom should be like or is like in South Africa. ‘Cause I think it’s quite different from overseas. 26:12 Shelby Kuhn Interview Shelby That’s very interesting. I would love to see the end results if 12 Kuhn you don’t mind. 26:15 26:15 Shelby Kuhn Interview Interviewer I would definitely love to. It’s a thesis so it’s a full thesis. 12 26:21 26:21 Shelby Kuhn Interview Shelby Okay no, it would be nice to read. 12 Kuhn 26:24 26:24 Shelby Kuhn Interview Interviewer Ja, I’m just, you can read the conclusion and the abstract. 12 26:28 26:28 Shelby Kuhn Interview Shelby Ja cool, no but ja, that’s very interesting. 12 Kuhn 26:35 26:35 Shelby Kuhn Interview Interviewer But ja, I’ll once it’s done, I’ve had a few people who are 12 interested. So, I’ll make sure everyone can kind of get 26:48 access to it and know what’s happening. Thank you so much for your time. I really appreciate it. 26:48 Shelby Kuhn Interview Shelby No, I hope I was of some benefit somewhere. 12 Kuhn 26:50 26:50 Shelby Kuhn Interview Interviewer Definitely helped. 12 26:52 26:52 Shelby Kuhn Interview Shelby If you need anything else feel free to message me and ask 12 Kuhn away. 26:57 26:57 Shelby Kuhn Interview Interviewer I think the only thing would be just to if you can, to send me 12 screenshots and photos of your conversations and of your 27:05 writing and things like that, that’s about it. 27:05 Shelby Kuhn Interview Shelby Okay cool. I mean the writing is a bit of a, do you really 12 Kuhn want? ‘Cause they’re also not full stories, hey. 27:12 27:12 Shelby Kuhn Interview Interviewer No, it’s fine. It’s kind of just I want to use it like in an 12 appendix to be able to reference what the participants were 27:27 talking about in the interviews. More than trying to analyse what you actually wrote. 27:27 Shelby Kuhn Interview Shelby Okay, I see. Okay cool, then I’ll find like a page in there 12 Kuhn somewhere that’s like okay, ja. 27:35 27:35 Shelby Kuhn Interview Interviewer Okay cool. Thank you so much. 12 27:38 27:38 Shelby Kuhn Interview Shelby No worries. Have a good day. 12 Kuhn 27:39 223

27:39 Shelby Kuhn Interview Interviewer You too. Bye. 12 27:41

Interview 13:

Timecode & Clip Name Speaker Dialogue 00:00 Lindelwa Mandla Interview Interviewer How are you? 13 00:02 00:02 Lindelwa Mandla Interview Lindelwa I’m good and you? 13 Mandla 00:03 00:03 Lindelwa Mandla Interview Interviewer I’m good thank you. I love your top. 13 00:05 00:05 Lindelwa Mandla Interview Lindelwa Thank you. 13 Mandla 00:07 00:07 Lindelwa Mandla Interview Interviewer Uhm. Thank you so much for doing the interview. I really 13 appreciate it. I know you have had a long day. 00:13 00:13 Lindelwa Mandla Interview Lindelwa Nah. It’s okay. 13 Mandla 00:15 00:15 Lindelwa Mandla Interview Interviewer Uhm cool. So, I’m just going to start off by explaining 13 what the study is about and so that you also know what 00:35 is happening uhm and I’m also just recording the interview so that I can transcribe everything later. So, will you just for the, for the record just state your name, surname and where you live in Joburg? 00:35 Lindelwa Mandla Interview Lindelwa I am Lindelwa Mandla. 13 Mandla 00:38 00:38 Lindelwa Mandla Interview Interviewer Cool. And in what area of Joburg do you live? 13 00:49 00:49 Lindelwa Mandla Interview Lindelwa Auckland. 13 Mandla 00:51 00:51 Lindelwa Mandla Interview Interviewer Auckland Park. Okay so basically what my study is 13 about… Interviewer explains the study… When you think 01:24 of fandom, what would you say it is? 01:24 Lindelwa Mandla Interview Lindelwa You know when you are fangirling over a show or a 13 Mandla book? Anything, when you are crazy about it. 01:31 01:31 Lindelwa Mandla Interview Interviewer Okay cool. Uhm that’s what I am looking at… Interviewer 13 further explains the study… To just start off with, just 02:49 explain to me kind of, where do you live, who do you live with and when it comes to watching TV, whether it is on a TV screen or on a laptop or on your phone or whatever, how regularly do you watch, what do you watch, who watches with you. Just like a scenario of a day in your life. 02:49 Lindelwa Mandla Interview Lindelwa Okay, well, I stay in Auckland Park. It’s a student 13 Mandla residence. And we actually don’t have TV. We usually 224

03:16 watch on our laptops and on our phones and, uh I only ever watch if I have free time from school. I don’t really get a platform to watch it… our international I mean our national shows. I just watch international, ja. 03:16 Lindelwa Mandla Interview Interviewer Okay so do you uhm in your residence you have no 13 access at all to local shows? 03:24 03:24 Lindelwa Mandla Interview Lindelwa We do not have a TV so usually if they watch local 13 Mandla shows they go on YouTube. 03:30 03:30 Lindelwa Mandla Interview Interviewer Okay so the local shows are available, some of them 13 illegally on YouTube or is it legal? 03:37 03:37 Lindelwa Mandla Interview Lindelwa I am not sure at all. 13 Mandla 03:40 03:40 Lindelwa Mandla Interview Interviewer Okay. Uhm and when you go home do you have access 13 to local shows when you go home? 03:47 03:47 Lindelwa Mandla Interview Lindelwa Yea, but usually I’m not up to what’s happening so I 13 Mandla usually have little interest in it. 03:53 03:53 Lindelwa Mandla Interview Interviewer Okay. No problem. Cool, so, when you say you’re 13 watching shows on your laptop and stuff, is it just you 04:09 watching alone? I think you said in your survey you always watch with someone or with a few people. Uhm so what happened there? 04:09 Lindelwa Mandla Interview Lindelwa Actually, it depends. It actually depends. If I am with my 13 Mandla roommate or with a friend from the house, I can watch it 04:19 with them, but most of the time I am alone. 04:19 Lindelwa Mandla Interview Interviewer Okay and what type of shows are you watching then? 13 04:21 04:21 Lindelwa Mandla Interview Lindelwa Usually I am just watching throwbacks from Disney and 13 Mandla uhm Riverdale, those kind of teen shows that I can relate 04:37 to or actually just things that I can relate to a book that I have read. Ja. 04:37 Lindelwa Mandla Interview Interviewer Okay. That sounds cool. I love Riverdale. Uhm 13 obviously. I just want to see. You say in your survey uhm 05:11 that you like watching television, but you wouldn’t describe yourself as a fan. So is there no show or anything really that you, not necessarily feel very strongly about that you want to fangirl out about it but just that you want to follow, you stay up to date with it and chat with friends about it? 05:11 Lindelwa Mandla Interview Lindelwa There are shows I do want to do that but like not a lot of 13 Mandla them because I can’t relate to them with my type of 05:32 thinking so I can’t really watch them regularly. And uh nobody really talks about the shows, we just watch them around here. Yea. 05:32 Lindelwa Mandla Interview Interviewer Okay so, cause that’s what I am trying to figure out 13 ‘cause most of the other people that I have spoken to 06:06 uhm about the shows that they watch and even local shows, they all said that, when it comes to local shows, they are always talking about it. So, or even international shows. That even if they can’t post things online or chat 225

online uhm they are either chatting to each other over WhatsApp, or someone puts like a WhatsApp Status on about the show and then everyone kind of comments on it. So, is there nothing like that happening in your situation? 06:06 Lindelwa Mandla Interview Lindelwa No, I’m hardly ever up to date with the show. So usually I 13 Mandla see it on Twitter and then I always think I’ll watch it, but 06:18 then I forget. 06:18 Lindelwa Mandla Interview Interviewer Okay. Uhm I just want to… Okay. So, let’s make a 13 scenario that uh you’re watching Riverdale or something. 06:38 What is a show that you’re watching right now that you feel you can relate to that you watch regularly? 06:38 Lindelwa Mandla Interview Lindelwa I watch a lot of shows so I’ll just say I Didn’t Do It. It’s a 13 Mandla show. 06:45 06:45 Lindelwa Mandla Interview Interviewer I Didn’t Do It. I was, like, what is that? It’s a show, cool. 13 Uhm so when it comes to I Didn’t Do It, uhm do you 06:57 have any other friends or family or people that also watch the show? 06:57 Lindelwa Mandla Interview Lindelwa No. 13 Mandla 06:59 06:59 Lindelwa Mandla Interview Interviewer Is it just you watching it? 13 07:04 07:04 Lindelwa Mandla Interview Lindelwa It used to be on Disney a long time ago then I just 13 Mandla decided to do a throwback and uh right now I’m the only 07:08 person watching it. 07:08 Lindelwa Mandla Interview Interviewer Okay so you have no one to talk to about the show at 13 all? 07:12 07:12 Lindelwa Mandla Interview Lindelwa Yea, basically. 13 Mandla 07:15 07:15 Lindelwa Mandla Interview Interviewer Okay. You are making it very hard for me to try and find 13 some fan behaviour because you are not talking to 07:22 anyone. 07:22 Lindelwa Mandla Interview Lindelwa No, the thing is I actually did want to get into the 13 Mandla television industry but then usually the shows that I 07:45 watch are either about crime and anything that is stereotypical. And I don’t watch that anymore. And I actually wanted to be a scriptwriter but that’s all people want to watch and that actually made me change my career choice. 07:45 Lindelwa Mandla Interview Interviewer Okay. Uhm it’s kind of uhm. In your situation then I feel 13 like uhm maybe, would you describe yourself as a fan in 08:02 general or not at all? 08:02 Lindelwa Mandla Interview Lindelwa Of watching TV yes, but of our shows and the content I 13 Mandla do not relate to it, I do not actually agree with it. 08:12 08:12 Lindelwa Mandla Interview Interviewer Ja, I mean like not when it comes to local shows, I mean 13 like international shows or just watching programs. 08:23 Would you consider yourself a fan of like a certain program international or whatever? 08:23 Lindelwa Mandla Interview Lindelwa Uhm, not really. Not lately. 13 Mandla 226

08:28 08:28 Lindelwa Mandla Interview Interviewer Okay, but in the past? 13 08:30 08:30 Lindelwa Mandla Interview Lindelwa In the past, yea. 13 Mandla 08:33 08:33 Lindelwa Mandla Interview Interviewer Okay so what was that that you watched? 13 08:35 08:35 Lindelwa Mandla Interview Lindelwa What was it, Girl Meets World. Okay I am really childish. 13 Mandla I love Disney. 08:41 08:41 Lindelwa Mandla Interview Interviewer No, its fine. It’s no problem. Okay. What was the show, 13 sorry? 08:45 08:45 Lindelwa Mandla Interview Lindelwa It is Girl Meets World. 13 Mandla 08:48 08:48 Lindelwa Mandla Interview Interviewer Okay and what did you watch the show and would you 13 like uhm. 08:54 08:54 Lindelwa Mandla Interview Lindelwa I am a fan right now of a show called Bullseye. 13 Mandla 08:57 08:57 Lindelwa Mandla Interview Interviewer Okay. And would you say that you’re a fan because you 13 just like the show a lot or do you also now and then 09:11 google facts about the show and try and convince your friends to watch the show? 09:11 Lindelwa Mandla Interview Lindelwa Usually I do try and convince them and google when I 13 Mandla like it because of the content. It teaches me stuff about 09:22 the world and changes my way of thinking all the time. 09:22 Lindelwa Mandla Interview Interviewer Okay. So, would you say Oh there’s an aeroplane Uhm 13 you consider yourself a fan of TV shows then, but you 10:00 are not exhibiting any characteristics that would define you as a fan except for that you say you really like the shows, right. Uhm so would you say that uhm you, why don’t you uhm or are you not able to talk to people or comment online or be interactive with the show online? Is it just because you don’t like it or because you don’t have access or what is the reason? 10:00 Lindelwa Mandla Interview Lindelwa Hmm, online is like watching my digital footprint. That’s 13 Mandla why I don’t interact about it online. But I do like [to] follow 10:16 the pages that I am into the shows. And uhm around me basically nobody watches my shows. 10:16 Lindelwa Mandla Interview Interviewer Okay so you just alone in your show watching? Okay, so 13 it’s interesting when you say you’re watching your digital 10:25 footprint. What do you mean by that exactly? 10:25 Lindelwa Mandla Interview Lindelwa Well in this world of today, what you put out there could 13 Mandla say a lot about you and could affect your career. Well in 10:41 the future and so. I always check what uhm I am looking at or what do I see on the internet. I actually hardly ever give comments on it. 10:41 Lindelwa Mandla Interview Interviewer Okay. So, you would follow fan pages uhm online, but 13 you would never consider commenting or interacting on 10:55 227

it ‘cause you don’t want to put yourself at risk of ridicule or, ja? 10:55 Lindelwa Mandla Interview Lindelwa Uhm not ridicule, just like you know how they check your 13 Mandla CV when you’re looking for a job? They’re always telling 11:07 me about that. If you say one wrong thing it can just haunt you forever. So I don’t want that to happen. 11:07 Lindelwa Mandla Interview Interviewer Okay. That’s very interesting. Uhm then my question, it’s 13 not really relating to you specifically, but uhm when it 11:28 comes to friends and family and people you have on your social media uhm have you ever noticed that any of them uhm post things about shows that they watch on their WhatsApp Status? 11:28 Lindelwa Mandla Interview Lindelwa Yea, they actually do. 13 Mandla 11:31 11:31 Lindelwa Mandla Interview Interviewer Is it like a common thing that happens, or just now and 13 then? 11:34 11:34 Lindelwa Mandla Interview Lindelwa It is either a comment or it’s a meme. 13 Mandla 11:38 11:38 Lindelwa Mandla Interview Interviewer Okay and it happens regularly? 13 11:40 11:40 Lindelwa Mandla Interview Lindelwa Uh yea, if there’s something that they find interesting in 13 Mandla the show or if its trending on twitter, usually they’ll just 11:48 post it on WhatsApp. 11:48 Lindelwa Mandla Interview Interviewer Okay and have you ever responded to any of those 13 WhatsApp Statuses? Or not really? 11:54 11:54 Lindelwa Mandla Interview Lindelwa I hardly do but if I did see the show and I find it 13 Mandla interesting I do interact. 12:00 12:00 Lindelwa Mandla Interview Interviewer Okay. And how many of your friends post uhm or do 13 stuff like that on their WhatsApp Status? 12:08 12:08 Lindelwa Mandla Interview Lindelwa Usually it’s like the older people, But like my mom, aunt, 13 Mandla uncle and stuff like that and then a few friends actually 12:19 do it not like regularly but sometimes. 12:19 Lindelwa Mandla Interview Interviewer And what type of shows do they usually post about on 13 there? 12:22 12:22 Lindelwa Mandla Interview Lindelwa There’s The Queen uhm its usually just Mzanzi Magic 13 Mandla shows. 12:27 12:27 Lindelwa Mandla Interview Interviewer Okay. So there, would you say in your opinion that when 13 it comes to local shows, there is kind of like a fandom 12:39 interaction thing happening on WhatsApp and WhatsApp Status? 12:39 Lindelwa Mandla Interview Lindelwa Yea there is, but only for a specific channel or a specific 13 Mandla network. Ja. 12:47 12:47 Lindelwa Mandla Interview Interviewer Okay so you think it is more for Mzanzi, Mzanzi Magic 13 that? 12:55

228

12:55 Lindelwa Mandla Interview Lindelwa Ja. SABC. 13 Mandla 12:56 12:56 Lindelwa Mandla Interview Interviewer Okay that’s very interesting. Uhm I think that’s all I have 13 for you. Is there questions you had for me or comments 13:03 or? 13:03 Lindelwa Mandla Interview Lindelwa Hmm. Nah nothing. I’m just happy to help you. 13 Mandla 13:10 13:10 Lindelwa Mandla Interview Interviewer No, I really appreciate that you were able to give me the 13 time, uhm and it was really helpful. I am really sorry that 13:21 you don’t have more people to talk to about your show, but, uhm. 13:21 Lindelwa Mandla Interview Lindelwa No it’s because I don’t stay with my people from my high 13 Mandla school, Ja. 13:24 13:24 Lindelwa Mandla Interview Interviewer Okay I get you. What school do you go to? 13 13:28 13:28 Lindelwa Mandla Interview Lindelwa City Varsity. 13 Mandla 13:30 13:30 Lindelwa Mandla Interview Interviewer Oh okay. I thought you might be from UJ or WITS ‘cause 13 you were in the Melville area. 13:36 13:36 Lindelwa Mandla Interview Lindelwa I actually live by UJ so I don’t really, ‘cause I’m a media 13 Mandla person, so. I don’t really relate to the people. I don’t 13:42 know many. 13:42 Lindelwa Mandla Interview Interviewer Okay well thank you very much for your time anyway 13 and uhm good luck with your studies and everything. I 13:51 hope it goes well. 13:51 Lindelwa Mandla Interview Lindelwa You too. Thank you 13 Mandla 13:52

Interview 14: Timecode & Clip Name Speaker Dialogue Nonjabulo Mlangeni Interview Interviewer Hi it’s Interviewer. 3 00:24 00:24 Nonjabulo Mlangeni Interview Nonjabulo Oh, hi Interviewer. 3 Mlangeni 00:25 02:27 Nonjabulo Mlangeni Interview Interviewer How are you? 3 00:27 00:28 Nonjabulo Mlangeni Interview Nonjabulo I’m good thanks and you? 3 Mlangeni 00:28 00:29

229

Nonjabulo Mlangeni Interview Interviewer I’m good thank you. Thank you so much for doing this 3 interview. I’m so sorry about extending it again today, it’s 00:29 just very hectic. 00:35 Nonjabulo Mlangeni Interview Nonjabulo No, no problems. 3 Mlangeni 00:35 00:37 Nonjabulo Mlangeni Interview Interviewer Uhm great. So, I just want to thank you firstly for doing the 3 interview. I really appreciate it. Can you just tell me a little 00:37 about you? Are you studying at the moment? Where are 00:52 you at? What’s happening? Nonjabulo Mlangeni Interview Nonjabulo I’m currently studying, okay I’m Nonjabulo Mlangeni and I’m 3 Mlangeni 19 years old, I’m studying Film and Television at the 00:52 University of Johannesburg and it’s my second year. Yeah. 01:05 Nonjabulo Mlangeni Interview Interviewer Perfect. Cool, so you’re one of the second-year students. 3 Thant’s cool. I haven’t had one. 01:05 01:11 Nonjabulo Mlangeni Interview Nonjabulo I haven’t had? 3 Mlangeni 01:11 01:17 Nonjabulo Mlangeni Interview Interviewer I haven’t had one of the second-year students doing an 3 interview, so you’re my first. 01:17 01:20 Nonjabulo Mlangeni Interview Nonjabulo Oh, okay. 3 Mlangeni 01:20 01:22 Nonjabulo Mlangeni Interview Interviewer Okay I’m not going to take a lot of your time. I’m just going 3 to give you background on what the study is about… 01:22 Interviewer explains the study… can you just kind of 02:43 explain to me, what is your living situation like? When it comes to watching series or TV or any type of visual show, what do you do on a daily basis, how do you watch, who do watch with? Just anything you can think of? Nonjabulo Mlangeni Interview Nonjabulo Okay, most of the time I’m on campus so when I get to like 3 Mlangeni my room it’s kind of like tiring. So, and where I live at my 02:43 commune area we have a common TV room so we find 03:22 that in most cases people are there already watching something. So, to make things easy for me, I connected my DSTV now on my laptop, so, in which I do watch series and soapies like maybe three times or four times a week, but most of the times I only watch movies and I do watch them alone. Nonjabulo Mlangeni Interview Interviewer Okay, uhm, and you say that you’re using communal TV 3 where you stay. Do you guys ever watch programs 03:22 together? 03:30 Nonjabulo Mlangeni Interview Nonjabulo Yes, it’s like you, it happens that you find the particular 3 Mlangeni person is watching something that you also wanted to 03:30 watch so you can kindly join them and watch it together. 03:41 230

Nonjabulo Mlangeni Interview Interviewer Okay, and was there ever, or do, have you ever experience 3 that most of the girls in your commune watch the same 03:41 show, let’s say on a Saturday and everyone kind of 03:57 happens to come together on a Saturday to watch the show? Nonjabulo Mlangeni Interview Nonjabulo Yes, it happens a lot of time, it happens, and you find that 3 Mlangeni only those, like they are related to common soapies and 03:57 common series, you know? And ja, we watch it together. 04:23 And it’s kind of like funny how we actually know or predict what’s going to happen and, you know? Following up on the series and the stories. Nonjabulo Mlangeni Interview Interviewer Can you explain why? 3 04:23 04:24 Nonjabulo Mlangeni Interview Nonjabulo I think it’s relatable to us, it’s something that we can relate 3 Mlangeni to, you know. Something that we, we kind of like 04:24 understand what the characters are going through. Or see 04:44 ourselves as being characters or something like that. Nonjabulo Mlangeni Interview Interviewer Okay. So, when you guys watch together, are you guys like 3 chatting to each other about the shows? Kind of like a 04:44 social thing? 04:54 Nonjabulo Mlangeni Interview Nonjabulo Yes, especially when the show is over, we would like sit 3 Mlangeni there like chatting about and talk about, “Okay so this 04:54 happened and that happened” and then we kind of like talk 05:15 slightly about what’s going to happen, or what we think is going to happen later on or in the next episode. Yeah. Nonjabulo Mlangeni Interview Interviewer Okay. And what type of shows is it you usually watch 3 together? 05:15 05:19 Nonjabulo Mlangeni Interview Nonjabulo We watch Lockdown which plays on channel 161 as well as 3 Mlangeni 16 and Rhythm City which is on 194. Yeah. 05:19 05:32 Nonjabulo Mlangeni Interview Interviewer Okay cool. So, when it comes to those shows, do you 3 yourself or any of the girls that you watch with… do you 05:32 guys follow any pages on Facebook or Twitter or anything 05:49 that connects to those shows? Nonjabulo Mlangeni Interview Nonjabulo Yeah, I follow The Queen page on Instagram and as well 3 Mlangeni as on Mzanzi Magic, I also follow the Mzanzi like magic and 05:49 The Queen on Instagram. 06:05 Nonjabulo Mlangeni Interview Interviewer Okay. Are those the official pages? 3 06:05 06:08 Nonjabulo Mlangeni Interview Nonjabulo Yes. 3 Mlangeni 06:08 06:09 Nonjabulo Mlangeni Interview Interviewer Okay. And what type of stuff do they usually post on there 3 that you like to comment or share? 06:09 06:14 231

Nonjabulo Mlangeni Interview Nonjabulo Mostly they post about the trailers, and then they post 3 Mlangeni about, they mostly give us like a platform to say that, do 06:14 you think this is going to happen or that is going to happen? 06:40 And they tell us “Okay, next episode this is going to happen”, and you know stuff that makes you anticipate, or can’t wait for the next show to come up on air. Nonjabulo Mlangeni Interview Interviewer Oaky. So, one of the things that a lot of the other 3 interviewees that I have spoken to have said, when it 06:40 comes to local shows, is they don’t interact so much on 07:03 Facebook or Twitter or Instagram, because obviously it costs a lot of data. But something they do chat on a lot is WhatsApp. Is that something that you also experience? Nonjabulo Mlangeni Interview Nonjabulo Not really, not really on WhatsApp ‘cause in most cases 3 Mlangeni when I watch something with people, it happens to be, we 07:03 watch it like in person. So, discussing it will also take place 07:21 in person and not over the phone. Nonjabulo Mlangeni Interview Interviewer Uhm, so one of the things that they also said is that people 3 tend to post updates about the show, or like videos or their 07:21 opinions on WhatsApp Status. Have you also seen that? 07:35 Nonjabulo Mlangeni Interview Nonjabulo Yes, that’s very true, especially with something like 3 Mlangeni unexpected [happening] on the show. You see statuses of 07:35 people posting the name of the character or the name of 07:55 the show and actually being or falling in love with the show. It happens quite a lot. Nonjabulo Mlangeni Interview Interviewer How, can you like mention one, like a recent one that 3 happened and kind of like explain what was going on? 07:55 08:04 Nonjabulo Mlangeni Interview Nonjabulo So, it was on Lockdown. The character named Zanele, she 3 Mlangeni happened to be cripple, but a lot of people actually thought 08:04 that she was cripple and she couldn’t walk. And then there 08:54 was this one time that she literally stood up out of her roll chair, because they wanted to stab her. And she stood up and everyone was just shocked and like. ‘Cause she acted that cripple part so well and [there] was so good on screen that you actually believed that “Oh, now Zanele is crippled”. It turned out she was not crippled, she just acted to be crippled in order for her to prevent her being killed by her jail inmate. So that was just something else. Nonjabulo Mlangeni Interview Interviewer So, when this happened, what happened on WhatsApp 3 Status, or even in person? You can explain both. So, when 08:54 it came to WhatsApp Status, what did people post or say? 09:07 Nonjabulo Mlangeni Interview Nonjabulo Okay, after the show it was just all about Lockdown. People 3 Mlangeni posting things about Lockdown, things that Zanele is like 09:07 the main character and if like she was happened to have 09:48 been killed, we wouldn’t have watched Lockdown. And in person it was just something else. We couldn’t believe, it was like it happened in real life, but it was just acting. So, it was just something that was so amazing in person and on WhatsApp Statuses, people posting, not only one, but even more than one. Even more that five people would actually post about what happened in Lockdown on that day. Nonjabulo Mlangeni Interview Interviewer Okay. And in person you guys, you spoke to a few or a 3 bunch of people that were talking about the show as well?

232

09:48 09:55 Nonjabulo Mlangeni Interview Nonjabulo Yes, because we, all of us thought that she was actually 3 Mlangeni cripple but turned out that she was not. So, our 09:55 conversation was mainly based on but how, but why? And 10:18 later as the show developed, then we got to know, “Oh, this is why she pretended to be crippled”, in order for her to, you know, to not get killed inside of the jail. Nonjabulo Mlangeni Interview Interviewer Okay, that’s very interesting. So, you guys say that you, in 3 terms of your fandom you mostly talk to people in person? 10:18 It’s not an online thing for you? 10:32 Nonjabulo Mlangeni Interview Nonjabulo Yes. 3 Mlangeni 10:32 10:33 Nonjabulo Mlangeni Interview Interviewer So, you wouldn’t, you, I saw in your survey also, you 3 wouldn’t like comment on let’s say the official Lockdown 10:33 Facebook page. You wouldn’t comment your opinion in 10:47 there? Nonjabulo Mlangeni Interview Nonjabulo No, I wouldn’t comment there, because I like interacting 3 Mlangeni with people in a more personal-like manner. I would like to 10:47 comment and share my opinions with someone that also 11:09 watched that particular show, and we saw the same kind of energy about the show. Nonjabulo Mlangeni Interview Interviewer And do you feel that when it comes to the South African 3 shows that the fandom, let’s say the Lockdown fandom, is 11:09 more like in person, face to face, uhm instead of being like 11:28 happening on Facebook or on Twitter? Nonjabulo Mlangeni Interview Nonjabulo Yes, I would say that, ‘cause looking at the social media 3 Mlangeni platforms, a lot of people are not following the handle, or a 11:28 lot of people are not commenting. So, it actually shows that 12:12 people are more interactive in a personal manner. Because you find that not only my age group, but people that are younger than me and even people who are older than me, who do not have access to internet connections, you know? They do talk about it, and people who do not have social media, they do interact with it on a more personal manner. So, I think it goes beyond the social media platforms. It’s more of a personal thing and personal interaction between the audiences about the show. Nonjabulo Mlangeni Interview Interviewer Okay, so do you, would you then say that the reason that 3 maybe that South Africans don’t interact as much on social 12:12 media about their fandoms like, you know, people in 12:31 America do, is because they don’t have as much access to internet? Or they can’t afford to do that? Nonjabulo Mlangeni Interview Nonjabulo Yes, I would say that. Taking you back to what you said 3 Mlangeni about the other interviewees, that people, a lot of people 12:31 are complaining about data, and a lot of people don’t have 13:17 Wi-Fi access, only like they have DSTV at their homes. So, a lot of people could actually do that without involving social media. So, when it comes to fandoms also, the pages and stuff like that, it rarely happens in South Africa. Because we are restricted by the prices of data, we are restricted to Wi- Fi access, we are restricted to people actually having knowledge about what’s going on about the show on social

233

media. So, a lot of people don’t really pay attention to social media when it comes to shows and interacting with the shows on a daily basis on social media. Nonjabulo Mlangeni Interview Interviewer That’s perfect. So, in your survey, I asked a question, 3 asking “I create artwork, write stories, make videos or 13:17 create memes or other forms of fan art about my favourite 13:41 television program”. And your answer was “Only when I feel really inspired”. So, what type of stuff are you making? Nonjabulo Mlangeni Interview Nonjabulo What type of? 3 Mlangeni 13:41 13:44 Nonjabulo Mlangeni Interview Interviewer Like fan art. Like videos, or pictures, or stories. Do you do 3 that? 13:44 13:48 Nonjabulo Mlangeni Interview Nonjabulo I do, but it happens not quite often. It rarely happens, but I 3 Mlangeni feel like, sorry, taking pictures of something that reminds 13:48 me of, “Okay, I think this looks familiar with episode number 14:44 five on Lockdown season two, I should take a picture of it”, “Okay this could’ve really helped if it was part of the scene” or sometimes making videos of that particular character saying something on that show, which in most cases it does appear on [unclear audio] on the voices of the character. And you just have to think the voice of the character, and don’t really post them ‘cause like, ja. Nonjabulo Mlangeni Interview Interviewer Why don’t you post them? 3 14:44 14:46 Nonjabulo Mlangeni Interview Nonjabulo I, I don’t know. I feel like I don’t know, but I just don’t post 3 Mlangeni them. I just make the videos and keep them on my phone. 14:46 14:59 Nonjabulo Mlangeni Interview Interviewer And you never share them with any of your friends, like in 3 personal messages? 14:59 15:02 Nonjabulo Mlangeni Interview Nonjabulo No, I would show my friends, but I wouldn’t post them on 3 Mlangeni social media, Instagram or WhatsApp or something like 15:02 that. But I would show my friends and not post them. 15:15 Nonjabulo Mlangeni Interview Interviewer Do you think you’re not posting them because you’re kind 3 of, not embarrassed, but you’re afraid of ridicule or people’s 15:15 opinion about it? 15:22 Nonjabulo Mlangeni Interview Nonjabulo Ja, you can say that. And sort of, you know, how it will turn 3 Mlangeni out. So, I’m just making just for fun, not for you know, for 15:22 people to like view it and I’m making these things just for 15:41 fun. Nonjabulo Mlangeni Interview Interviewer So, if you say you’re scared about how it’s gonna turn out, 3 are you, does that mean like what type of comments people 15:41 are going to make about it? 15:49 Nonjabulo Mlangeni Interview Nonjabulo Ja, I, ja. You can say that, ja. 3 Mlangeni 234

15:49 15:52 Nonjabulo Mlangeni Interview Interviewer Okay cool. I think that’s all I have for you. Is there any 3 questions you want, have for me or something you still 15:52 wanted to add? 16:00 Nonjabulo Mlangeni Interview Nonjabulo No, no it’s cool. 3 Mlangeni 16:00 16:02 Nonjabulo Mlangeni Interview Interviewer Okay, are you happy? 3 16:02 16:04 Nonjabulo Mlangeni Interview Nonjabulo Yes, I am. 3 Mlangeni 16:04 16:05 Nonjabulo Mlangeni Interview Interviewer Thank you so much. I really appreciate it. This was very 3 fruitful. So, it really helped. 16:05 16:14

Interview 15: Timecode & Clip Name Speaker Dialogue 00:15 Karabo Kgasago Interviewer Hi it’s Interviewer. Hello. Interview 15 00:23 00:23 Karabo Kgasago Karabo How are you? Interview 15 Kgasago 00:25 00:25 Karabo Kgasago Interviewer Can you hear me? Interview 15 00:27 00:27 Karabo Kgasago Karabo Yes, I can hear you. Interview 15 Kgasago 00:28 00:28 Karabo Kgasago Interviewer Okay cool. I’m good thank you and you? Interview 15 00:31 00:31 Karabo Kgasago Karabo I’m alright. Interview 15 Kgasago 00:32 00:32 Karabo Kgasago Interviewer Just alright? Interview 15 00:34 00:34 Karabo Kgasago Karabo Yeah, just alright. Interview 15 Kgasago 00:35 00:35 Karabo Kgasago Interviewer Shame, is end of semester a bit hectic. Interview 15 00:39 00:39 Karabo Kgasago Karabo Yeah. It’s hectic. Interview 15 Kgasago 00:42 235

00:42 Karabo Kgasago Interviewer I get you. Thank you very much for doing the interview. I Interview 15 know its super hectic with school and everything at the 00:51 moment. So, I really appreciate it. 00:51 Karabo Kgasago Karabo No problem. Interview 15 Kgasago 00:53 00:53 Karabo Kgasago Interviewer Okay, so I’m just going to start off by explaining what the Interview 15 study is about. So that you also have an idea of what is 01:15 happening. So, I’m also recording our call just so that I can transcribe everything later. Will you just for my recording just state your name, surname and where you live in Joburg please? 01:15 Karabo Kgasago Karabo Karabo Kgasago, I stay in Auckland Park. Interview 15 Kgasago 01:21 01:21 Karabo Kgasago Interviewer Okay great… Interviewer explains the study… what I Interview 15 would like to ask you to start off with is to just kind of 02:55 explain to me, how do you watch TV where you live? When I’m talking about TV, I don’t just mean like on an actual TV set, it could be You Tube videos, it could be series online, downloading things, whatever. Just explain to me like in a typical day of life how are you watching TV, what are you watching on and who do watch with. 02:55 Karabo Kgasago Karabo I watch TV on You Tube and like online. Yeah and I watch Interview 15 Kgasago it on [unclear audio]. 03:08 03:08 Karabo Kgasago Interviewer So, do you watch every day? Interview 15 03:13 03:13 Karabo Kgasago Karabo Yeah, you can say every day, I watch every day. Interview 15 Kgasago 03:17 03:17 Karabo Kgasago Interviewer Okay, and do you ever watch with someone else or are Interview 15 you always watching alone? 03:20 03:20 Karabo Kgasago Karabo Most of the time I’m watching alone. It happens once in a Interview 15 Kgasago while that I’m watching with someone. 03:27 03:27 Karabo Kgasago Interviewer Okay, and where did you say you live in Joburg again? Interview 15 Like is it a res, or? 03:34 03:34 Karabo Kgasago Karabo Yeah, I live on campus [unclear audio]. Interview 15 Kgasago 03:37 03:37 Karabo Kgasago Interviewer Okay. And is there a TV in your res, like a communal TV, Interview 15 or not? 03:40 03:40 Karabo Kgasago Karabo There is no TV. Interview 15 Kgasago 03:44 03:44 Karabo Kgasago Interviewer Okay, so you just watch on your laptop or your phone? Interview 15 03:48 03:48 Karabo Kgasago Karabo Yeah, my laptop. Interview 15 Kgasago 03:49 236

03:49 Karabo Kgasago Interviewer On your laptop. Cool. So, what I kind of want to know. I Interview 15 saw you said you were a big fan of, uhm, The Queen and 03:58 a lot of shows that are on Mzanzi right? 03:58 Karabo Kgasago Karabo Yes. Interview 15 Kgasago 04:00 04:00 Karabo Kgasago Interviewer Okay. Uhm, so when it comes to these shows, are you Interview 15 watching them on You Tube as well, or some other online 04:08 site where you get those? 04:08 Karabo Kgasago Karabo I watch them on You Tube. Interview 15 Kgasago 04:11 04:11 Karabo Kgasago Interviewer On You Tube, okay. And these shows, so what I like about Interview 15 South African shows is that there isn’t a lot of fandom 04:35 about it online, so there aren’t a lot of like Facebook pages or things like that, that are made specifically for that shows. So, I would like to know, do you follow any like official pages for The Queen or any of the other shows that you watch? 04:35 Karabo Kgasago Karabo No, I don’t. Interview 15 Kgasago 04:37 04:37 Karabo Kgasago Interviewer Not at all? Not on Facebook or Twitter or anything? Interview 15 04:42 04:42 Karabo Kgasago Karabo Nothing. Interview 15 Kgasago 04:43 04:43 Karabo Kgasago Interviewer Not? Okay, so when you watch the show, after you’ve Interview 15 watched the show, when you go home. Have you noticed 04:56 there’s usually a big discussion between you and your friends or family about the events that happened in the show? 04:56 Karabo Kgasago Karabo Yeah. Interview 15 Kgasago 05:49 04:49 Karabo Kgasago Interviewer Okay so tell me a bit about that. Interview 15 05:00 05:00 Karabo Kgasago Karabo Uhm, [unclear audio] we discuss a common show that we Interview 15 Kgasago watch, like The Queen. We’ll discuss the happenings of 05:19 the show, help each other catch up and we discuss what might happen next. Things like that. 05:19 Karabo Kgasago Interviewer Okay, so would you say when it comes to like a fandom Interview 15 for local shows, it’s more of a word of mouth thing? 05:26 05:26 Karabo Kgasago Karabo Well I’ll tell you what, I didn’t get your question properly? Interview 15 Kgasago 05:35 05:35 Karabo Kgasago Interviewer No, it’s fine. So, what they’re saying these days is that Interview 15 fandom is completely online based, so if you’re not 06:14 following like Facebook pages or Twitter pages about a show you’re watching, then you’re not actually a fan, right? But what most of the interviewees I’ve spoken to have said, is when it comes to local shows, uhm, it isn’t really an online thing. It’s more of a talking to people in person 237

thing. So, my question is, do you think, do you agree with that? That fandom in South Africa is more of a talking in person with each other than talking online thing? 06:14 Karabo Kgasago Karabo Ja, I think so. I think it is a, I personally prefer talking about Interview 15 Kgasago it face to face than going online and talking about it. 06:48 There’s interaction on [unclear audio] feed on Twitter where we discuss all of this, it happened while you are watching the show live, and they do discuss it. But for me, because I watch it way later, I wouldn’t interact with people because they’re just gonna give me spoilers and all that. 06:48 Karabo Kgasago Interviewer Okay so what I’ve also noticed people saying, is that Interview 15 WhatsApp is a big space where people chat to each other 07:01 about local shows. So, if you’re watching a show, do you chat to people on WhatsApp about what happened? 07:01 Karabo Kgasago Karabo Yes. Yes, I do. Interview 15 Kgasago 07:03 07:03 Karabo Kgasago Interviewer Okay and have you noticed, or have you yourself uhm, Interview 15 posted anything about a show on your WhatsApp Status? 07:14 Like an update or an “Oh my gosh, this just happened”, type thing? 07:14 Karabo Kgasago Karabo Yeah, I have. Interview 15 Kgasago 07:16 07:16 Karabo Kgasago Interviewer Okay how regularly do you do that? Interview 15 07:18 07:18 Karabo Kgasago Karabo It just depends on how, what can I say, how interesting Interview 15 Kgasago that episode is. It maybe happens once in a month. 07:32 07:32 Karabo Kgasago Interviewer Okay, and do any of your friends or family post on there? Interview 15 07:35 07:35 Karabo Kgasago Karabo Yes. Interview 15 Kgasago 07:36 07:36 Karabo Kgasago Interviewer Okay and what type of stuff would you and your family Interview 15 post, or friends post about a show on status? 07:43 07:43 Karabo Kgasago Karabo What kind of? Interview 15 Kgasago 07:45 07:45 Karabo Kgasago Interviewer What type of stuff would you be posting, you or your Interview 15 friends or your family? What would you post on your 07:54 WhatsApp Status when it comes to the shows that you watch? 07:54 Karabo Kgasago Karabo I’ll post like if something happens that is interesting or that Interview 15 Kgasago is educational or a character that [unclear audio] 08:07 something interesting. 08:07 Karabo Kgasago Interviewer Okay and you would say that uhm, besides from you Interview 15 posting uhm, friends or family or people posting on 08:18 WhatsApp Status about shows, that’s like a regular thing that happens? 08:18 Karabo Kgasago Karabo Yeah. Interview 15 Kgasago 08:19 238

08:19 Karabo Kgasago Interviewer Okay, and do people, if you post something on WhatsApp Interview 15 Status about a show, do people regularly comment on it? 08:27 08:27 Karabo Kgasago Karabo Just a few, a few people. Interview 15 Kgasago 08:31 08:31 Karabo Kgasago Interviewer Okay, so you do have discussions around it though? Interview 15 08:34 08:34 Karabo Kgasago Karabo Yeah. Interview 15 Kgasago 08:35 08:35 Karabo Kgasago Interviewer Okay, uhm I think that’s all I have for you actually. Did you Interview 15 have any more questions or? 08:42 08:42 Karabo Kgasago Karabo No, I don’t. Interview 15 Kgasago 08:43 08:43 Karabo Kgasago Interviewer Are you good? Okay, thank you so much for your time. Interview 15 08:46 08:46 Karabo Kgasago Karabo No problem. Interview 15 Kgasago 08:47 08:47 Karabo Kgasago Interviewer I really appreciate it and good luck with the rest of the Interview 15 year. 08:50 08:50 Karabo Kgasago Karabo Thank you, you too. I hope it goes well. Interview 15 Kgasago 08:54 08:54 Karabo Kgasago Interviewer Thank you very much. Bye. Interview 15 08:56

239

APPENDIX E Sampling Schedule for the One-on-one interviews Participant Age Race Place of Working/Studyi Type of television access Level of Number residence ng internet /unemployed access Interviewee 25 White Roodepoort Working Smart TV Uncapped 1 Netflix Internet Interviewee 23 White Roodepoort Studying Basic Television Set with DSTV Uncapped 2 Laptop with Netflix, Showmax and Internet YouTube Interviewee 20 White Roodepoort Working Basic TV set with DSTV Capped, ADSL 3 Laptop with YouTube line Interviewee 23 Coloured Constantia Working Smart TV Uncapped 4 Kloof-JHB DSTV Internet Netflix, Showmax and YouTube Also illegal streaming sites Interviewee 25 Coloured Florida Working Basic Television Set with DSTV Uncapped 5 Illegal downloading and streaming Internet Interviewee 22 White Windsor East Studying Smart TV with Netflix and YouTube Uncapped 6 Internet Interviewee 21 Black Auckland Studying Basic TV at residence Uncapped 7 Park Laptop with DSTV and YouTube Internet at student residence

240

Interviewee 23 White Roodepoort Working Basic TV at a friend’s home Uncapped 8 Laptop with Netflix and YouTube Internet Interviewee 20 Black Auckland Studying Laptop with DSTV Catchup and YouTube University 9 Park Basic TV at residence on campus throttled Wifi at student residence Interviewee 20 Black Soweto Studying Basic TV with DSTV None 10 Laptop with YouTube and Netflix on campus Interviewee 24 White Lonehill Working Laptop with DSTV catchup, Showmax, Uncapped Wifi 11 Netflix and YouTube Interviewee 22 White Roodepoort Studying Smart TV with Netflix, YouTube and Uncapped Wifi 12 DSTV Interviewee 20 Black Melville Studying Laptop and cell phone with Youtube Wifi at student 13 Illegal streaming/downloading residence

Interviewee 19 Black Doornfontein Studying Common room with TV at student Wifi at student 14 residence residence Laptop with YouTube and DSTV catchup Interviewee 21 Black Auckland Studying Laptop with DSTV catup and YouTube Wifi at student 15 Park residence

241