<abstract xmlns="http://www.w3.org/1999/xhtml"> The article1 discusses formations of fan cultures in terms of intermediality. It examines the construction and consumption of media in three different Finnish fan groups: the fans of Xena: The Warrior Princess (XWP), fans of Ally McBeal and the fans of Finnish TV-host Marco Bjurström. The construction of intermedial relations of each fan group interestingly reveals the institutional and technological spaces of shaping the pleasures of media.The intermedial relations of researched fan groups vary according to a traditional use of media to a use of new media. The intermedial relations in XWP fan culture were produced mainly between television and the Internet. This intermedial connection provided space for fans’ self-definition, community and fan production. Intermedial relations in the case of Ally McBeal were encouraged by the media companies between television and tabloid papers as well as between television and the Internet depicting the show as topical and trendy. However audiences were mostly engaged with only television and Ally McBeal didn’t nurture multiple uses of media. Again in the case of Bjurström, the relation between television and tabloids and the particular portrait type of media coverage constructs this fandom as a traditional star-fan relationship.</abstract>

The article1 discusses formations of fan cultures in terms of intermediality. It examines the construction and consumption of media in three different Finnish fan groups: the fans of Xena: The Warrior Princess (XWP), fans of Ally McBeal and the fans of Finnish TV-host Marco Bjurström. The construction of intermedial relations of each fan group interestingly reveals the institutional and technological spaces of shaping the pleasures of media.The intermedial relations of researched fan groups vary according to a traditional use of media to a use of new media. The intermedial relations in XWP fan culture were produced mainly between television and the Internet. This intermedial connection provided space for fans’ self-definition, community and fan production. Intermedial relations in the case of Ally McBeal were encouraged by the media companies between television and tabloid papers as well as between television and the Internet depicting the show as topical and trendy. However audiences were mostly engaged with only television and Ally McBeal didn’t nurture multiple uses of media. Again in the case of Bjurström, the relation between television and tabloids and the particular portrait type of media coverage constructs this fandom as a traditional star-fan relationship.

The Intermedial Practises of Fandom

D.Soc.Sc., Researcher; Department of Journalism and Mass Communication, FI-33014 University of Tampere,

Nordicom Review

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

{"article-title":"The Intermedial Practises of Fandom"}

The article1 discusses formations of fan cultures in terms of intermediality. It examines the construction and consumption of media in three different Finnish...

The Intermedial Practises of Fandom

Data publikacji: 14 lut 2017

Zakres stron: 111 - 128

DOI: https://doi.org/10.1515/nor-2017-0213

Słowa kluczowe
fan cultures, television, intermediality, media convergence, Internet, tabloids

© by Kaarina Nikunen

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

The Intermedial Practises of Fandom

Data publikacji: 14 lut 2017

Zakres stron: 111 - 128

DOI: https://doi.org/10.1515/nor-2017-0213

Słowa kluczowefan cultures, television, intermediality, media convergence, Internet, tabloids

© by Kaarina Nikunen

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

Słowa kluczowe
fan cultures, television, intermediality, media convergence, Internet, tabloids