Fandom as an object and the objects of fandom

Abstract

Em seu escritório, cercado por livros, memorabilia de filmes e diversos objetos cult, Matt Hills falou sobre os desafios teóricos e empíricos na definição e estudos dos fãs, a complexidade do termo e os tipos de envolvimento e comportamento no fandom online e offline.MATRIZes: Qual é sua formação acadêmica e como se interessou pelos estudos de fã?Matt Hills: Tenho sido um fã de diversos programas de TV e filmes por praticamente toda a minha vida. Particularmente -e isso se relaciona ao fato de ter trabalhado bastante sobre isso -quando criança, era um grande fã de Doctor Who. A série é uma parte significativa da cultura britânica, certamente durante os anos 1970 e na década de 1980 quando cresci. Ele saiu do ar como um programa de TV ativo ao fim da década de 1980, retornou em 1996 como * Professor no Department of Theatre, Film and Television Studies da Aberystwyth University.

O Papel Do Fã Em Kick-Ass: Uma Análise Do Fandom Como Ferramenta Didática

“…Talvez ambos: realismoe e verossimilhança] à narrativa de Kick-Ass. Os paralelos entre o universo de fãs leitores e os personagens da obra são diversos: segundo Hills (2015), o fã é geralmente determinado pelo seu grau de engajamento com o seu objeto de interesse; enquanto a audiência casual tende a não se engajar em atividades relacionadas ao que gostam, os fãs têm participação ativa. Essa participação, no entanto, é muito abrangente, o que faz com que o termo "fã" seja utilizado para muitos contextos diferentes.…”

Introducing Studio Ghibli

“…As described by Limor Shifman, memes are first and foremost 'pieces of cultural information that pass along from person to person, but gradually scale into a shared social phenomenon' (2014: 18, emphasis in the original), fertilized in the increasingly transcultural convergence of not just media, but online fan spaces as well . As shared social phenomena, memes are fundamentally intertextual (Shifman 2014: 2) in ways that mirror 'transfandom' (Hills 2015), nodal fan articulations of often-unrelated media whose affective resonance depends largely on the recognition of intertextual affinities. Like memes, transfandom works and spaces 'constitute shared spheres of cultural knowledge' (Shifman 2014: 173), or experiential 'third spaces' (Williams 2015: 79) in which 'multiple fandoms, texts, and meanings' (Booth 2016: 17) commingle and recombine in ways that, when successful, provoke what Roland Barthes (1975) adamantly calls the 'bliss' (21) of intertextual recognition.…”

Challenging prime time television

“…Therefore, audience members who would not identify themselves as fans can engage in 'fanlike' activities involving social media (Hills, 2015). As expressed by one of our respondents when the telenovela is boring, I change the channel or watch something on the Internet, whilst some of the more common reasons to join the groups were to have some fun, swearing at characters and interacting with people or just to make some friends.…”

“…Additionally, as an everyday media phenomenon, this article contributes to the literature of fan studies, considering a more nuanced understanding of different fan-like media practices. According to Gray (2003) and Hills (2015), some studies focus solely on the viewing practices of fans, whilst other categories such as non-fans are overlooked. In this sense, we consider our research to be a valuable contribution by considering the interaction of fans and non-fans (or even 'anti-fans') together.…”

“…Paraphrasing Giulianotti's (2002) assertion regarding football fandom, followers of a specific telenovela can be interested in other telenovelas or other TV shows, becoming agents on the move between arrays of media options. Furthermore, as Hills (2015) states, media consumption habits are not limited to what might be labelled as fan-texts: Consequently, dedicated following of media content does not necessarily mean full integration into self-identity.…”