Life course transitions and the future of fandom

Harrington, C. Lee; Bielby, Denise D.; Bardo, Anthony R.

doi:10.1177/1367877911419158

Cited by 36 publications

(25 citation statements)

References 41 publications

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“…Harrington et al (2011) argue that, ‘… market constructions of adulthood and late life are increasingly important to how it is that adults negotiate 21st century ageing’. While certainly the pedagogical function of popular media and their representations is never uniformly successful nor uncontested, it is not insignificant.…”

Section: Discussionmentioning

confidence: 99%

Happily ever after? ‘Successful ageing’ and the heterosexual imaginary

Marshall

2017

European Journal of Cultural Studies

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‘Successful ageing’ has been a controversial concept in cultural gerontology, prompting critiques of its inherent individualism, neglect of structural inequalities and promotion of neoliberal strategies of self-care. This article aims at developing the critique of its heteronormative underpinnings. Drawing on cultural gerontology, feminist theory and queer theory, a critique of the rhetoric and visual representation of ‘successful ageing’ is developed that demonstrates the extent to which ‘success’ is equated with enactments of normative, gendered heterosexuality. The intent is not to simply map the exclusion or marginalization of queer representations but to make visible the ways in which assumptions of heterosexuality organize the visual field of ‘successful ageing’. Using examples from ‘lifestyle’ magazines and health promotion materials aimed at mid-to-later life adults, I demonstrate how the promise of ‘heterohappiness’ shapes visions of anticipatory ageing. This article forms part of ‘Media and the Ageing Body’ Special Issue.

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Section: Discussionmentioning

confidence: 99%

Happily ever after? ‘Successful ageing’ and the heterosexual imaginary

Marshall

2017

European Journal of Cultural Studies

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“…The object and the community make up a part of the fan's life, providing tools to create a self-narrative and a stable sense of who they are. While this, like other examples of identity formation, is often talked about as part of childhood, adolescence, and/or early adulthood, as Bielby (2010a, 2010b) and Harrington, Bielby, and Bardo (2011) explain, it can also be an important resource to draw on as fans age. Fandom can provide a continuing structure throughout the fan's life, providing a framework to navigate different life stages while maintaining a stable sense of self.…”

Section: Place and Fandommentioning

confidence: 99%

Fan homecoming: analyzing the role of place in long-term fandom ofThe Prisoner

Waysdorf

Reijnders

2018

Popular Communication

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This article investigates the potential role and use of place in longterm fandom, via a case study of fans of The Prisoner and its main filming location of Portmeirion in North Wales. Much research on film tourism focuses on one-time encounters, but fans of The Prisoner have been visiting and revisiting Portmeirion regularly for over 50 years, potentially developing a different sort of relationship with it. Based on interviews with 16 long-term fans of The Prisoner and participatory observation on site, we develop the concept of the "fan homecoming," a return visit to a familiar fandom-related place, and show how this relationship with place can shape long-term fandom. In facilitating repeated and ritualized practices, being able to regularly gather with other fans, and providing a "safe vault" for the fandom and its memories, place is shown to have an integral role.

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“…Moreover, increasingly fandom is being conceived as an unexceptional and often mundane occurrence within everyday life (e.g., Crawford, 2004;Grossberg, 1992), particularly in light 7 of the diverse ways contemporary audiences engage with and potentially manipulate mediations across wide-ranging platforms on a daily basis (Cleland, 2011;Gray, Sandvoss, & Harrington, 2007;Harrington, Bielby & Bardo, 2011;Jenkins, 2006Jenkins, , 2014.…”

Section: Affective Fandommentioning

confidence: 99%

Playing With the Autoethnographical

Sturm

2014

Cultural Studies ↔ Critical Methodologies

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My article is premised on seeking to 'show' rather than 'tell' (Denzin, 2010;Ellis, 2004Ellis, , 2009). In particular, my aim is to show fandom as performative, affective and varying in intensities, rather than tell through potentially reductive over-analysis and theoretical abstraction. My own traversing of the autoethnographic terrain has entailed a spectrum of affective registries; works have resonated, inspired, challenged, provoked, agitated, enlightened and frustrated me, often simultaneously within the same text. Holman Jones, Adams and Ellis (2013a) note that "autoethnography creates a space for a turn, a change, a reconsideration of how we think, how we do research and relationships" (p. 21), with a salient aspiration characteristic of autoethnography steering towards "creating a reciprocal relationship with audiences in order to compel a response" (p. 22). Moreover, Ellis and Bochner (2006) intimate that autoethnography aims to be "unruly, dangerous, vulnerable, rebellious, and creative" (p. 433) as a mode of inquiry, with these often explicitly 'messy' texts designed to provoke readers, to question, to (re)think, and potentially to act by being

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Life course transitions and the future of fandom

Cited by 36 publications

References 41 publications

Happily ever after? ‘Successful ageing’ and the heterosexual imaginary

Happily ever after? ‘Successful ageing’ and the heterosexual imaginary

Fan homecoming: analyzing the role of place in long-term fandom ofThe Prisoner

Playing With the Autoethnographical

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