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),