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Digital archives, fandom histories, and the reproduction of the hegemony of play

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Digital archives, fandom histories, and the reproduction of the hegemony of play

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This is an article that talks about a variety of things, like how fandom history is affected by video algorithms that push non-diverse content that, in turn, is what gets remembered and documented in fandom history, making it a less inclusive place. In this case, the author brings up League of Legends, where all popular fan documentaries mainly showcase white and asian men. Women are only really mentioned to talk about how all-women teams ended up failing. It also mentions how important the fan archives of the brands' histories are since most brands want you to forget their past. The rest is even more on how the YouTube algorithm seems to treat women playing video games.

Woodhouse, Taylore Nicole. 2022. "Digital Archives, Fandom Histories, and the Reproduction of the Hegemony of Play." In "Fandom Histories," edited by Philipp Dominik Keidl and Abby S. Waysdorf, special issue, Transformative Works and Cultures, no. 37. https://doi.org/10.3983/twc.2022.2105.

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Analysis of the Social   Impact of Fandom   Culture in “Idol” Context

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Analysis of the Social   Impact of Fandom   Culture in “Idol” Context

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This article starts off talking about how fans can influence and idols career though talking about them on forums, starting campaigns, and voting for them for music shows or contests. It talks about how supporting idols can give fans cultural capital. It goes in-depth about how making fandom culture mainstream has caused negative effects, such as, mass hysteria, bullying, and "isolated over-attachment" (referred to here as parasocial relationships)

"Analysis of the Social Impact of Fandom Culture in “Idol” Context"

written by Yangqingge Zhao,

published by Advances in Journalism and Communication, Vol.10 No.4, 2022

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Fan Cultures: On the Impossible Formation of Global and Transnational Fandoms

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Fan Cultures: On the Impossible Formation of Global and Transnational Fandoms

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This article starts by defining what a fan is and how companies are starting to take advantage of how they consume content to use trans/multimedia mixes of content. He states that researchers don't put effort into learning fans offline identities as "being a fan of a specific object takes precedence". He is arguing that global and transnational fan groups can't truly be made because of differences in the way they are fans caused by local factors. The surveys sent out were mostly answered by Americans (44.3%)with very few people from other areas responding. He mentioned that in some areas of the world it is only possible for fans to consume content and not create.

Siuda, Piotr. “(PDF) Fan Cultures: On The Impossible Formation of Global and Transnational Fandoms.” Fan Cultures: On the Impossible Formation of Global and Transnational Fandoms , www.researchgate.net/publication/259575646_Fan_Cultures_On_the_Impossible_Formation_of_Global_and_Transnational_Fandoms.

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Global Fandom: Julie Escurignan (France)

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Global Fandom: Julie Escurignan (France)

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Similar to "Fan Cultures: On the Impossible Formation of Global and Transnational Fandoms," There was also a survey done in this article, and the sample size is 1954 spread across 3 languages. Fans do not consider language as an obstacle in their enjoyment of content however, their location is a massive issue due to lack of fan-dedicated events and access to merchandise.

Julie Escurignan. “Global Fandom: Julie Escurignan (France) - Pop Junctions.” Pop Junctions, Henry Jenkins, 19 Apr. 2022, henryjenkins.org/blog/2021/9/8/global-fandom-julie-escurignan-france.

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I have observed striking similarities in the activities all fans engage in: most fans talk about the series with people (94-98% of them), are present online (46 to 52%) and own merchandise (17 to 21%). On the other end of the spectrum, material practices such as creative activities, cosplay, conventions and film tourism only engage between 1 and 6% of fans. These are very marginal yet visible activities in the fan community. They are also engaging activities. It therefore appears that the more engaging the fan practice, the more marginal it is amongst the fan community. No matter their origin, situation or language spoken, the activities Game of Thrones fans engage in and the proportions to which they do so are surprisingly homogenous. I believe there is a "differentiated simultaneity of experience" (Athique, 2016: 151) in Game of Thrones fans' experience: wherever they are located, whoever they are, fans experience a similarity of experiences in relation to their universe of fandom. In terms of creativity and commodification, I have uncovered that fans reuse the visual identity created by HBO to make objects that often fill a gap in the official merchandising offer, whether it is regarding design, price or product itself. For example, the official HBO shop does not offer cosplay artefacts whereas on the peer-to-peer e-platform Etsy, fan-creators have reproduced many costumes and pieces of jewellery from the series and sell them to fellow cosplayers. Therefore, while fans value as a priority what comes from HBO, they will create the media and material absent from the official offer.

At the beginning of this study, I identified two elements that I thought would constitute barriers in fans' full enjoyment of the franchise: language and geographical location. Several questions in the surveys were meant to put these hypotheses to the test and allowed me to discover that fans do not cite language as an obstacle to their enjoyment of the franchise. Geographical location, however, appears to be a barrier in fans' experience: according to where they are, fans do not have the same access to the franchise, particularly in terms of access to merchandise, conventions, fan-dedicated events as well as community. According to fans' accounts, places like Latin America or Israel do not host many fan events and conventions, and the official HBO shop does not ship products to Latin America and Europe anymore, making the purchase of official Game of Thrones merchandise more difficult. Some respondents underline the lack of fan community where they reside: an English-speaking fan mentioned that he would like to play more board games related to Game of Thrones "but don't have others to play with locally". Similarly, rural French cosplayers highlight their feeling of isolation and loneliness, stating that they do not have fellow cosplayers in close proximity and are relying on online groups and regional conventions to have a sense of community.
Game of Thrones, access and "trivialité"
Hence, the results from this study confirm the idea of fandom as part of a globalisation process. Fan practices related to Game of Thrones are similar in most places. In addition, the online circulation of new practices (such as the live viewing of the series in bars) inform fans' desires all over the world. Fans also expand the universe created by HBO through their creative and material practices (merchandise creation, cosplay). What truly differentiates fans' experiences is access: financial, geographical and cultural. Indeed, not only do fans lack equal access depending on the place they reside, my research has showed that Game of Thrones core fandom is made of students and young professionals with middle to high socio-economic status originating from the United States, Australia, Europe and Latin-America. Game of Thrones is thus a successful drama but it cannot really be called a 'popular' one in the sense that it does not appeal to all social strata, mainly leaving blue-collar workers out of its audience. Furthermore, the social acceptability of fandom greatly varies depending on culture and location: while popular culture is an accepted phenomenon in North America and the UK, even countries like France are still puzzled and judgemental about it. Beyond economic means and cultural acceptability, questions of geographical location appear central in whether or not fans will have access to a complete experience of fandom or only to partial elements of it. Despite being a globalised phenomenon, fandom doesn't erase physical, cultural and economic borders.

Lastly, my research has asserted, if needed be, the international popularity of Game of Thrones. This lead me to rethink the concepts of 'mainstream', 'popular' and 'cult' to no longer define them through a Western or national perspective: Game of Thrones is indeed 'mainstream' in North America, but it does not appear so in other parts of the world or from a global point of view. As such, I would like to bring forward the concept of "trivialité" developed by French Communication Studies scholar Yves Jeanneret. "Trivialité" predicates the creative circulation within society of objects, representations and practices which become "cultural beings" because of this circulation. If we consider Game of Thrones and its fandom a "trivialité" phenomenon, it allows us to account for all the changes that happen during the worldwide circulation of said phenomenon. The Game of Thrones universe takes on new meanings, gains value, develops renewed representations while circulating around the world and among fans. This can be seen in phenomena such as the use of the show's expressions in everyday life ("You know nothing, Jon Snow!" for instance), or the appropriation of the franchise's identity by fans through their creations (fanart, merchandise...). The idea of "trivialité" enables us to account for the circulation of this popular culture object and the changes inherent to this circulation without being bound by questions of localisation, geographical or cultural borders.

Julie Escurignan is a Lecturer in Communication Studies at Sorbonne Paris Nord University and a Doctoral Researcher in Film and Television Studies at the University of Roehampton, London. She holds a MA in Communication Studies from the Sorbonne University, has conducted research at doctoral level at the University of Texas at Austin and at the University of Nordland, Norway, and has worked for NBC Universal International. She researches television series' fandoms, and particularly transnational fans as well as material practices of fandom. Her thesis looks at the material experience of Game of Thrones transnational fans. She is the author of several book chapters on television hits such as Game of Thrones and Black Mirror.

Contact Details: escurigj@roehampton.ac.uk

Popular is here understood as "for or involving ordinary people rather experts or very educated people" (Cambridge Dictionary: https://dictionary.cambridge.org/dictionary/english/popular)

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Global Fandom: Julie Escurignan (France) - Pop Junctions

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The " Game of Thrones Fans Project": A transnational study My research focuses on the transmedia experience of Game of Thrones transnational fans. More specifically, it analyses the specificities of transnational fans' material practices

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Reviewed Work: Fandom Unbound: Otaku Culture in a Connected World

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Reviewed Work: Fandom Unbound: Otaku Culture in a Connected World

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This review of the Journal of Japanese Studies discusses the globalization of Japanese culture. It talks about a Japanese book called "Train Man" about a man who meets a woman on a train and turns to a web forum to get advice on how to talk to her. In mentioning that book, it mentions that because of the changes in the Internet and anonymous posting, many forums show both extreme left-wing commentary and extreme right-wing commentary. It says that many fan works, like dôjinshin, are written by women and that otaku culture, in general, has a large divide between male otakus and female otakus. Most cosplayers are also women, but they rarely appear in events in person. For women, it seems like being an otaku is something that is not talked about with family or even boyfriends, even if the boyfriends are also otakus. It talks about the similarities between women who engage in fashion subcultures like Lolita and women who are cosplayers and the fine line between both things

Martinez, D.P. “Review: Fandom Unbound: Otaku Culture in a Connected World.” JSTOR, The Journal of Japanese Studies, www-jstor-org.dvc.idm.oclc.org/stable/24242737?seq=4. Accessed 14 Mar. 2025.

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 Mizuko Ito, Daisuke Okabe, Izumi Tsuji Review by: D. P. Martinez

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Contra Costa Community College District - Portal Access

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My question was, "How did the internet affect fandom and Fandom culture?". Originally, I wanted to focus more on pre internet fandom, but it was very hard to find resources related to that, so I ended up being more focused on post-internet Fandom, which still answers my question because now that I how its effected by the internet I know what has changed.