Kerri 2.0: How online fandoms have affected my future as a media professional
“…Networked literacies are marked by your participation as a peer in these flows and networks — you contribute to them and in turn can share what others provide.” (Miles 2007)
In March of 2009, at the age of 13, I joined Twitter on the basis that it would be a platform to contact and subsequently proclaim my love for the then uncharted YouTube success, Justin Bieber. Little did I know, this was the beginning of my discovery and relationship with social media, and in particular, my involvement with online fan communities. Even though in my departure from adolescence I have left behind the passionate craze I dedicated to teen heartthrobs and boy bands, my online involvement within these communities has shaped my existence as a network literate media producer and active participator.
While fandoms existed prior to the foundation of Twitter, Facebook and YouTube, with its first-known presence stemming back to the late 19th century (Busse 2009), these platforms have created the illusion of “intimacy at a distance” (Horton and Wohl 1956), allowing millions of fans, including myself, to feel as though they personally know their celebrity idol. Originally I was one of a few thousand to follow Bieber on Twitter (@justinbieber), and am now one of almost 56 million. This connection provided a form of validation for myself and his other followers to somewhat co-exist in the same ‘world’ as him. While ‘following’ him was the first step, the desired result was ultimately a ‘mention’ or a ‘follow’ from his account. These actions performed on Bieber’s behalf are seen as a form of acceptance and acknowledgement of a fan’s existence – a step towards proximity1– the ultimate goal of a ‘fangirl’2 (Horton and Wohl 1956). Celebrities who are active on social media are enabled to “claim and achieve an intimacy with what are literally crowds of strangers” – an intimacy – regardless of its distance to the definition of the word itself – that is “extremely influential with, and satisfying for, the great numbers who willingly receive it and share in it” (Horton and Wohl 1956). The theory validating the emotional experiences and behaviours conducted by fandoms is known as the ‘Parasocial Interaction Theory’, a theory that was created to diagnose the one-sided relationships that tend to form between a media user and the media being consumed (Horton and Wohl 1956). Surprisingly, although this theory was formed in 1956 – prior to the existence of the internet – it is more relevant than ever as the the gap between star and fan, and producer and consumer, continues to narrow.
@justinbieber so proud of you! you are changing the world!!!!!! now change my world and follow me? #someday #makeachange
— kerri ♡ (@KerriAnnie) June 12, 2011
Commonly misconceived by those external to such passionate online communities, is the normality of such seemingly abnormal behavior. While the parasocial interaction theory explains the relationship between the fan and public persona, it does not explain the screaming, crying and obsessing so commonly associated with being a ‘fangirl’. It is important to note that the word ‘fan’ is derived from “fanatic”, which is often defined as “extreme, irrational devotion” (Markman, 2014). In One Direction’s concert-documenatry, ‘One Direction: This Is Us’ (2013), Neuroscientist Dr Stefan Koelsch explains the scientific reasoning behind the fanatic behavior of fangirls;
In our society, such fanatical dedication and emotional devotion to figures of pop culture is often ridiculed and viewed upon as somewhat distressing and delusional, whereby youth are often seen to be putting their energy to misuse. In “Fame Junkies: The Hidden Truths Behind America’s Favorite Addiction” (2008) it is mentioned that Psychologist Daniel Lapsley once proclaimed,
“The danger is that if these adolescents don’t curb all this daydreaming with a healthy dose of reality, they could end up in relationships that are manipulative or exploitative. Basically after spending so much time in front of an imaginary audience, they might ultimately only be interested in forming relationships that serve their need to be admired, instead of forming ones that authentically engage other people”
Considering that the dominant portrayal of fan communities in the media depicts crying girls in fan merchandise3, the prejudice exhibited by those external to such communties is somewhat justified by a lack of exposure to the positive social, economic and philanthropic aspects of fan communities. In his study of ‘celebrity’, critic Richard Schickel called celebrity “the principle source of motive power in putting across ideas of every kind – social, political, aesthetic, moral” (Gabler*). Online fandoms proved to become an extension of this. During my time as a fangirl, I made some of my closest friends while organising and participating in ‘meet-ups’, large public flash mobs, charity events where we’d raise awareness and donate in support of our idol, creating collaboration videos with fans all around the world, enabling fans like Haley Okines and Avalannah Routh to meet Justin Bieber through the power of the hashtag, and generally working together in grand unison to achieve goals and break records. Our intention was to make our idol proud, while promoting their career and making them as successful as possible. Reporting for forbes.com, Dan Schawbel, the author of “Me 2.0” interviewed Scooter Braun, the manager and founder of Justin Bieber, who stated that the secret to success in our web 2.0 world “was to keep it organic and authentic”, and to “make the audience realize it’s theirs” (2011). With constant fan interaction and Bieber’s impressive stance on Twitter, Facebook, Instagram and Youtube, millions of passionate fans all around the world, inclusing myself, felt as though they had ownership over his brand and subsequent success.
#AustraliaLovesJustin @justinbieber it’s trending for a reason!!! 🙂 we love you! Thanks for all you’ve done! Come back already!!!
— kerri ♡ (@KerriAnnie) July 4, 2011
On twitter it feels like @justinbieber is a close friend, and i think of him as a friend, and that I have a (cont) http://tl.gd/6mttfs
— kerri ♡ (@KerriAnnie) October 28, 2010
In “Forming Parasocial Relationships in Online Communities”, Ballantine and Martin (2005) mention that Kozinets (1999) once argued that the formation of relationships within online communities were based on “… the relationship a person has with a consumption activity, and the intensity of relationship an individual has with other members of the online community”. As fandoms are typically group affairs, many participants are motivated by the passion and values of the collective group just as much as they are by their own devotion to the fandom’s idol (Horton and Wohl 1956). In reflection of my personal experience as both a ‘Belieber’ and ‘Directioner’4, the sense of community and belonging in conjunction with the relationships I formed with others in these communities, elevated my love and obsession with Justin Bieber and One Direction. Social media, primarily Twitter, allowed me to bond and form friendships with people all around the world who shared the same passions and desires as I did. In union, we were able to maintain worldwide trending topics, create collaborative videos that were seen by our idols, and choreograph and participate in viral ‘flash mobs’ that were broadcast internationally and praised by the stars themselves. We were a collaborative and powerful source of online influence and utilized the services provided by various platforms in order to achieve any goal set.
As I’ve matured and come into my own as a person, I decided to spend more time focusing on myself and my own career path, rather than celebrities who, in hindsight, I don’t actually know as well as I thought I did. Regardless, my experience within fan communities acted as a pathway that lead me to my current passion for both traditional and social media platforms, while introducing me to the powers of industry networking. From calling radio stations every night in support of whomever I was obsessed with at the time, I became acquainted with commercial radio hosts and producers who now contact me to participate in various segments of their shows. Additionally, a lot of the fan events I attended were broadcasted on television, which allowed me to network with various journalists, presenters, production managers and crew, providing me with an understanding of how broadcast news segments are produced. Most importantly, through constant participation on Twitter, I became not just a user, but an active peer across various online communities and discussions. I utilized the platform to interact with some of my favourite musicians, built connections with successful industry figures whose media careers I aspire to achieve, conversed with various media companies, and developed and solidified my online identity.
Screenshots of a sampling of my twitter interactions with media companies and personae. (@KerriAnnie)
I aspire to work in television, radio or social media positions within the music and entertainment industries, and the ability to communicate and connect with passionate and capable audiences in such a network literate, democratic society is crucial to do so. My continuous and dedicated participation as a peer in online networks over the course of my adolescence has unintentionally prepared me for the types of communities I will continually help to shape and develop as I become a media professional. Having such an active presence across various media has enabled me to form industry links across the world that will act as invaluable resources as I emerge into the media industry.
Being active in online fan communities aids as an exciting and beneficial educational process to becoming network literate. The talent of the young media collaborators who participate within these fandoms are inadvertently preparing themselves to be the successful media makers of the future (Drotner 2008) – they span across all social media platforms and are the most adept at utilizing their global and social qualities in order to fulfill objectives.
NOTES:
[1] “… the global internet has made it easier for people to act on their traditional impulses towards admiration and being admired, and simply magnified these impulses… others aspire to reach this hierarchy, or at least be close in proximity to such individuals at the top of the hierarchy. Proximity to famous people is seen as a sign of status and prestige…” (Choi and Berger 2008)
[2] “fangirl” – a term commonly used to describe an overzealous, excitable fan.
[3] “viewers may try to affirm their loyalty through sending mail, collecting memorabilia…” (Horton and Wohl 1956)
[4] Belieber – the collective noun for fans of Justin Bieber
Directioner – the collective noun for fans of One Direction
For a full list of references, click here.