JOHN FISKE THE CULTURAL ECONOMY OF FANDOM PDF

Skip to search form Skip to main content You are currently offline. Some features of the site may not work correctly. Fiske , Fandom Published Fandom is a common feature of popular culture in in dustrial societies.

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Skip to search form Skip to main content You are currently offline. Some features of the site may not work correctly. Fiske , Fandom Published Fandom is a common feature of popular culture in in dustrial societies. It selects from the repertoire of mass-produced and ma ss-distributed entertainment certain performers, narratives or gen res and takes them into the culture of a self-selected fraction of the peop l.

View PDF. Save to Library. Create Alert. Launch Research Feed. Share This Paper. Citations Publications citing this paper. Exhibitions and the role of fashion in the sustenance of the Kylie Brand mythology: unpacking the spatial logic of celebrity culture Paul Hewer , Kathy Hamilton Sociology Common among wizards, popstars, and cowboys: Performance and participation in media fandom Sebastiaan Gorissen Sociology Gittinger Art References Publications referenced by this paper.

Black music and young people in Birmingham Simon L. Peyton Jones Art Madsen , Fredrik Bajers Vej Women Audiences and the Workplace. Women Watching Together. Cho , C. Cho Cho Sociology Comic Books: Practices of Reading a.

Kiste Heffernan Unpublished p Related Papers. Abstract Citations 14 References Related Papers. By clicking accept or continuing to use the site, you agree to the terms outlined in our Privacy Policy , Terms of Service , and Dataset License.

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The Cultural Economy of Fandom

Fiske delineates three main characteristics of fandom: discrimination and distinction, productivity and participation, and capital accumulation By discrimination and distinction, he means that both fans and casual viewers have criteria for what does and does not make someone a fan or casual, notably that the culture of the subordinate must serve a purpose for them Fiske, Concerning productivity and participation, Fiske isolates three kinds of productivity: semiotic, enunciative, and textual. Semiotic refers to making meanings of social identity and experience from the semiotic resources of cultural commodity, whereas enunciative takes the public form of shared, face-to-face oral culture Fiske,

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2 The Cultural Economy of Fandom

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Cultural Economy of Fandom

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