Digital Media Participation: How Fans Interact Online is a short documentary about how fans show their support to their celebrity idols with the emergence of social media. Our group chose this topic because we notice how fans show their support by going to mall shows or by using certain hashtags on Twitter and make them trend worldwide. This documentary film aims to change the perspective people have on fans that they are cheap, desperate, and low class. With this interactivity and digitalization come a new form of community that sprouted from the computer-mediated communication (CMC) (McQuail 150-51), the virtual community. According to McQuail, this virtual community “can be formed by any number of individuals by way of the Internet at their own choice” (150) and “usually based on some common interest” (150). Fan clubs before are known to be supporters who would go to shows, guestings, and tapings of their idols but now fan clubs could also sprout online. Fans have used new media to interact with co-fans who have obviously have the same interests (their idol or idols). By then, a public sphere would emerge in the new media. What is interesting in the documentary is that some of the fans we interviewed are not really good at interacting personally but are able to make friends online because of the people who understand them and of what they call now as “feels” (a superlative form of having so much feelings towards someone or something). With mostly narrations about the
The author targets those who watch or at least have heard of the new rising stars. It also focuses on the public that uses the media as a source to be part of the “virtual revolution”
Hip-hop artists have acquired more and more power through social media. As artist’s popularity grows across the nation so does the audience they have the ability to reach. Even during hip-hop’s origin, it had the power to move a nation. We have seen what a driving impact celebrities can have on bringing forward social changed.
Vann (2014) found that the convergences in the media has led to the rise of other “transmedia sports and experience”. He talks about how transmedia plays a significant role in how fans will understand, react, or even participate in live sports broadcasting. Vann (2014) mentions how social media provides a live experience and social atmosphere for fans so they can discuss sports online and also play games. For example, people stream football games online and a lot of fans play fantasy football online as
Through social media sites like YouTube and Facebook, many online celebrities are able to make millions of dollars simply by uploading videos. Many of these people receive more hatred than respect though, as deep down most people envy those who make more than them. Most online viewers believe that making a living off of these platforms is unfair because it requires very little effort or that anyone could make a career in this way. If this was the truth, why do only so many stars emerge? Making a living through social media is not easy, and every online personality starts off as a normal person which means that if they want to get to the top, they need to have the drive to make it there.
The authors concluded that photographs are a great way for athletes to gain fan engagement. However, there are pros and cons associated with this. Posting photos on social media can go along with an athlete’s brand, but if athletes post a socially unacceptable photo then their brand can instantly fall apart. It takes years to build a brand up but only seconds to destroy it. Since social media is the only form of communication for athletes and fans the athletes have to continuously post photos and posts about themselves and their brands to keep their fans engaged. No fan engagement is another way the media can tear athletes apart. Social media is a way that athletes can present themselves to their followers rather than the mass media doing stories about them that can very well be false or
While only half of the hypotheses found statistical significance in the project, new questions are surfacing in regards as to how secretive fans view themselves and what being a “private” Brony means for them. Further research is needed to determine not only the political implications individuals face when disclosing their fan activities to others, but how fans delineate the terms “private” or “public” within the fandom since it appears that there is no definitive understanding. Looking at the quantitative data within the survey does illuminate facets of the fandom by providing a general picture of who a Brony is and some of their fan activities, however, those figures do not give a voice to the fans in the survey. In the following discussion
One of the things I am most interested in is the communities that form online and the way they are used to shape information. Fandoms, the collective fans of a particular work regarded collectively as a group, are one such community. As a fan, I want to what study what makes online fandom communities unique. Who makes up the online fandom communities and how do they use fandom. Often online fans and fandom in general are often viewed as purely based on obsessive consumption of a media. However I experience them in most cases as intensely creative, highly informed and extremely critical people. It is all of these things together that creates communities that trade and thrive on fanworks. Fanworks take some element of a cannon work, the characters,
In this article NFL teams use social media to connect with their fans to help them understand news and current events in the world of their teams. It is
The filmmaker’s next project was among the biggest yet. Tasked with documenting the impact of social media on the world today, Roller Girl Films were prepared to use all they had learned before for their next big title. With first-rate Interview setups inspired by shots from Lil yeast, and a flashy intro put together with the knowledge from Mac Demarco, The Social Media Generation exceeded expectations of even Roller Girl Films them selves
Altman, H. (2005, March 18). Celebrity culture. CQ Researcher, 15, 245-268. Retrieved from http://library.cqpress.com/. Accessed 17 Nov. 2016.
The group that I have chosen to observe, are the rising stars of the modern era, simply known as, Youtube celebrities. Through a symbolic interactionist perspective, we can understand these groups of people by observing their ways of interaction to the social world. These groups use their camera and some other form of electronic tool (Computer, tablets, etc.), in order to interact with others to form their own kind of reality. These individuals use staging so that the viewers can have a sense of how “amazing” they are on camera, but in real life they may not be the same person whom they portray. As we discussed in our lecture, (2/03), social interaction has to do with often taking the role of the other, which in this case the
In the modern age that connects all forms of social networking, fans of movie adapted novels like Divergent are given all new opportunities to take part in the fiction world they’ve grown to love. Through what Henry Jenkin’s calls “convergence culture,” fans of Divergent are able to insert themselves into the story by taking online quizzes, answering fan-directed questions on social media, and exploring exclusive content that allows an inside look into the movie. The young-adult crowd that Divergent is geared towards is active on every and all types of online networking, which means how accessible the website’s content is depends on its utilization of convergence media. Divergent’s official website attempts
In “Generation Twitch: How Millennials Are Shaping Social Media” (Tech Mag Gen, July 20. 2015), Kristian Markus explains the idea that social media has helped shape a bright tomorrow, instead of a disconnected future, by creating stronger communities and relationships. Throughout the article, Markus focuses on Twitch.tv which he describes as “nothing less than the future of social media.” He explains that, by creating streaming channels, such as MrSamKim, people are able to channel their love of videogames and develop something more. Although Twitch.tv is mainly for gaming, each channel has become something where people of all ages, races and cultures are able to discuss personal ideas and philosophies on the games and the world around them. MrSamKim has defined this as a “virtual family,” where a group of people, established by a certain topic or similar interest, develops into a community where they can “exchange short bursts of their lives in the moment” and develop a deep connection. He recognized this “phenomenon” when his viewers showed their appreciation for his channel through donations and praises, where they revealed how much his work had helped them get through personal problems and get to a better place in their lives. His show was no longer just about playing video games but also about creating a great, positive impact on people’s lives. There is a great truth behind Markus’ argument, but what weakens his argument is the lack of personal experience. Throughout
Moreover, celebrities can now also keep in touch and communicate with their fans or other celebrities through social network sites. Social media is one of the biggest and fastest way for celebrities to widen their fan base, and it is also a way through which fans could "talk" with their favorite celebrities in a relatively safe, public environment such as Twitter, Instagram or Facebook (Social Media Today, "How Celebrities Use Social Media to Build Their Brand", June 2013). Social Media, basically, has made it possible for fans to strengthen their bonds with their favorite celebrities, and also made it possible for people to keep in touch with their favorite brands or business people, and to know what is new and upcoming.
Using this explanation, this essay underlines the matters of how the entertainment industries has taken full control through social media platforms such as Facebook and Twitter. Furthermore, it also typifies how such industries emphasis significantly into its logics and practices through its audience and fan participation. Supported Research is justified by various theorists/examples. This includes Prensky, Katz and Blumler, Dan Gilmore, David Gauntlet, Charles Leadbeater and Jenkins himself.