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roxanamalinachirila's review
3.0
Whenever you have a volume that collects the work of several people, you have a high chance of getting a mixed bag. And that's the case here.
The volume contains 10 chapters split into 4 parts. I'll say a few words about each of them. You'll have to excuse my levity; I'm writing this when I'm a bit tired.
Part 1: Expanding theoretical boundaries. Chapter 1. Diversifying Fan Methodologies and Inquiries: An Affective Decolonial Framework.
I'm starting to feel like the diversity introduction is becoming a staple of certain academic books. While there's nothing wrong with it per se, I'm not sure how to respond to it. Is it an apology for previous work? A commitment to do better? Or an apology, on the contrary, that this work might touch on diverse topics?
Anyway. The first chapter lampshades the fact that we're fed a lot of white media, and it shapes the way we see the world and what we find attractive. I would normally say "white US Hollywood media", because nobody, absolutely nobody, not a single soul that I'm aware of, has ever developed a fetish for white people while watching Romanian art movies, but, well. I guess "white" is used as shorthand.
I'm not sure what the author expects us to do about it other than notice it (and "decolonize", though that's easier said than done), but it's a good point.
Part 1: Expanding theoretical boundaries. Chapter 2. Fan Creator Personas in the Niche Creator Industries
This chapter is very, very dry, and to top that off, it's trying to make its acronyms a thing (such as "NCI" - Niche Creator Industry/ies). It has passages such as "The niche is not an idyllic conceptual space. The niche is a lived material reality where fan creator personas must negotiate the precarity of fan-based content creators." Or "The creative industries emerged out of the cultural industries in the 1990s as part of a systematic reformulation of creativity within an economic policy framework."
It's very fancy, and expressed in a very academic, very theory-oriented style.
The problem is that I spent half this chapter wondering what "niche creator industries" actually means. Were we talking about Pokemon crochet sold quietly on Etsy? Artisanal ice cream? M/M indie romances? When I was finally giving up on figuring out the topic, it turned out this was about people making miniatures - and other people who create nerdy objects *related to* companies without being *a part of* those companies! Ok.
Part 2: Parasocial Interactions and Relationships. Chapter 3. Sign of the Times: Generation Z, Transmedia Activism and Female Identity Formation through Harry Styles Fandom.
This was an interesting one. I know very little of Harry Styles (other than that the's famous), but the essay points out that he's so quiet and mysterious that fans can project all sorts of ideas onto him. More to the point, fans discovered activism thanks to him, his LGBTQ-friendly image, and other fans. It's an interesting exploration, though not very deep.
My only nitpick about this is that it's not about Gen Z, but about 12 people all over the world who are Gen Z; we don't know how they were chosen. But the author seems to think Gen Z is the same all over the world, describind the generation as Gen Z being marked by things such as "mass shootings". I'm not sure I agree; mass shootings are a very US thing, while some respondents are from the Netherlands, Germany and other countries that aren't anywhere *near* as gun-happy as the US.
Part 2: Parasocial Interactions and Relationships. Chapter 4. #AlwaysKeepFighting: The Legacy of Supernatural
This chapter is pretty great. It offers a decent history of Supernatural activism as done by both actors and fans, leading to the creation of helplines for depression (inspired by one of the actors on the show who struggles with depression himself). Fully recommended, it's clear, to the point, and interesting.
Part 2: Parasocial Interactions and Relationships. Chapter 5. Youtube Celebrities: Parasocial Relationships toward a Digital Influencer Career.
This chapter, on the other hand, feels like it's repeating some of its ideas over and over, and going nowhere. It could almost have something to say about Brazil's Youtube scene, but despite mentioning that it's huge and important, it barely goes into the topic. It feels like a wasted opportunity - I would have loved to hear more about the parasocial relationships at work on the Brazil scene (but the author probably wrote about that elsewhere, as interviews are mentioned, but barely touched upon).
Part 3: Fan Interactions. Chapter 6. Too Vulnerable to Fight: Protective and Agentive Digital Housewives and the Dataficated Fame of the Victimized Young-Fresh-Meat Idols.
This is another exciting one, about fandom in China. I'm not sure how it reads to someone who's in the know about the Korean and Chinese idol scenes, but for someone who isn't, it's clear, informative, and interesting, describing the system of becoming an idol, cultural expectations about what is proper, the power of fans, a bit of how idols work in China... it's fascinating.
Part 3: Fan Interactions. Chapter 7. Close to You: Film Fans' Visitation to Film Location Sites.
Another chapter about China, this time about physical film locations and actors - with very clear explanations of what fans expect and are able to do when visiting. More to the point of the chapter itself, it has insights about the relationship between fans, places and actors that are pretty good.
Part 3: Fan Interactions. Chapter 8. The Foundation of Continuity and Canonicity in Asimov's Shared Universe.
On the one hand, I love seeing Asimov mentioned in a fandom studies book; on the other, the chapter seems almost to regret that Asimov's expanded universe written by other authors for his estate isn't taken as seriously as canon.
I guess it's interesting to explore why; but the answer given here feels incomplete. Yes, I guess that Asimov became a sort of celebrity whose very celebrity-ness pushed other authors away from being recognized when they wrote Foundation/Robots stories; also, the fact that they couldn't write anything to forward or recontextualize canon is also a problem. However, there are other series (Wheel of Time, Dune) who also have outsider authors who are treated differently than the original ones.
I think the topic could be better explored from the perspective of ideas of originality and authorship (as starting from Romanticism), but also in relation to style/plots/etc. But that would take a whole book, not a single chapter.
Part 4: Transforming Celebrity Identity. Chapter 9. Murray Stories and Keanu Memes: The Role of Offline Encounters in Online Celebrity Identity Construction.
Really nice article about Bill Murray and Keanu Reeves' online fandoms and how their personas are constructed. Just like Harry Styles, they are easier to project onto because they don't say much online, and are thus not-quite-blank canvases for projection.
Part 4: Transforming Celebrity Identity. Chapter 10. Celebrity Fans Courtside: Trash Talk, Twitter and Teaming Up.
Re-reading the title, I'm not sure where the trash talk was mentioned - maybe I simply forgot. Anyway, this is about celebrities who are sports fans and how they influence and are influenced by attendance to sports. I'm not that excited by it.
Many thanks to Netgalley and the publisher for offering an ARC in exchange for an honest review.
The volume contains 10 chapters split into 4 parts. I'll say a few words about each of them. You'll have to excuse my levity; I'm writing this when I'm a bit tired.
Part 1: Expanding theoretical boundaries. Chapter 1. Diversifying Fan Methodologies and Inquiries: An Affective Decolonial Framework.
I'm starting to feel like the diversity introduction is becoming a staple of certain academic books. While there's nothing wrong with it per se, I'm not sure how to respond to it. Is it an apology for previous work? A commitment to do better? Or an apology, on the contrary, that this work might touch on diverse topics?
Anyway. The first chapter lampshades the fact that we're fed a lot of white media, and it shapes the way we see the world and what we find attractive. I would normally say "white US Hollywood media", because nobody, absolutely nobody, not a single soul that I'm aware of, has ever developed a fetish for white people while watching Romanian art movies, but, well. I guess "white" is used as shorthand.
I'm not sure what the author expects us to do about it other than notice it (and "decolonize", though that's easier said than done), but it's a good point.
Part 1: Expanding theoretical boundaries. Chapter 2. Fan Creator Personas in the Niche Creator Industries
This chapter is very, very dry, and to top that off, it's trying to make its acronyms a thing (such as "NCI" - Niche Creator Industry/ies). It has passages such as "The niche is not an idyllic conceptual space. The niche is a lived material reality where fan creator personas must negotiate the precarity of fan-based content creators." Or "The creative industries emerged out of the cultural industries in the 1990s as part of a systematic reformulation of creativity within an economic policy framework."
It's very fancy, and expressed in a very academic, very theory-oriented style.
The problem is that I spent half this chapter wondering what "niche creator industries" actually means. Were we talking about Pokemon crochet sold quietly on Etsy? Artisanal ice cream? M/M indie romances? When I was finally giving up on figuring out the topic, it turned out this was about people making miniatures - and other people who create nerdy objects *related to* companies without being *a part of* those companies! Ok.
Part 2: Parasocial Interactions and Relationships. Chapter 3. Sign of the Times: Generation Z, Transmedia Activism and Female Identity Formation through Harry Styles Fandom.
This was an interesting one. I know very little of Harry Styles (other than that the's famous), but the essay points out that he's so quiet and mysterious that fans can project all sorts of ideas onto him. More to the point, fans discovered activism thanks to him, his LGBTQ-friendly image, and other fans. It's an interesting exploration, though not very deep.
My only nitpick about this is that it's not about Gen Z, but about 12 people all over the world who are Gen Z; we don't know how they were chosen. But the author seems to think Gen Z is the same all over the world, describind the generation as Gen Z being marked by things such as "mass shootings". I'm not sure I agree; mass shootings are a very US thing, while some respondents are from the Netherlands, Germany and other countries that aren't anywhere *near* as gun-happy as the US.
Part 2: Parasocial Interactions and Relationships. Chapter 4. #AlwaysKeepFighting: The Legacy of Supernatural
This chapter is pretty great. It offers a decent history of Supernatural activism as done by both actors and fans, leading to the creation of helplines for depression (inspired by one of the actors on the show who struggles with depression himself). Fully recommended, it's clear, to the point, and interesting.
Part 2: Parasocial Interactions and Relationships. Chapter 5. Youtube Celebrities: Parasocial Relationships toward a Digital Influencer Career.
This chapter, on the other hand, feels like it's repeating some of its ideas over and over, and going nowhere. It could almost have something to say about Brazil's Youtube scene, but despite mentioning that it's huge and important, it barely goes into the topic. It feels like a wasted opportunity - I would have loved to hear more about the parasocial relationships at work on the Brazil scene (but the author probably wrote about that elsewhere, as interviews are mentioned, but barely touched upon).
Part 3: Fan Interactions. Chapter 6. Too Vulnerable to Fight: Protective and Agentive Digital Housewives and the Dataficated Fame of the Victimized Young-Fresh-Meat Idols.
This is another exciting one, about fandom in China. I'm not sure how it reads to someone who's in the know about the Korean and Chinese idol scenes, but for someone who isn't, it's clear, informative, and interesting, describing the system of becoming an idol, cultural expectations about what is proper, the power of fans, a bit of how idols work in China... it's fascinating.
Part 3: Fan Interactions. Chapter 7. Close to You: Film Fans' Visitation to Film Location Sites.
Another chapter about China, this time about physical film locations and actors - with very clear explanations of what fans expect and are able to do when visiting. More to the point of the chapter itself, it has insights about the relationship between fans, places and actors that are pretty good.
Part 3: Fan Interactions. Chapter 8. The Foundation of Continuity and Canonicity in Asimov's Shared Universe.
On the one hand, I love seeing Asimov mentioned in a fandom studies book; on the other, the chapter seems almost to regret that Asimov's expanded universe written by other authors for his estate isn't taken as seriously as canon.
I guess it's interesting to explore why; but the answer given here feels incomplete. Yes, I guess that Asimov became a sort of celebrity whose very celebrity-ness pushed other authors away from being recognized when they wrote Foundation/Robots stories; also, the fact that they couldn't write anything to forward or recontextualize canon is also a problem. However, there are other series (Wheel of Time, Dune) who also have outsider authors who are treated differently than the original ones.
I think the topic could be better explored from the perspective of ideas of originality and authorship (as starting from Romanticism), but also in relation to style/plots/etc. But that would take a whole book, not a single chapter.
Part 4: Transforming Celebrity Identity. Chapter 9. Murray Stories and Keanu Memes: The Role of Offline Encounters in Online Celebrity Identity Construction.
Really nice article about Bill Murray and Keanu Reeves' online fandoms and how their personas are constructed. Just like Harry Styles, they are easier to project onto because they don't say much online, and are thus not-quite-blank canvases for projection.
Part 4: Transforming Celebrity Identity. Chapter 10. Celebrity Fans Courtside: Trash Talk, Twitter and Teaming Up.
Re-reading the title, I'm not sure where the trash talk was mentioned - maybe I simply forgot. Anyway, this is about celebrities who are sports fans and how they influence and are influenced by attendance to sports. I'm not that excited by it.
Many thanks to Netgalley and the publisher for offering an ARC in exchange for an honest review.
abookwormsgarden's review
3.5
Fame and Fandom was an intriguing introspection into society's realtionship with the internet, but more specifically with Fandoms. Social media plays a huge role in our society and has altered the communicative interactions between humans. As a result, people have more opportunities to interact with one another. Arguably, this accessiblity has caused an increase in parasocial realtionships with celebrities and fandom culture. I think this book does an excellent job discussing this topic. I also admire how the authors transformed fan culture into an academic study. As an academic it is discouraging to see people pushback against fan culture because it is such a critical aspect to our society.
Thank you to Netgalley and University of Iowa Press for allowing me to read this book.
Thank you to Netgalley and University of Iowa Press for allowing me to read this book.
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