Addicted To Passion
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  • agnesevellar TVTB

Addicted To Passion Addicted To Passion Presentation Transcript

  • Addicted to Passion Performances of Fan Audiencehood in Italian Networked Publics Agnese Vellar PhD student in Communication Science Department of Social Sciences. Università degli Studi di Torino. Italy 1
  • Performances of Fan Audiencehood in Italian Networked Publics • Scenario: Fan Cultures in Networked Publics • Methodology: auto + multiseted ethography • Case Study: ::Italian Subs Addicted:: • Conclusion: How to became “Addicted to Passion” 2
  • Fan Cultures in Networked Publics 3
  • Networked Publics Mobilized audiences ption co-o Example: adoption Networke  P2P Networks d Digital Media  Telecoons  Fandom adaptation Niche peer cultures Special Interest Group Ito, M. (2008) Networked Publics: Introduction. In Kazys Varnelis (ed), Networked Publics. Cambridge, MA: MIT Press. 4
  • Generations of Fandom 80s 90s 00s Textual Hackers Pop Cosmopolitanism Textual Poeachers Interpretive community Participatory media culture subculture Utopy Complexity Diversity - MediaMix Star Trek Twin Peaks (Buffyverse –Mangaverse) Jenkins, H. (2006) Fans, Blogger, and Gamers. Exploring Participatory Cultures. New York: New York Univesity. 5
  • Generations of online Fandom Cultural dupes? Victims of exploitation? networked collectivism site-based online community Social media and offline sites (newsgroup) (Official Web Site, MySpace Porfile, Blog, SNS) Baym, N. K. (2000) Tune in, Log on: Soap, fandom, and online community. Tousand Oaks, CA: Sage. Baym, N. K. (2007) The new shape of online community: The example of Swedish independent music fandom. In First Monday, 12 (8). 6
  • Online Audience Community of Practice prolific diadic personality frienship Lurkers Performative Usenet newsgrou Informative p on soap opera Interpretive Bunch of close friends From shared appreciation to shared identity Baym, N. K. (2000) Tune in, Log on: Soap, fandom, and online community. Tousand Oaks, CA: Sage. 7
  • Textual Performers symbolic capital social cultural capital capital competitio n Emergence of fan cultures 8 Hills, M. (2002) Fan Cultures. London: Routledge.
  • Performances of Fan Audiencehood Newsgroups’s serialization of the fan audience itself Self presentation and self performance of the audience-as-text Just-in-time-fandom 9 Hills, M. (2002) Fan Cultures. London: Routledge.
  • Contemporary media landscape Cross- Corporation Media Platform Concergenc e Culture Primary Seconday text Media-mix Partecipatory Amateur media Tertiary text media cultures production Jenkins, H. (2006b) Convergence Culture: Where Old and New Media Collide. New York: New York University Press 10 2006.
  • Amateur Experts and Indie Music cultural capital economic Label capital symbolic capital getting attentio n Artists social Fan promoters capital • Investment in carrer • Artist’s peer • Enthusiast Baym, N. K. and Burnett, R. (2008). Amateur experts: International fan labor in Swedish independent music. Paper Prepared for Internet 11 Research, 9.0, Copenhagen, Denmark. October, 2008. http://www.onlinefandom.com/wp-content/uploads/2008/10/amateurexperts.pdf
  • Social Interaction and Television 2.0 Characters Insider community n io Para-social interaction act Producers er nt Actors i al ci so Directors al on ag Di Social Interaction Aspire to have privileged connection Askwith, I.D. (2007). Television 2.0: Reconceptualizing TV as an Engagement Medium. Masters thesis of Science in 12 Comparative Media Studies at MIT, September.
  • Digital Youth: genres of participation Interest-driven Friendship-driven g s sin d Me oun Ar t g Ou g in O ut Han g e kin Ge MacArthur Foundation (2008) Living and Learning with New Media: Summary of Findings from the Digital Youth Project. The John D. and Catherine T. MacArthur Foundation Reports on Digital Media and Learning, November 2008. 13 http://digitalyouth.ischool.berkeley.edu/files/report/digitalyouth-WhitePaper.pdf
  • Hanging Out peers Always on communication integrated with their everyday hanging out practices social network sites MacArthur Foundation (2008) Living and Learning with New Media: Summary of Findings from the Digital Youth Project. The John D. and Catherine T. MacArthur Foundation Reports on Digital Media and Learning, November 2008. 14 http://digitalyouth.ischool.berkeley.edu/files/report/digitalyouth-WhitePaper.pdf
  • Social Capital and College Students connection could have strong payoffs in terms of jobs, internship, and other opportunity. (p. 22) Low barriers of participation  formation of weak ties Self-esteem: Primary Audience: “Poor get richer” hypothesis offline connection Ellison, N. B., Steinfield, C., & Lampe, C. (2007) The benefits of Facebook quot;friends:quot; Social capital and college students' use of online social 15 network sites. In Journal of Computer-Mediated Communication, 12(4), Art. 1. http://jcmc.indiana.edu/vol12/issue4/ellison.html.
  • Taste performance cultural social capital capital Performance to seek prestige Popular culture Differentiate and form friends subcultures Cult markers of cool Indicators of one’s aesthetic 16 Liu, H. (2007) Social network profiles as taste performances. In Journal of Computer-Mediated Communication, 13(1), Art. 13.
  • Presentation of Self in Networked Publics Presentation of self and Impression management (Goffman) and Bedroom Culture and Fashion If you’re not on Egocentric network MySpace, you don’t exist Invisible audiences Collapsed context Self-reflexive identity production for immagined audience Facet of teen’s identity based on the social context boyd, D. (2008) Taken Out of Content. American Teen Sociality in Networket Publics. PhD dissertation. School of 17 Information UC-Berkeley. http://www.danah.org/papers/TakenOutOfContext.pdf
  • Private/Public The dicotomy is more productive visualized as a fractal distinction character  Privately public  fans public The use of media by members of a social group to stay connect or to became interact with other a celeb members […] supports social Media networks circui facilitating and technically t mediating social interactions amoug people within a connect network. (p. 363) with friends pricate show real identity  Publicly private  close friends Lange, P.G. (2008) Publicly Private and Privately Public: Social Networking on YouTube. In Journal of Computer- 18 Mediated Communication, 13, 361-380.
  • Messing Around Reflexively thinking abot himself and his work n tio ria r op g A pp f yin dy te Mo /p as Experimentation and exploration py Co Lurk and anonymous Media creation with participation in social spaces digital tools MacArthur Foundation (2008) Living and Learning with New Media: Summary of Findings from the Digital Youth Project. The John D. and Catherine T. MacArthur Foundation Reports on Digital Media and Learning, November 2008. 19 http://digitalyouth.ischool.berkeley.edu/files/report/digitalyouth-WhitePaper.pdf
  • Digital Youth and New Media Litaracy Genres of media Social interaction symbolic capital cultural social capital capital Fansubs Personal Profile Machinima Video blog Casual form of online Mashups speach Remix Nuanced social norm Web comics 20 Ito, M. (2008) Networked Publics: Introduction. In Kazys Varnelis (ed), Networked Publics. Cambridge, MA: MIT Press.
  • Youthful content creation in SNS Elaborating the presentation of self at the node supports the biographization of the self by prioritizing a managed and stylize display identity as lifestyle. (p. 403) Online identity Innovative peer culture Creativity Sociability Self-expression Community-engagement New literacy Livingstone, S. (2008) Taking risky opportunities in youthful content creation: teenagers’ use of social networking sites 21 for intimacy, privacy and self-expression. In New Media & Society 10(3): 393-411.
  • Geeking Out Intense commitment or engagement with media or technology k ac e db Fe nin g r Lea itio n n og n Rec tio ta Interest-Based Communities and Organization pu Re Fandom, amateur media, gaming MacArthur Foundation (2008) Living and Learning with New Media: Summary of Findings from the Digital Youth Project. The John D. and Catherine T. MacArthur Foundation Reports on Digital Media and Learning, November 2008. 22 http://digitalyouth.ischool.berkeley.edu/files/report/digitalyouth-WhitePaper.pdf
  • Tertiary text in Television 2.0 Creative work Social Text Productive activity Basis for social interaction Collaborative Knowledge remix content to create new share emotions and meaning opinions ♥ Fan Fan Fic art ☻ ☺ Askwith, I.D. (2007). Television 2.0: Reconceptualizing TV as an Engagement Medium. Masters thesis of Science in 23 Comparative Media Studies at MIT, September.
  • Reconceptualizing audiences Mass Culture Convergence Culture audience / celebrity as a dicotomy audience  celebrity as a process star system Micro celebrities Starring system Mobilized audiences staring system 24
  • Starring System egocentric network and networked collectivism Remix cultural material Self-expression – Creativity – New literacy – Peer education I argue that fan cultures can be understood as a starring system: a network of 25 multifaceted and multisited individual and collective performances of audiencehood
  • Starring System symbolic capital social cultural capital capital Remix cultural material competition and collaboration In the starring system fans compete, collaborate and remix cultural material 26 in order to gain visibility and acquire social and cultural capital.
  • Aca/Fan academic scholar-fan fan-scholar fan professional amateur 27 Hills, M. (2002) Fan Cultures. London: Routledge.
  • Starring System The dicotomies audience/celebrity and academic/fan could be more productive visualized as a fractal distinction celebrity micro-celebrity e m aka audience academic scholar-fan fan-scholar fan 28
  • Methodology • Analytical auto-ethnography of gg_akame. • Multisited participant-observation on ::ItaSa::. • Biographical interviews with Itasiani. 29
  • Autoethnography: narratives of the fan The cultural identities of lecturers and students who are fans need to be examined more carefully so that ‘theory’ and ‘experience’ can be brought closer toghether. (p. 22) Autoethnography could chart how multiple fandom are linked throught the individual’s realization of the self-identity. (p. 81) 30 Hills, M. (2002) Fan Cultures. London: Routledge.
  • Significant fandoms over time 31 85s 90s 95s University 00s ADSL 05s
  • Significant serial fandoms over time ITA University ADSL ::ItaSa:: USA 32 90s 00s 02 03 04 05 06 07 08 09
  • Fandom grouped by subject and intertextually linked Transmedia auteur More freak fan Writers than geek Chick in boot 33
  • Online self over time Living Research on Social Media Ethographic research on fandom Abroad + Working in a (ICT) office email gg_akame agneseh agnesevellar agnese[H:] akame 34 99s 05s 07s 08 09
  • 35
  • 36
  • Shut up! I’m studyng!!! 37
  • I loooove Carrie Bradshaw! You are not a fashionista. I wanna be a coloumnist. “The relationship between spectatorship and spending may be less clear than criticist suggest. Rather than influencing women to spend more on consumers goods, such films – along with chick-lit novels- might just as likely satisfy or replace the desire to consume. […] Chick flick thus serve as relatively guiltless pleasure.” Ferriss, S. (ed) (2008) Chick Flicks. Contemporary Women at the Movies. NY: Routledge. p.13 38
  • 39
  • I’ve grown up in a concept oriented family and I spend my teenhood reading books. 40 Lull, J. (1990) Inside Family Viewing. London: Routledge.
  • I’m currently search in the media famale role models that satisfies me more that the ones proposed by my local community. 41 Ferriss, S. (ed) (2008) Chick Flicks. Contemporary Women at the Movies. NY: Routledge.
  • Analytical auto-ethnography is not evocative authoethnogrphy (author saturaltion and self absosorption) Narrative visibility to the researcher self Analytic reflexivity Commitment to theoretical analysis Dialogue with informants beyond the self Complete member researcher (CRM) status Anderson, L (2006). Analytic Autoethnography. In Journal of Contemporary Ethnography, 35(4), 373-395. 42
  • akame and the Others Dialogue with informants beyond the self. Egocentric network Networked collectivism 43
  • “Dialogue with informants beyond the self” Anderson, L (2006). Analytic Autoethnography. In Journal of Contemporary Ethnography, 35(4), 373-395. 44
  • ::Italian Subs Addicted:: a community of fansubber Performances of Fan Audiencehood in Italian Networked Publics 45
  • Italian Networked Public Egocentric/Collective: The dicotomy is more productive visualized as a fractal distinction Common passion  Collective identity Networked collectivism  Networked community Fandom of american tv serial Itasa generational immagined community community of practice g e kin g Ge ut ssin d O Me oun Ar g symbolic n g in capital Ha ut O Egocentric network  Egocentric participation 46
  • Multi-sited participant-observation Forum Facebook Twitter November 2008 May 2009 Genuary 2009 Telefilm festival 47 May 2009
  • Founded in december 2005 by Klonni 199 traduzione, revisione, moderazione globale, amministrazione sito 7 Lo staff traduzione, revisione, moderazione globale 19 Subtitles •Tv serial (circa traduzione, revisione 16 300) •movie traduzione •anime traduttori in prova 148 •documentary resync 9 Forum Utenti più di 130.000 ***JACOB*** 10.000 3 32 board Gregory House 6500 9999 3 More than 30.000 thread Jack Bauer 5000 6499 10 Christian Troy 3500 4999 8 More than 1.000.000 post Hiro Nakamura 2000 3499 25 Michael Scofield 1000 1999 42 Dexter Morgan 500 999 60 Earl Hickey 200 499 174 Kyle 100 199 175 Betty Suarez 50 99 292 Meredith Grey 0 50 più di 115.000 48 december 2008
  • Online Data Performance of fan audiencehood collective individual ::ItaSa:: Itasiani Fan art Online profiles 49
  • ::ItaSa:: Collective performance - Official Identity National channel new  media  mass Spoiler Tv Articles in magazine Web site 50
  • Generational passion: tv serial Chi di noi degli anni Ottanta può dire di non aver visto alla mattina quando magari si saltava scuola i telefilm come MacGyver, Hazzard, e poi aver visto questi telefilm moltiplicarsi, essere sempre di più. 51 SpoilerTv. La3Tv. Pilot. 1x01
  • Studies on Italian Audiences Disenchanted (cohort 1979-1985) Technical Music, New Media, Tv competence and Production (serial, MTV, cartoons, interest in the new and quiz). technologies. performativity Self-representation moral dualism (fan/fanatic) Aroldi, P., Colombo F., (ed) (2003). Le età della tv. Indagine su quattro generazioni di spettatori italiani. Milano: Vita e Pensiero. Scaglioni, M. (2006) Tv di culto. La serialità televisiva americana e il suo fandom. Milano: Vita e Pensiero. 52
  • ::ItaSa:: Generational passion Spread the passion Irony - Reflexivity Reinforce the italian to differentiate themself fandom. from a broad fan audiencehood. amateur experts Acquire the competence to analyze and produce tertiary text. Have more sucultural capital than the professional translator. 53
  • Amateur experts Textual and extratextual knowledge Require an interpretive community 54 SpoilerTv. La3Tv. Pilot. 1x01
  • Spread the passion Community of practice Translate the subtitles of american serial for the italian audience 55 SpoilerTv. La3Tv. Pilot. 1x01
  • Performance of humor Ironic performance of commitment Reflexive performance of emotional involvement 56 Baym, N. K. (1995). The Performance of Humor in Computer-Mediated Communication. In Journal of Computer-Mediated Communication. 1(2).
  • From online groups to a diffuse community Online group Offline local subgroups a commont interest a common place Sense of belonging Community of practice Collective identity a common project a common ethos 57
  • Subgroups in ::ItaSa:: Web Portal: staff Collective performance of amateur expertise negotiation subgoups emerges Off Topic ::ItaSa:: Family Other online and Forum: users Performance of fan audiencehood offline sites 58
  • Differences in subgroups The two most actice boards on topic Interest-driven Mainstream cult Niche cult ve it reti kn y erp oup ht it nt tig un n i ubgr A s A mm co Friendship-driven Off Topic  ::ItaSa:: Family Hanging out with fans:  Threads off-topic in ItaSa: ● Role Play Gama; th t wi ● “Good night thresas” ou g  MSN and Facebook gin fans an H 59
  • The L Addicted Niche media cult  emerge a tight knit community Moderator Diadic Contextualized in a subculture Prolific personality friendship Bunch of close friends with a common ethos:  respect the differences;  irony. Gendered identity  Creative and ironic analysis of the episodes.  Collective online viewing.  Offline meetings. Baym, N. K. (2000) Tune in, Log on: Soap, fandom, and online community. Tousand Oaks, CA: Sage. 60
  • Itasiani Individual performance of creativity Fan Art (1374) self expression  public Personal profile over time Media circui t private  61
  • N° Documenti Fan Art Avatar 797 Banner e Sign 185 Usebar 185 Screencaps 41 Images 39 Wallpaper 36 Cosplaying? 32 Comics (screencap + comic) 27 Animated Gif 19 Fan Vid 6 Fan Fiction, Fan Song 5 Calendar 2 documenti pubblicati in thread e sezioni specificatamente dedicate alla condivisione di fan art. Al dicembre 2008 62
  • Presentation of self: Avatar - Sign Set: avatar + sign Character + Name + Quotation Sign “ordered” User Creator 63
  • Presentation of self: Banner Identification with a serial / a character Identification with the community / definition of the role 64
  • Skins: Evocative screencaps + title “I feel so lonely” “I really like my lunch” 65
  • New media form fiction & realty visual & verbal 66
  • Cosplaying? 67
  • Amateur production in ::ItaSa:: Fandom of american tv serial  public immagined transnational community Shared in a transational environmente Niche media communication Italian fandom of american tv serial  Informative: subs, spoiler tv. generational immagined national community self expression  Creative: images, fanfic. Peer to peer communication Itasiani  Media analysis: screencaps community of practice  Online speech: animated Gif Presentation of self private  Self rapresentation  Online profile: avatar, banner, sign.  Digital accessories: wallpaper, calendar. Self-direct 68
  • The Starring System in italian Networked Publics Cult celebrity Audiences Performance of amateur expertise (Publics) (Community of practice) Identify themself with characters, actors and Perform their competence and auteurs (directors, their creativity analizing complex creators, producers). text and producing creative work. Performance of audiencehood (Networked publics) Rapresent themself with verbal quotation and images of actors and characters. 69
  • The Glocal Village Pop Cosmopolitanism (diversity: a common ethos?) Audience community Community of practice Interest in foreign products Acquire the compentence to and independent movies. translate the subtitle. “Too curious to wait”. transnational immagined community 70
  • Gatekeepers and video divide Cross Media Platform Techno elite – professional organization (english) Pop elite – community of practice Commercial P2P media sharing Networks (controll) (open) Translation ita/end National PayTv Community of practice (walled garden) (blog, portal) Niche (eg: Italian fandom ) National TV National Immagined Community (italian) 71
  • From acces to participatory divide New socio-technical environment requires new social skills. New form of literacy requires new media education (whitout the lost of the traditional literacy). generational gendered divide? Professional Amateur ongoing education peer education boyd, d. (2008) Taken Out of Content. American Teen Sociality in Networked Publics. PhD dissertation. School of Information UC-Berkeley. http:// www.danah.org/papers/TakenOutOfContext.pdf 72
  • Peer driven learning Adults, administrator, … Aspire to became models status reputation seek visibility Fan 73 Ito, M. (2008) Networked Publics: Introduction. In Kazys Varnelis (ed), Networked Publics. Cambridge, MA: MIT Press.
  • How to became an Addicted Biographical interviews with Itasiani to investigate the role of the fandom in the biography of youth. Media Dialogue with informants education? beyond the self. Egocentric networks Networked collectivism 74
  • Biography of productive fan techie PR and Tutor artist Technical competence Leadership Creative Organizational 75 Scaglioni, M. (2006) Tv di culto. La serialità televisiva americana e il suo fandom. Milano: Vita e Pensiero.
  • Convergence Culture where… media national languages languages generations ethic groups genders …collides. 76
  • Kinds of education New media education Reflexivity Foreign Languages Learn to learn …learn to collide. 77
  • Thank U agnesevellar@gmail.com http://www.agneseh.wordpress.com http://twitter.com/agneseh Sub Eng ::Italian Subs Addicted:: [ http://www.italiansubs.net/ ] 78