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

Núm. 6 (2023): OTONI - Oggetti Teatrali Online (Non Identificati). Fra identità espansa, piattaforme virtuali e 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
Enviado: diciembre 23, 2023
Publicado: diciembre 31, 2023

Resumen

Questo studio esplora le reinterpretazioni multimediali dei fan attraverso il cosplaying digitale e il role-playing online, concentrandosi su TikTok e Instagram. Analizzando le pratiche di re-enactment di scene da Twilight e The Vampire Diaries, si indaga sulle dinamiche di identità, interazione e condivisione proprie di queste piattaforme. Attraverso l'analisi di Sherry Turkle, Jean Baudrillard, James Carey, Henry Jenkins e John Fiske, si evidenziano le dinamiche di identificazione mediata e l'iperrealtà emergente su TikTok. Il ruolo del lip-sync come rituale simbolico è esplorato secondo la prospettiva di Erving Goffman. Inoltre, si esamina come il fenomeno del cosplaying digitale si estende ai metaversi come Roblox, creando ambienti interattivi e comunità fan dedicate. La conclusione sintetizza l'impatto della creatività fan sulla costruzione di identità digitali e metaversi culturali.

Referencias

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.
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
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.
Morey, A. (Ed.). (2012). Genre, Reception, and Adaptation in the ‘Twilight’ Series. Ashgate.
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.
Lacan, J. (2020). Écrits: A Selection. Routledge
Bolter, J. D., & Grusin, R. (1999). Remediation: Understanding New Media.
Jowett, L. (2005). Sex And The Slayer: A Gender Studies Primer For The Buffy Fan. Wesleyan Univ Pr.
Wilcox, R. (2005). “Why Buffy Matters: The Art of Buffy the Vampire Slayer” (1st ed.). I.B. Tauris.
Driscoll, C. (2002). «Girls: Feminine Adolescence in Popular Culture and Cultural Theory.» Columbia University Press. http://www.jstor.org/stable/10.7312/dris11912
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.
Winge, T. M. (2019). Costuming Cosplay: Dressing the Imagination. Oxford: Bloomsbury Publishers.
Bartle, R. (2004). «Virtual worlds: Why people play.» Massively Multiplayer Game Development, 2(2), 3-18.

Palabras clave

fanfiction, cosplayer, role-play, avatar, metaverse, social networks, re-enactment

Categorías

Derechos de autor 2023 Kamilia Kard

Esta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial-SinDerivadas 4.0.

Cómo citar

Esplorando le trasformazioni dei fan nei reami digitali e nei metaversi identità, role-playing e comunità sui social network. (2023). Connessioni remote. Artivismo_Teatro_Tecnologia, 6. https://doi.org/10.54103/connessioni/22150

[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.