The sociability of Millennials in cyberspace

Nakajima, Seio

doi:10.4324/9780429056093-6

Cited by 13 publications

(2 citation statements)

References 1 publication

Supporting

Mentioning

Contrasting

Order By: Relevance

“…During online ethnography, what stands out in the danmaku -enabled streaming music festival is that the importance of danmaku interaction is somewhat higher than the music itself for many audiences, especially non-music lovers. This finding is consistent with that of Seio Nakajima (2019: 109), who found that danmaku users seemed ‘to foreground the importance of forms as the purpose of interaction and communication was the continuation and proliferation of communication itself’. Because this study’s interviewee population is restricted to indie music lovers, it is difficult to examine how other audiences evaluate danmaku and music.…”

Section: Resultssupporting

confidence: 90%

“…The popularity of streaming music festivals in China is inseparable from the media that affords them, namely danmaku -enabled live-streaming platforms. First released by the Japanese video platform Niconico, danmaku ( Dàn mù , 弹幕 in Chinese / danmaku , 弾幕 in Japanese) is a subtitling system that enables viewers to post comments on a video timeline and have those comments overlayed on the video (Nakajima, 2019). The technological-interactive features of online video platforms have become somewhat of a trend, making communication and interaction an integral part of many people’s watching experiences of mediated videos.…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Why Live Music Matters: Implications from Streaming Music Festivals in the Chinese Indie Music Scene

Zhao

2022

Cultural Sociology

View full text Add to dashboard Cite

During the COVID-19 pandemic, a new form of live music – streaming music festivals – has been popularised in China. With a particular reference to the Chinese indie music scene, this article critically examines the changes that streaming music festivals bring to audiences and music. Through a comparison to offline live music activities, this article examines the spatial change and its consequences for audiences, the shift of shared meaning within indie music communities, and the alteration in the value of music. This article argues, based on interviews and online ethnography, that by immersing themselves in live music, indie music lovers position themselves in multiple social relationships, seek shared meanings with peers, and construct the self through cultural participation; however, streaming music festivals cannot achieve similar effects as offline live music. The findings help us understand more about the digital trend of live music and allow us to reflect on what ‘live’ really means to the audience and the music.

show abstract

Section: Resultssupporting

confidence: 90%

Section: Introductionmentioning

confidence: 99%