User:ZKYLINEL/sandbox
Fandom culture is a subculture in Chinese society. Chinese people use the term "Fan quan" to generalise this subculture, which can be described as "fan circles"[1]. It is largely formed around idols, films and televisions work, anime, singers and actors from both nation and international entertainment industry, especially fandom culture in Japan and South Korea, and popular culture from North America and Europe Fan culture in China is interconnected with Chinese society[2].
Development[edit]
Development of Chinese fandom culture has been largely affected by Japanese ACG culture. 1980 is recognised as the year in which China began to introduce foreign cartoons. The first cartoon that was introduced was Astro Boy from Japan. It created a precedent for the introduction of overseas cartoons into China.[3] It also opened the gate for fan culture because it formed the initial frame of interest groups, and it allows those who have same interests to gather in a community. After this, the development of Chinese fandom culture started from the 1990s [2]and it has developed to its current form with the development and popularisation of the Internet, which entered the most of urban households at late 20th century. [2] Children who grew up during this period were the first generation of the Chinese fandom community.[2] In 2006, the SARFT forbade introduction of any foreign animation in order to protect the domestic animation industry. During that period of time, any spreading of foreign ACG was illegal. These media derivative was finally legalised until some Chinese websites start to purchase the online streaming right of Japanese anime recently [2]. Legend of Galactic Heroes, Slam Dunk and Saint Seiya are three major fandoms at early 21st century. They generated the first generation of Chinese fandom communities as representative works of Japanese media and literature products.
Chinese fan girls' imagination and writing style has been shaped influenced by Japanese homoerotic fictions and literature works (Danmei genre), which was imported in China around 2000s. These homoerotic fictions play vital role in the development of the overall fan culture because the danmei materials dominate major part of Chinese fan fiction.[2] In 2005, the launched of Super Girl Contest in Hunan TV, which is a Chinese television channel, opened the gate of celebrity and idol industry. It is the origin of Chinese celebrity fan community and economy.[4] After a short carnival of the talent show, fan activities toward celebrities and idols had transferred to online platforms in 2011[4][5]. The trigger of this movement is innovation of smartphone and social media platforms[4], and the unanticipated popularity of Yan Mi, who is a young Chinese actress. The majority of fans started to establish their interest group and fan community on Weibo, where enable them to follow and connect with each others[6]. In 2015, fandom model has changed because of the retuning of four Chinese members of EXO idol group. They brought South Korean fandom model and the fame they accumulated to China. Chinese entertainment industry has changed since then[1].
The contemporary Chinese fandom culture has been developed and dominated by younger generation[2], while this culture is gradually joined and interconnected with international fandom community and presenting their cultural norms and values globally[7].
Fan activities[edit]
Fan behaviours and activities are formed and organised by particular norms and rules that they established by themselves to regulate a specific fan community, this can be presented by their interaction among the group members or other communities. Each community has different way to organise and Chinese social media platforms provide a space for fans to build their regulations and norms, such as Weibo and Bilibili, which are a media platforms and a video sharing website. Fans' emotional engagement, cultural identity and their understanding of how to be a part of the fandom culture are influenced by media products from other countries including Japanese ACG materials[8]. Chinese fan activities have its own cultural characteristic because of the development of Chinese media and entertainment industry.
The way for fans to participate in fans community includes spending money for typical thing or celebrity that they are obsessed with, connect and engage in fan and interest networks, and derivative literature productive or related video making[8][9]. They express their emotions and loves on social media platforms or online community discussion boards, such as tags and Super Topics on Weibo, and commenting on Bilibili. This broad communication encourages the convergence of individuals as a process of sharing common knowledge. In China, fans prefer to use the term "organisation" to describe their fan community and interest group, and sharing ideas of relative activities in their organisation[8].
Fans creation[edit]
Fans creation is the main way for fans to express and participate in fan culture. Fans creation includes fan fiction, video, arts, filk songs and cosplay, and other way to interact and communicate with each other [10].
Filk songs ..
Fans works are influential in China, especially tong ren (same person) literature, which is textually fandom creation and self-created by using original characters and context setting from original work[1], and it has been a subculture of Chinese fandom culture. Tong ren literature is normally associated with boys' love(BL) culture even though China has unique cultural context. The development of boy's love culture brought out the concept of "Coupling (CP)" culture. This is used to match two individuals or characters into a romance relationship, these characters normally from fictions and anime[1]. In China, there are various media platforms that enable creating and sharing of this kind of fans derivative works such as Lofter, a textually fan works sharing platform, where attracts fans from different fan communities to share their fan fictions and interact with others.
Offline activities[edit]
Offline fan activities include concert, animate exhibition and fan meeting. Fan communities of certain celebrity or idol normally are highly organised and regulated, especially when they participate in offline activities such as concert and fan meeting.
Impacts[edit]
（This section mainly talks about how the development of fandom culture affects media platform users, especially adolescence, it will including both negative and positive effects to make sure that there won’t be bias）
Fan economy and industry[edit]
（This section will introduce fan economy and talk about how the fandom culture affects the entertainment industry in China and the specific marketing techniques toward the extension of fan economy）
References[edit]
- ^ a b c d Yijie, Wu (2018), Globalized Fandom: The Ou Mei Tong Ren Culture in China. The University of Iowa. Retrieved from https://ir.uiowa.edu/cgi/viewcontent.cgi?article=1371&context=honors_theses
- ^ a b c d e f g Xiqing, Zheng (2016). Borderless Fandom and Contemporary Popular Cultural Scene in Chinese Cyberspace. US: Washington: University of Washington. pp. 7–11.
- ^ "日本动漫"入侵"中国30余年，缘何"相爱又相杀"？|界面新闻 · 娱乐". www.jiemian.com (in Chinese). Retrieved 2019-05-07.
- ^ a b c "Fans organise to push their Chinese idols to top of global hit parades". South China Morning Post. 2018-11-14. Retrieved 2019-05-11.
- ^ LuyaoEric. "所谓"流量"明星 发展史 [In Chinese]". www.bilibili.com. Retrieved 2019-05-11.
- ^ Weiyu, Zhang (2016-03-22). The Internet and New Social Formation in China: Fandom Publics and Netizens in the Making. New York: Routledge. pp. 1–14. ISBN 9781317629290.
- ^ Anthony Y.H., Fung (July 16, 2009). "Fandom, youth and consumption in China". European Journal of Cultural Studies. 12 (3): 285–303. doi:10.1177/1367549409105365. S2CID 145180440 – via Sage journals.
- ^ a b c Yiyi, Y., & Zhuoxiao, X. (2018). The Bounded Embodiment of Fandom in China: Recovering Shifting Media Experiences and Fan Participation Through an Oral History of Animation-Comics-Games Lovers. International journal of communication [Online], 3317+. Retrieved from http://link.galegroup.com.ezproxy1.library.usyd.edu.au/apps/doc/A560838252/AONE?u=usyd&sid=AONE&xid=55e07f76
- ^ Jenkins, Henry. (2003) "Quentin Tarantino's Star Wars?: Digital Cinema, Media Convergence, and Participatory Culture".In Thorburn, D. and Jenkins, H. (eds.), Rethinking Media Change: The Aesthetics of Transition. Cambridge: MIT Press.
- ^ "Fandom and Participatory Culture – Subcultures and Sociology". Retrieved 2019-05-12.