Esplorando le trasformazioni dei fan nei reami digitali e nei metaversi identità, role-playing e comunità sui social network

Kamilia Kard

doi:10.54103/connessioni/22150

Saggi per la call-sezione sottoposta a peer review

No. 6 (2023): OTONI - Online Theatrical Objects Not (yet) Identified. Between expanded identity, virtual platforms, and user experience design.

Esplorando le trasformazioni dei fan nei reami digitali e nei metaversi identità, role-playing e comunità sui social network

Kamilia Kard

PDF (Italiano)

DOI: https://doi.org/10.54103/connessioni/22150
Submitted: December 23, 2023
Published: 2023-12-31

Abstract

This study explores fan-mediated reinterpretations through digital cosplaying and online role-playing, focusing on TikTok and Instagram. By analyzing re-enactments of scenes from Twilight and The Vampire Diaries, it investigates the dynamics of identity, interaction, and sharing inherent in these platforms. Drawing on Sherry Turkle, Jean Baudrillard, James Carey, Henry Jenkins, and John Fiske, the study highlights mediated identification dynamics and emerging hyperreality on TikTok. The role of lip-sync as a symbolic ritual is explored from Erving Goffman's perspective. Additionally, it examines how digital cosplaying extends to metaverses like Roblox, creating interactive environments and dedicated fan communities. The conclusion synthesizes the impact of fan creativity on the construction of digital identities and cultural metaverses.

References

Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. New York: New York University Press.
Yudkowsky, E. (2009). Harry Potter and the Methods of Rationality. [Fanfiction]. https://www.fanfiction.net/s/5782108/1/Harry-Potter-and-the-Methods-of-Rationality
Appadurai, A. (1996). Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota Press.
Baudrillard, J. (1981). Simulacra and Simulation. University of Michigan Press
Azuma, H. (2009). Otaku: Japan’s Database Animals. University of Minnesota Press.
Bowlby, J. (1980). Attachment and Loss: Volume 3. Loss - Sadness and Depression. New York: Basic Books.
Fiske, J. (1992). «The Cultural Economy of Fandom.» In Lewis, L. A. (Ed.), The Adoring Audience: Fan Culture and Popular Media (pp. 30-49). Routledge.
de Certeau, M. (1984). The Practice of Everyday Life. University of California Press.
boyd, d. (2007). «Why Youth ❤ Social Network Sites: The Role of Networked Publics in Teenage Social Life.» In Buckingham, D. (Ed.), Youth, Identity, and Digital Media (pp. 119–142). MIT Press.
Ito, M., Horst, H. A., Bittanti, M., Boyd, D., Herr-Stephenson, B., Lange, P. G., Pascoe, C. J., & Robinson, L. (2009). Hanging Out, Messing Around, and Geeking Out: Kids Living and Learning With New Media. MIT Press.
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Bury, R. (2017). «Technology, fandom and community in the second media age.» Convergence, 23(6), 627-642. https://doi.org/10.1177/1354856516648084
Lewis, L. A. (Ed.) (1992). The Adoring Audience: Fan Culture and Popular Media. Routledge.
Turkle, S. (1995). Life on the Screen: Identity in the Age of the Internet. Simon & Schuster.
Maffesoli, M. (1996). «The Time of the Tribes: The Decline of Individualism.» Mass Society. SAGE.
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Clickl, M. A. (2013). «Review of Genre, Reception, and Adaptation in the ‘Twilight’ Series, by A. Morey.» Journal of the Fantastic in the Arts, 24(2 (88)), 317–320. http://www.jstor.org/stable/24353207
Carey, J. (1989). Communication as Culture: Essays on Media and Society. Routledge.
Goffman, E. (1959). The Presentation of Self in Everyday Life. Anchor Books.
Allen, J. (2009). «Einmal ist keinmal: Observations on Re-enactment». In A. Caronia, J. Jansa, & D. Quaranta (Eds.), RE:akt! Reconstruction, Re−enactment, Re−reporting. Link Editions.
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Jowett, L. (2005). Sex And The Slayer: A Gender Studies Primer For The Buffy Fan. Wesleyan Univ Pr.
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Bartle, R. (2004). «Virtual worlds: Why people play.» Massively Multiplayer Game Development, 2(2), 3-18.

[1] Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. New York: New York University Press.

[2] Yudkowsky, E. (2009). Harry Potter and the Methods of Rationality. [Fanfiction]. https://www.fanfiction.net/s/5782108/1/Harry-Potter-and-the-Methods-of-Rationality

[3] Appadurai, A. (1996). Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota Press.

[4] Baudrillard, J. (1981). Simulacra and Simulation. University of Michigan Press

[5] Azuma, H. (2009). Otaku: Japan’s Database Animals. University of Minnesota Press.

[6] Bowlby, J. (1980). Attachment and Loss: Volume 3. Loss - Sadness and Depression. New York: Basic Books.

[7] Fiske, J. (1992). «The Cultural Economy of Fandom.» In Lewis, L. A. (Ed.), The Adoring Audience: Fan Culture and Popular Media (pp. 30-49). Routledge.

[8] de Certeau, M. (1984). The Practice of Everyday Life. University of California Press.

[9] boyd, d. (2007). «Why Youth ❤ Social Network Sites: The Role of Networked Publics in Teenage Social Life.» In Buckingham, D. (Ed.), Youth, Identity, and Digital Media (pp. 119–142). MIT Press.

[10] Ito, M., Horst, H. A., Bittanti, M., Boyd, D., Herr-Stephenson, B., Lange, P. G., Pascoe, C. J., & Robinson, L. (2009). Hanging Out, Messing Around, and Geeking Out: Kids Living and Learning With New Media. MIT Press.

[11] Karhulahti, V-M., & Välisalo, T. (2021, January 12). «Fictosexuality, Fictoromance, and Fictophilia: A Qualitative Study of Love and Desire for Fictional Characters.» Frontiers in Psychology, 11(2020), Article 575427. https://doi.org/10.3389/fpsyg.2020.575427

[12] Bury, R. (2017). «Technology, fandom and community in the second media age.» Convergence, 23(6), 627-642. https://doi.org/10.1177/1354856516648084

[13] Lewis, L. A. (Ed.) (1992). The Adoring Audience: Fan Culture and Popular Media. Routledge.

[14] Turkle, S. (1995). Life on the Screen: Identity in the Age of the Internet. Simon & Schuster.

[15] Maffesoli, M. (1996). «The Time of the Tribes: The Decline of Individualism.» Mass Society. SAGE.

[16] Morey, A. (Ed.). (2012). Genre, Reception, and Adaptation in the ‘Twilight’ Series. Ashgate.

[17] Clickl, M. A. (2013). «Review of Genre, Reception, and Adaptation in the ‘Twilight’ Series, by A. Morey.» Journal of the Fantastic in the Arts, 24(2 (88)), 317–320. http://www.jstor.org/stable/24353207

[18] Carey, J. (1989). Communication as Culture: Essays on Media and Society. Routledge.

[19] Goffman, E. (1959). The Presentation of Self in Everyday Life. Anchor Books.

[20] Allen, J. (2009). «Einmal ist keinmal: Observations on Re-enactment». In A. Caronia, J. Jansa, & D. Quaranta (Eds.), RE:akt! Reconstruction, Re−enactment, Re−reporting. Link Editions.

[21] Lacan, J. (2020). Écrits: A Selection. Routledge

[22] Bolter, J. D., & Grusin, R. (1999). Remediation: Understanding New Media.

[23] Jowett, L. (2005). Sex And The Slayer: A Gender Studies Primer For The Buffy Fan. Wesleyan Univ Pr.

[24] Wilcox, R. (2005). “Why Buffy Matters: The Art of Buffy the Vampire Slayer” (1st ed.). I.B. Tauris.

[25] Driscoll, C. (2002). «Girls: Feminine Adolescence in Popular Culture and Cultural Theory.» Columbia University Press. http://www.jstor.org/stable/10.7312/dris11912

[26] Haig, F. (2014) «Guilty Pleasures: Twilight, Snark and Critical Fandom, in Harman, S. (2014) edito da. Screening Twilight: Critical Approaches to a Cinematic Phenomenon. I.B. Tauris.

[27] Winge, T. M. (2019). Costuming Cosplay: Dressing the Imagination. Oxford: Bloomsbury Publishers.

[28] Bartle, R. (2004). «Virtual worlds: Why people play.» Massively Multiplayer Game Development, 2(2), 3-18.