1. THE RISE OF TV AND MUSIC FANDOM GLEE AND GHOST STORIES Relatore: Deborah Toschi Correlatore: Federica Villa Laureanda: Beatrice Marazzina

2. FANS AND FANDOMS There are different types of members in the audience, and the ones who are really passionate about a content are the ones we called FANS. The fans are not alone in the audience, but they make up groups and these groups are called FANDOMS.

3. JENKIN’S THEORIES  FANS HAVE GOT A SPECIFIC RECEPTION MODE  FANS HAVE GOT A SPECIFIC RECEPTION MODE : THEIR POSITION OF FANS ALLOWS THEM TO HAVE A DIFFERENT RECEPTION OF CONTENTS COMPARED TO THE NORMAL AUDIENCE  THE FANDOM AS AN INTERPRETIVE COMMUNITY: FANS DON’T JUST RECEIVE THE CONTENT BUT THEY ANALYSE IT, IN ORDER TO STUDY THE CONTENT AND SATISFY THEIR CURIOSITY  THE FANDOM AS AN ALTERNATIVE SOCIAL COMMUNITY: FANDOMS’ COMMUNITIES DON’T FOLLOW THE SOCIETY RULES, BUT THEY HAVE THEIR OWNS, AND DETACH THEMSELVES FROM THE REST OF THE AUDIENCE AND SOCIETY  THE FANDOM AS A GROUP OF CONTENT PRODUCERS  THE FANDOM AS A GROUP OF CONTENT PRODUCERS : THE AUDIENCE IS ONLY A RECEIVER OF THE CONTENT, BUT THE FANDOM IS A RECEIVER AND A PRODUCER OF SECONDARY CONTENTS DERIVED FORM THE MAIN SOURCE

4. CONTINUUM OF FANDOM

5. WHAT DO THE FANS PRODUCE? FAN FICTION STORIES ABOUT TV SERIES/ FILMS/BOOKS CHARACTERS, OR MUSIC ARTISTS, WRITTEN BY FANS, INSPIRED BY THE MAIN CONTENT.

6. WHAT DO THE FANS PRODUCE? FAN ART ARTWORKS CREATED BY FANS OF COMICS, MOVIES, TELEVISION SHOWS OR VIDEO GAMES AND DERIVED FROM A CHARACTER OR OTHER ASPECT OF THAT WORK

7. WHAT DO THE FANS PRODUCE? FAN VIDEO IT’S THE FAN LABOR PRACTICE OF CREATING MUSIC VIDEOS FROM THE FOOTAGE OF ONE OR MORE VISUAL MEDIA SOURCES, THEREBY EXPLORING THE SOURCE ITSELF IN A NEW WAY. THE CREATOR MAY EXPLORE A SINGLE CHARACTER, SUPPORT A PARTICULAR ROMANTIC PAIRING BETWEEN CHARACTERS, CRITICIZE OR CELEBRATE THE ORIGINAL TEXT, OR POINT OUT AN ASPECT OF THE TV SHOW OR FILM THAT THEY FIND UNDER-APPRECIATED.

8. PARTICIPATORY CULTURE AND TRANSMEDIA TEXTS TECHNOLOGY MULTIPLE PLATFORMS AUDIENCE ENGAGEMENT TRANSMEDIA STORYTELLING AND TEXTS TRANSMEDIA STORYTELLING AND TEXTS MARKETING MATERIAL, SEQUELS, MERCHANDISING, BRANDING, WEBSITES ETC THESE KINDS OF TEXTS HELP SHAPE THE VIEWER’S EXPERIENCE OF A SINGLE “TEXT”. THE AUDIENCE MAKES THE EXPERIENCE OF THE PRIMARY TEXT THROUGH MULTIPLE FORMS OF ENGAGEMENT.

9. PATHS  CELEBRITIES  TV CHARACTERS SINGERS/MUSIC BANDS  FILMS TV SERIES  BOOKS

10. FOX’ S PRODUCERS GLEE FANS (GLEEKS) UPLOAD SONGS ON ITUNES STORE DOWNLOAD ITUNES SONGS COVERS, VIDEOS, PERFORMANCES PRODUCERS FANS Biggest gleek

11. FLASHMOB IT’S A GROUP OF PEOPLE WHO ASSEMBLE SUDDENLY IN A PUBLIC PLACE, PERFORM AN UNUSUAL AND SEEMINGLY POINTLESS ACT FOR A BRIEF TIME, BEFORE QUICKLY DISPERSING. THEY ARE OFTEN USED FOR THE PURPOSES OF ENTERTAINMENT, SATIRE OR ARTISTIC EXPRESSION. Glee’s flashmob PROMOTION ENTARTEINMENT ANNIVERSARY MEMORIAL : CORY MONTEITH

12. #LYRICSHUNT Involve the WORLDWIDE audience in the virtual world. The Coldplay involved the fans into the promotion of the brand new album with a lyrics hunt. The fans had to find the lyrics of the new songs into the libraries strewn into the world, and after that, post the pictures of the lyrics on Twitter, in order to communicate them to rest of the fans.

13. MINI TOUR Mantain the intimacy in the real world Another strategy made by the band and his producers, was to maintain the intimate/close relationship fans-band by containing the concert’s audience, and launching a mini-tour in little arenas and not in big halls anymore.

14. CONCLUSION EQUIVALENCES  Transmedial platforms  The importance of the music aspect  A final reward DIFFERENCES  virtual/real world  Audience involvement through the whole TV series/ a promotional involvement

15. THANKS FOR YOUR ATTENTION