DOCSLIB.ORG

Fandom and the Search for Meaning: Examining Communal Involvement with Popular Media Beyond Pleasure

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fandom and the Search for Meaning: Examining Communal Involvement with Popular Media Beyond Pleasure Psychology of Popular Media Culture © 2015 American Psychological Association 2015, Vol. 4, No. 2, 000 2160-4134/15/$12.00 http://dx.doi.org/10.1037/ppm0000085 Fandom and the Search for Meaning: Examining Communal Involvement With Popular Media Beyond Pleasure Mina Tsay-Vogel Meghan S. Sanders Boston University Louisiana State University The present study expands on current theorizing about fandom by considering how communal involvement with popular media extends beyond pleasure and is more strongly associated with the search for meaning. Using the context of one of the most widespread media phenomena dominating popular culture—the Harry Potter franchise, results of an online questionnaire (N ϭ 235) indicated that individual differences among fans (i.e., narrative exposure and eudaimonic motivation or the desire to seek meaning from entertainment) predicted involvement in fan communities. Further, perceived membership in fan communities enhanced enjoyment, appreciation, physi- ological reactions, knowledge acquisition, and intentions to seek fan-related materials. Implications for expanding entertainment scholarship in the study of meaningful media related to fandom and our understanding of contemporary forms of fandom in light of new technological affordances are discussed. Keywords: fandom, involvement, participation, meaning, eudaimonia A plethora of research has explored the psy- tion, particularly from a psychological perspec- chological gratifications that individuals attain tive. from media. In particular, entertainment schol- Media fandom is a phenomenon that encour- ars have examined numerous factors that ex- ages individuals to collectively and socially plain our attraction to media, such as identifi- unite within a subculture based on shared inter- cation with characters (Cohen, 2001, 2006), ests or appreciation of a media world or product involvement with narratives (Green & Brock, (Baym, 2000; Hills, 2002; O’Reilly & Doherty, 2000; Green, Brock, & Kaufman, 2004), and 2006). With time, members of fan communities enjoyment (Zillmann, 2000; Zillmann & Bry- develop a sense of social identity, and this has ant, 1994) and appreciation (Oliver, 2008; Oli- been supported across many contexts, such as ver & Bartsch, 2010) of media offerings. Al- sports (Branscombe & Wann, 1992; Wann, though a wealth of entertainment studies Royalty, & Roberts, 2000), music (Baym, 2007; elucidate our understanding of viewers’ experi- Brown & Schulze, 1990; Hansen & Hansen, ences with entertainment that lead to program 1991), literature (Lopes, 2006), TV (Baym, liking, investment, and loyalty, investigations 2000; Bird, 2002; Jenkins, 2000; Wooley, into the communal and social entertainment ex- 2001), and video games (Consalvo, 2003; periences of audiences warrant greater atten- Lowood, 2006). One of the most notable fan communities that has received substantial atten- This document is copyrighted by the American Psychological Association or one of its allied publishers. tion among media scholars is Star Trek (Jen- This article is intended solely for the personal use of the individual user and is not to be disseminated broadly. kins, 1988; Jindra, 1994; Kozinets, 2001). Com- mon practices of these fans, or “Trekkies,” include meeting up at scholarly fan conven- Mina Tsay-Vogel, Department of Mass Communication, Advertising & Public Relations, Boston University; tions, touring iconic landmarks discussed in Meghan S. Sanders, Manship School of Mass Communica- books and movies, forming online fan commu- tion, Louisiana State University. nities, participating in interactive games, and Correspondence concerning this article should be ad- holding celebratory parties before a book or film dressed to Mina Tsay-Vogel, Department of Mass Commu- nication, Advertising & Public Relations, Boston Univer- release. sity, 640 Commonwealth Avenue, Boston, MA 02215. Clearly, fandom has an important home in E-mail: [email protected] entertainment scholarship because entertain- 1 2 TSAY-VOGEL AND SANDERS ment often serves as the source of the cultural shared emotional connection, history, and par- and ritualistic practices of fans, and the forma- ticipation. tion of such subcultures has implications for According to McMillan and Chavis (1986) shaping social identities, a sense of community, and other scholars, for individuals to engage as social prestige, and self-esteem (Zillmann, Bry- fans in a participatory culture or community, ant, & Sapolsky, 1989). The present research identification is a critical component. The con- examines the concept of fandom in light of one cept of identification has been examined in a of the most widespread media phenomena to variety of ways by media researchers. Identifi- have dominated popular culture in the 21st cen- cation can occur with both characters in the tury. Devoted fans of the Harry Potter series narrative and other audience members who ex- not only consumed its books, but also followed perience the narrative. When viewers consume its movies, recorded and listened to podcasts, media, identification can take place when they developed online fan sites and groups, attended share a character’s perspective and vicariously fan conventions, and created fan art, among participate in his or her experiences (Cohen, other relevant activities. With the prevalence of 2001; Eyal & Rubin, 2003). In the context of such participatory behaviors, the goals of the Harry Potter, fans may feel similarity with, be present research are twofold: (a) To examine attracted to, or like certain characters in the how individual differences among fans predict narrative, making it easier to take characters’ involvement in fan communities, and (b) To perspectives and understand these characters’ explore how fandom is associated with a num- motives and goals. While identification can hap- ber of affective, cognitive, and behavioral re- pen when viewers consume media text, identi- sponses. Such inquiries of investigation provide fication can also be associated with ritualized deeper theoretical insight into the central factors fan practices (Soukup, 2002), such as engaging driving media fandom and illuminate our un- in a social network of similar others. Such prac- derstanding of how fans engage affectively, tices within a fan community may foster stron- cognitively, and behaviorally as a result of their ger mutual connections within the group, and communal experiences with media. increase involvement in ritualistic social prac- tices of identification (Fraser & Brown, 2002). Fandom and Identification However, the degree to which either form of identification occurs varies across individuals. Fandom refers to a subculture grounded on communal identification among individuals Individual Differences in Relation who build upon their shared interests in a media to Fandom object (Jenkins, 1992, 2006). Contrary to the notion of a passive audience, fans are active in Taking into consideration the important role their collection, production, and consumption of of identification in fandom, the current study media. They are not simply viewers, but rather suggests that certain individual difference char- functional and knowledgeable producers of cul- acteristics are expected to predict fan engage- tural capital (Fiske, 1992; Jancovich, 2002; Jen- ment, given its characteristics as informed by kins, 2000). Jenkins (2000) suggests that one of the work of McMillan and Chavis (1986). the principal characteristics of fandom is the “ability to transform personal reaction into so- This document is copyrighted by the American Psychological Association or one of its allied publishers. Narrative Exposure cial interaction, spectator culture into participa- This article is intended solely for the personal use of the individual user and is not to be disseminated broadly. tory culture” (p. 451). McMillan and Chavis Fans of any media product may vary in their (1986) describe four important elements en- level of exposure to the content universe. Media tailed in fan engagement. In their theory of coverage has been found to elevate not only “sense of community,” fans must (a) perceive audience members’ awareness of a media entity themselves as members of the group (feeling a but also their interest (Abelman & Atkin, 2002). sense of belonging, identification, and personal From a cultivation perspective, constant expo- investment), (b) feel that they have influence in sure to common themes in media can help shape their group and vice versa in order to establish viewers’ perspectives of the world (Gerbner, group cohesion, (c) feel rewarded for their par- 1998; Shanahan & Morgan, 1999). Frequent ticipation in the community, and (d) have exposure to narratives would likely impact au- FANDOM AND MEANING 3 dience responses (Sanders & Tsay-Vogel, 2014) themselves and how they prefer others to see and values, such that heavier consumption of them. While this theory focuses on individual these products is perhaps related to agreement roles, Tajfel and Turner’s (1979) social identity with values embedded in the narratives (e.g., theory argues that self-perceptions are inher- loyalty, morality, search for personal value, and ently based on both personal and social identi- friendship). Greater exposure to products such fiers, emphasizing the importance of group pro- as books and movies could also foster interest in cesses and intergroup relationships. Based on being involved with those who share similar the fundamental premise of social comparison values. Therefore, we propose the following (Festinger, 1954),
Load more

Recommended publications
  • 2 the Cultural Economy of Fandom JOHN FISKE
    2 The Cultural Economy of Fandom JOHN FISKE Fandom is a common feature of popular culture in industrial societies. It selects from the repertoire of mass-produced and mass-distributed entertainment certain performers, narratives or genres and takes them into the culture of a self-selected fraction of the people. They are then reworked into an intensely pleasurable, intensely signifying popular culture that is both similar to, yet significantly different from, the culture of more ‘normal’ popular audiences. Fandom is typically associated with cultural forms that the dominant value system denigrates – pop music, romance novels, comics, Hollywood mass-appeal stars (sport, probably because of its appeal to masculinity, is an exception). It is thus associated with the cultural tastes of subordinated formations of the people, particularly with those disempowered by any combination of gender, age, class and race. All popular audiences engage in varying degrees of semiotic productivity, producing meanings and pleasures that pertain to their social situation out of the products of the culture industries. But fans often turn this semiotic productivity into some form of textual production that can circulate among – and thus help to define – the fan community. Fans create a fan culture with its own systems of production and distribution that forms what I shall call a ‘shadow cultural economy’ that lies outside that of the cultural industries yet shares features with them which more normal popular culture lacks. In this essay I wish to use and develop Bourdieu’s metaphor of 30 THE CULTURAL ECONOMY OF FANDOM describing culture as an economy in which people invest and accumulate capital.
    [Show full text]
  • An Examination of Otaku Masculinity in Japan
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`=&$II;AUCFWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWY& & (C\F<&AH&7A>?<>?=&WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW_& & (C\F<=WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWa& & 2>?;A@ED?KA>WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWb& & 7BCI?<;&S]&/K=?A;KDCF&7A>?<c?WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWSQ& & 7BCI?<;&Q]&'?CPE&K>&?B<&:;<=<>?&+CGWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWQQ& & 7BCI?<;&Y]&3C=DEFK>K?G&K>&9CIC>]&'?CPE&C>@&4CFC;GJ<>WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWYS& & 7A>DFE=KA>WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW^R&
    [Show full text]
  • The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr.
    [Show full text]
  • For Fans by Fans: Early Science Fiction Fandom and the Fanzines
    FOR FANS BY FANS: EARLY SCIENCE FICTION FANDOM AND THE FANZINES by Rachel Anne Johnson B.A., The University of West Florida, 2012 B.A., Auburn University, 2009 A thesis submitted to the Department of English and World Languages College of Arts, Social Sciences, and Humanities The University of West Florida In partial fulfillment of the requirements for the degree of Master of Arts 2015 © 2015 Rachel Anne Johnson The thesis of Rachel Anne Johnson is approved: ____________________________________________ _________________ David M. Baulch, Ph.D., Committee Member Date ____________________________________________ _________________ David M. Earle, Ph.D., Committee Chair Date Accepted for the Department/Division: ____________________________________________ _________________ Gregory Tomso, Ph.D., Chair Date Accepted for the University: ____________________________________________ _________________ Richard S. Podemski, Ph.D., Dean, Graduate School Date ACKNOWLEDGMENTS First, I would like to thank Dr. David Earle for all of his help and guidance during this process. Without his feedback on countless revisions, this thesis would never have been possible. I would also like to thank Dr. David Baulch for his revisions and suggestions. His support helped keep the overwhelming process in perspective. Without the support of my family, I would never have been able to return to school. I thank you all for your unwavering assistance. Thank you for putting up with the stressful weeks when working near deadlines and thank you for understanding when delays
    [Show full text]
  • Alternate Universe Fan Videos and the Reinterpretation of the Media
    Alternate Universe Fan Videos and the Reinterpretation of the Media Source Introduction According to the Francesca Coppa, American scholar and co-founder of the Organization for Transformative Works1, fan videos are “a form of grassroots filmmaking in which clips from television shows and movies are set to music.”2 Fan videos are commonly referred to as: fanvid, songvid, vid, AMV (for Anime Music Video); their process of creation is called vidding and their editors (fan)vidders. While the “media tradition” described above in Francesca Coppa‟s definition is a crucial part of the fan video production, many other fan videos are created for anime, especially Asian ones (AMV), for video games (some of them called Machinima), or even for other subjects, from band tributes to other types of remix. The vidding tradition – in its current “shape” – goes back to the era of the first VCR; but the very first fan videos may be traced back to the seventies in a slideshow format. When channel mixers and numerous machines available to a large group of consumers emerged, this fan activity easily became an expanding one amongst the fan communities, who were often interested in new technology, whatever era it is. Vidding has now become a digital process, thanks to the expansion of computer and related technical means, including at least semiprofessional editing software. It seems relevant to point out how rare it is that a vidder goes through editing training when they begin to create fan videos, or even become a professional editor later on. Of course, exceptions exist, but vidding generally remains a hobby.
    [Show full text]
  • Report TABLE of CONTENTS
    The Power of Fandom Report TABLE OF CONTENTS I. Introduction: Why Should Brands Care About Fans?................................3 II. The Power of Fandom Overview...............................................................................6 i. Research Objectives & Methodology................................................................................7 ii. Who are Fans?.......................................................................................................................8 iii. Fandom is a Love Story......................................................................................................9 iv. Fandom Takes Many Forms............................................................................................10 v. Fandom is a Powerful Role in Our Lives.......................................................................12 vi. How Do We Become Fans?.............................................................................................14 vii. Can Fandom be Broken?.................................................................................................15 viii. The Way We Think About Fans Needs to Change...................................................16 III. Afterword: Identity Brands - Harnessing Fans and Brands.....................17 2 I. Introduction 3 WHY SHOULD BRANDS CARE ABOUT FANS? In today’s ever-shifting landscape, consumers have access to an endless array of content, products and services. They can engage with any brand they like whenever they like, however they like. And as the
    [Show full text]
  • How Existing Social Norms Can Help Shape the Next Generation of User-Generated Content
    Everything I Need To Know I Learned from Fandom: How Existing Social Norms Can Help Shape the Next Generation of User-Generated Content ABSTRACT With the growing popularity of YouTube and other platforms for user-generated content, such as blogs and wikis, copyright holders are increasingly concerned about potential infringing uses of their content. However, when enforcing their copyrights, owners often do not distinguish between direct piracy, such as uploading an entire episode of a television show, and transformative works, such as a fan-made video that incorporates clips from a television show. The line can be a difficult one to draw. However, there is at least one source of user- generated content that has existed for decades and that clearly differentiates itself from piracy: fandom and “fan fiction” writers. This note traces the history of fan communities and the copyright issues associated with fiction that borrows characters and settings that the fan-author did not create. The author discusses established social norms within these communities that developed to deal with copyright issues, such as requirements for non-commercial use and attribution, and how these norms track to Creative Commons licenses. The author argues that widespread use of these licenses, granting copyrighted works “some rights reserved” instead of “all rights reserved,” would allow copyright holders to give their consumers some creative freedom in creating transformative works, while maintaining the control needed to combat piracy. However, the author also suggests a more immediate solution: copyright holders, in making decisions concerning copyright enforcement, should consider using the norms associated with established user-generated content communities as a framework for drawing a line between transformative work and piracy.
    [Show full text]
  • A Portrait of Fandom Women in The
    DAUGHTERS OF THE DIGITAL: A PORTRAIT OF FANDOM WOMEN IN THE CONTEMPORARY INTERNET AGE ____________________________________ A Thesis Presented to The Honors TutoriAl College Ohio University _______________________________________ In PArtiAl Fulfillment of the Requirements for Graduation from the Honors TutoriAl College with the degree of Bachelor of Science in Journalism ______________________________________ by DelAney P. Murray April 2020 Murray 1 This thesis has been approved by The Honors TutoriAl College and the Department of Journalism __________________________ Dr. Eve Ng, AssociAte Professor, MediA Arts & Studies and Women’s, Gender, and Sexuality Studies Thesis Adviser ___________________________ Dr. Bernhard Debatin Director of Studies, Journalism ___________________________ Dr. Donal Skinner DeAn, Honors TutoriAl College ___________________________ Murray 2 Abstract MediA fandom — defined here by the curation of fiction, art, “zines” (independently printed mAgazines) and other forms of mediA creAted by fans of various pop culture franchises — is a rich subculture mAinly led by women and other mArginalized groups that has attracted mAinstreAm mediA attention in the past decAde. However, journalistic coverage of mediA fandom cAn be misinformed and include condescending framing. In order to remedy negatively biAsed framing seen in journalistic reporting on fandom, I wrote my own long form feAture showing the modern stAte of FAndom based on the generation of lAte millenniAl women who engaged in fandom between the eArly age of the Internet and today. This piece is mAinly focused on the modern experiences of women in fandom spaces and how they balAnce a lifelong connection to fandom, professional and personal connections, and ongoing issues they experience within fandom. My study is also contextualized by my studies in the contemporary history of mediA fan culture in the Internet age, beginning in the 1990’s And to the present day.
    [Show full text]
  • How Identities Formed in Online Fan Communities Affect Real Life Identities Aimee Ratka Honors College, Pace University
    Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College Summer 7-2018 Exploring Identities in Online Music Fandoms: How identities Formed in Online Fan Communities Affect Real Life Identities Aimee Ratka Honors College, Pace University Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Interpersonal and Small Group Communication Commons, Mass Communication Commons, and the Social Media Commons Recommended Citation Ratka, Aimee, "Exploring Identities in Online Music Fandoms: How identities Formed in Online Fan Communities Affect Real Life Identities" (2018). Honors College Theses. 174. https://digitalcommons.pace.edu/honorscollege_theses/174 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. EXPLORING IDENTITIES IN ONLINE MUSIC FANDOMS 1 Exploring Identities in Online Music Fandoms: How Identities Formed in Online Fan Communities Affect Real Life Identities Aimee Ratka Communications Studies Major, Marketing Minor Advisor: Dr. Aditi Paul Dyson College of Arts & Sciences Presentation Date: May 7, 2018 Graduation Date: May 22, 2018 EXPLORING IDENTITIES IN ONLINE MUSIC FANDOMS 2 Abstract This thesis set out to explore the identities formed by members of online fandom communities, and to determine the ways in which those identities affect their real life, offline identities. This qualitative study encountered elements related to stereotypes of young women who are fans of mainstream pop music, and provided insight on their experiences through interviews with five long time boy band online fandom members.
    [Show full text]
  • Bruce Pelz Collection on Science Fiction Fandom
    http://oac.cdlib.org/findaid/ark:/13030/c8d2241s No online items Bruce Pelz collection on Science Fiction fandom Special Collections & University Archives The UCR Library P.O. Box 5900 University of California Riverside, California 92517-5900 Phone: 951-827-3233 Fax: 951-827-4673 Email: [email protected] URL: http://library.ucr.edu/libraries/special-collections-university-archives © 2014 The Regents of the University of California. All rights reserved. Bruce Pelz collection on Science MS 343 1 Fiction fandom Descriptive Summary Title: Bruce Pelz collection on Science Fiction fandom Date (inclusive): circa 1940-2000 Collection Number: MS 343 Creator: Pelz, Bruce Extent: 94.79 linear feet(80 boxes) Repository: Rivera Library. Special Collections Department. Riverside, CA 92517-5900 Abstract: This collection contains programs, rosters, ballots, progress reports, fliers, and other material regarding Science Fiction and Fantasy fandom. Includes material related to Science Fiction and Fantasy based organizations and conventions. Languages: The collection is in English. Access This collection is unprocessed. Please contact Special Collections & University Archives regarding the availability of materials for research use. Publication Rights Copyright Unknown: Some materials in these collections may be protected by the U.S. Copyright Law (Title 17, U.S.C.). In addition, the reproduction, and/or commercial use, of some materials may be restricted by gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing agreement(s), and/or trademark rights. Distribution or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of the copyright owners. To the extent other restrictions apply, permission for distribution or reproduction from the applicable rights holder is also required.
    [Show full text]
  • Fandom, Fan Fiction and the Creative Mind ~Masterthesis Human Aspects of Information Technology~ Tilburg University
    Fandom, fan fiction and the creative mind ~Masterthesis Human Aspects of Information Technology~ Tilburg University Peter Güldenpfennig ANR: 438352 Supervisors: dr. A.M. Backus Prof. dr. O.M. Heynders Fandom, fan fiction and the creative mind Peter Güldenpfennig ANR: 438352 HAIT Master Thesis series nr. 11-010 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN COMMUNICATION AND INFORMATION SCIENCES, MASTER TRACK HUMAN ASPECTS OF INFORMATION TECHNOLOGY, AT THE FACULTY OF HUMANITIES OF TILBURG UNIVERSITY Thesis committee: [Dr. A.M. Backus] [Prof. dr. O.M. Heynders] Tilburg University Faculty of Humanities Department of Communication and Information Sciences Tilburg center for Cognition and Communication (TiCC) Tilburg, The Netherlands September 2011 Table of contents Introduction..........................................................................................................................................2 1. From fanzine to online-fiction, a short history of modern fandom..................................................5 1.1 Early fandom, the 1930's...........................................................................................................5 1.2 The start of media fandom, the 1960's and 1970's.....................................................................6 1.3 Spreading of media fandom and crossover, the 1980's..............................................................7 1.4 Fandom and the rise of the internet, online in the 1990's towards the new millennium............9
    [Show full text]
  • Embodying Cosplay: Fandom Communities in the Usa Natasha L
    Georgia State University ScholarWorks @ Georgia State University Anthropology Theses Department of Anthropology 5-3-2017 EMBODYING COSPLAY: FANDOM COMMUNITIES IN THE USA NATASHA L. HILL Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/anthro_theses Recommended Citation HILL, NATASHA L., "EMBODYING COSPLAY: FANDOM COMMUNITIES IN THE USA." Thesis, Georgia State University, 2017. https://scholarworks.gsu.edu/anthro_theses/119 This Thesis is brought to you for free and open access by the Department of Anthropology at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Anthropology Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EMBODYING COSPLAY: FANDOM COMMUNITIES IN THE USA by NATASHA LOREN HILL Under the Direction of Emanuela Guano ABSTRACT Cosplay is a portmanteau of costume and play, referring specifically to role-play. Cosplay consists of various costumed role-playing, such as anime, manga, video games, science-fiction, fantasy, horror, mythology, etc. In the 1990s, cosplay emerged as a popular street fashion subculture in Japan that has become a worldwide phenomenon. Cosplay was already present in North American popular culture in association with comic and science-fiction conventions. These events at the time were considered masquerades, not cosplay. Cosplay communities rely primarily on maintaining social relationships via internet communication and word of mouth. The standards for what constitutes cosplay are upheld by individuals, the community, and organizations. These organizations are made of security personnel, cosplay contest judges, local police, and convention staff. Through this ethnography on cosplayers, I will identify the hidden power structures, agency, and resistance or replication of hegemony in the community; by using a combination of interviews, participant observation, and auto-ethnography.
    [Show full text]