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An Exploration of the Subjective Experience Of THE MEDIATED SELF: AN EXPLORATION OF THE SUBJECTIVE EXPERIENCE OF MASS MEDIA CELEBRlTY FANSHIP Michelie Louise Gibson B.F.A., University of British Columbia, 1979 M.A., University of British Columbia, 1993 A THESIS SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS OF THE DEGREE OF DOCTOR OF PHILSOPHY under Speciai Arrangements in the Faculty of Arts O Michelle Louise Gibson 2000 SIMON FRASER UNIVERSITY July 2000 Al1 rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. Natio~lLibrary Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON KiA ON4 Ottawa ON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bïbliotheque nationale du Canada de reproduce, loan, distriibute or seli reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni fa thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT While there are a sibstantial number of mass media fans in North America, limited research has been conducted on this population. Using George Herbert Mead's symbolic interaction theory, this thesis explores the development of self by examining the relationships experienced by fans to stars and fans to fans - in both technologically- rnediated and in-person relationships. Fanship is discussed in light of previous research and theoretical ftameworks/concepts from significant cultural and social theorists on the effect of technology, group thought, the mimetic, the fear of death, and the process by which higher thought is achieved. Three histoncal paths leading to the establishment of modern day fandom are traced: religious icons, technology and iconic manifestations, and literacy and access to images. Twenty screened participants, twelve men and eight women, were recruited, largely through recommendations from media contacts in print, radio, and television. Five fans each from the media sports, music, film, and television are represented, with participation contingent upon achieving a minimum test score on the Fan Identification Inventory. Participants were interviewed in a face-to-face, semi- structured format for approximately ninety minutes. Analysis of data in terms of both Meadian (e.g., aspects of self. mind, society) and post-Meadian (e-g., emotionality) concepts suggests that the fan-star relationship represents a site of deep meaning-making for fans. Eight core characteristics of fans are identified, al1 of which address manifestations of desire. Also, fan-star interxtion contributes to self-development through: providing inspiration to attempt new things; influencing career choices and friendships; symbolizing, through dreams, reassurance and desire; and releasing emotions. Findings relating to technologically-mediated fan-star relationships suggest that many fans experience an intensity of meaning-making that allows self-development to be comparable to face-to-face relationships. Findings relating to fan-fan relationships also suggest substantial opportunities for self-developrnent. The data show that reference groups, the orientational other and nested identities are integral aspects of self- development for fans. Findings support Mead's central principle that individuals develop both through relationships and through desire, which is integral to self-development. iii Findings extend theoty by showing that technologically-mediated relationships represent an important new mode of interaction. The thesis concludes with a discussion of implications for future research. Table of Contents TABLE OF CONTENTS ... v 1. Mass media celebrity fanship: Through the looking glass ... 1 1.1 Introduction: The TV has two faces 1.1 (A) Statement of the problem regarding the subjective expenence of fanship l.l(B) Primary research question regarding fanship and self-development 1.2 Review of major terms 1,2(A) Celebrities or stars l.S(B) Fans 1.2(B)i A literature review of types of mass media fans 1.2(B)i(a) Pop culture fans: music, film, and television 1.2(B)i(a) 1 Soap opera fans 1.Z(B)i(b)Sports fans l.S(C) Toward a definition of normative mass media fanship 1.3 A Fan for al1 reasons: A literature review of varieties of fan expenences 1.3(A) Mass Media: Fanship as religious expression 1.3(B) 1just like it: Fanship as pleasure 1.3(C) Closerthanthis: Perceived intimacy 1.3(D) Who wants to be a millionaire? Fanship and cultural capital 1.3(E) Power to the people: Fanship and social change 1.3(F) Fanship:. ..In sickness and in health 1.4 Technologically-mediated interaction: Literature review 1.5 An overview of histoiical approaches and theories germane to modem day fanship 1S(A) The Frankfurt school 1S(B) Structural anthropology 1S(C) Becorning the other 1S(D) The fear of death 1.5(E) The genetic method 1S(F) Symbolic interactionism 1.6 What's it al1 about? Summary and research questions 2. Toward a theory of the self in society: Symbolic interactionism 2.1 Introduction 2-2 Syrnbolic interactionism 2.2(A) A brief history 2.3 Symbolic inteactionism: Basic concepts 2.3(A) Society 2.3(A)i Locating the cause of an act 2.3@) Mind 2.3(C) Self 2.3(C)i 1-me 2.4 Self-development 2.4(A) Taking the role of other 2.5 Application of symbolic interactionism to the research questions 2.6 A critical look at symbolic interaction theory 2.6(A) Basic concepts 2.6@) Emotions in social interactionism 2.6(C) Post-Meadian critique of symbolic interactionism 2.7 The research question revisited 2.8 The application of symbolic interactionism to the study of fandom 3. Methods: Interviews: Charting a responsive course for qualitative research conversations with the mass media fan ...86 3.1 Design 3.1(A) Why employ the semi-stmctured qualitative research interview? 3.1(B) The use of the interview in relation to symbolic interactionism 3.1(C) A methodological approach to symbolic interactionism 3.1 (C)i The methodological challenge of using symbolic interactionism 3.1(D) Emotionality as it applies to symbolic interactionism 3.2 Sampling 3.2(A) Participant Selection 3.2(B) Initial Contact with Participants 3.2(C) The Fan Identification Inventory 3.2(C)i The development of the Fan Identification Inventory (m 3.2(D) Sarnple Demographics 3.3 Sources of Information 3.4 Interviews 3.4(A) Observational data 3.5 Data Analysis 3.6 Validity 3.7 Ethics 3.8 Limitations 3.9 Positionality 4. The rnapping of Fan-tasia 4.A Fan-tastic facts: Participation patterns 4.A( 1) Discovery 4.A(l)a Frequency of use 4.A(2) Use of technology 4.A(3) Fanship and friendship 4.A(3)a Meeting the stars in person 4.A(4) Collectors 4.A(5) Fans whose play or work is related to that of the stars 4.A(6) Fanship as an alone experience 4.A(7) Fans and religion 4.A(8) Summary 4.8 Hard Core Fans: Do core patterns exist in mass media fans' experience of their chosen celebrities? 4.B(1) 1 gotta be me: Fanship, an expression of individuality 4.B(2) The more the memer: Multiple fanship 4.B(3) Nothing more than feelings: Fanship as a key to emotional expression 4.B(4) Close, but not too close: Friendship, yes - being the star, no 4.B(5) Nobody's perfect: The stars have flaws too 4.B(6) The real McCoy: Fans look for genuineness and integrity in their stars 4.B(7) The Pleasure is al1 mine: Fmship and pleasure 4.B(8) Absence makes the heart grow fonder: Desire, an integral aspect of fanship 4.B(9) Summary 4.C Surnmary 5. The fan-cier: Self and fanship explored through symbolic interactionism .. -137 5.A Tnpping the light fan-tastic: How is the fan's sense of self affected by his or her relationship with favourite stars? 5.A(1) The mirror has (at least) two faces: Roles S.A(l)a Say you, say me: Taking the role of the other 5.A( 1)b The costume trunk: Fantas y role-playing S. A( 1)b(i) Entertainment, education, inspiration S.A(l)b(ii) Practice 5 .A( 1)b(iii) Healing S.A(l)c Walk a mile in my shoes: Role-taking S. A( l)c(i) Empowerment to affect change 5 .A( 1 )c(ii) Selectivity S.A(l)c(iii) Justification S.A(l)c(iv) Tacit Reinforcement 5.A(2) Who are you? 1-Me 5.A(2)a 1 gotta be me: 1-me through creative expression XA(2)b Where were you when.. .? The 1-me as the-line 5.A(2)c Me first, 1insist: "me" versus "1" S.A(2)d Till bad ratings do us part: 1-me and fan loydty 5.A(2)e Would you bnng them home to mother? 1-me and fan shame 5.A(2)f Mass media mass: Fanship as a form of religious expression 5.A(3) Don't rnind if 1 do: Mind 5 .A(3)a Fanlingo: Verbal language 5.A(3)b You don't Say: Non-verbal language 5.A(3)c Matter over rnind: Collecting shared symbols 5.A(4) New Fan-dimg les: The Post-Meadian self 5.A(4)a Fanciful: Fanship toward meaning-making S.A(4)b Fantasts: Fan drearns S.A(4)c Straight from the heart: Expenencing emotions through fanship 5.A(4)d 1s it Live or Memorex? Technologically-mediated versus real life interaction 5.A(4)d(i) Treasure or uash: Putting value on the fan-star relationship 5.A(4)d(ii) Indelible or inauspicious: In-person interaction 5 .A(4)d(iii) Baudrillard' s 1st laugh: Fans who prefer technology 5.A(5) Mead melange: Summary 5.B A fan for al1 seasons: Are the fan's life decisions guided by the presence of the star in their lives? S.B(l) 1 Fancy that: Values and life decisions influenced by fanship 5.B(l)a Fanciful: Career and farnily 5.B(l)b True blue: Mords and ethics 5.B(l)c Starlight: Using fanship in search of clarity 5.B(2) Star power: Summary 5.C Fanning the self: Sumrnary 6.
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