| In recent years,the domestic entertainment industry has developed rapidly with the support of communication technology.The programs led by"Idol Producer"and"Produce 101”have set off a new climax of fan culture on social media.Social media has played an important role in this carnival,and it has also made earth-shaking changes in online idol-fandom communication behavior.The idol-fandom realizes a common presence in the virtual space,where they gathered and exchanged experiences and emotions,forming a unique landscape in the crowd.This study uses the spectacle/performance paradigm to describe and analyze the behavior of idol-fandom in social media.Through literature review,this study believes that the idol-fandom made a social media"spectacle." Their social media communication behavior is a kind of"performance"centered on their selves.This study used three research methods including online observation,questionnaire and in-depth interview to describe the communication behavior of idol-fandom in social media from three aspects:communication norms,text symbols and ritual activities.The study found that the spread of communication norms is a narcissistic self-narrative for fans.These norms mainly include:common"fans guides",customary " inner norms"and specified virtual community standards.The name provides fans with the ability to identify,call emotion and regulate behavior.With the same name and rules,the members of the fandom are able to draw boundaries with the"others",while at the same time they will also evade and get bored with the tedious norms.The text symbol of the idol-fandom is another boundary for fans to achieve identity.The mode of communication is divided into the spread of the idol-center and the spread of the fans.The latter is also known as the reproduction of text symbols by fans.Idol-fandom builds a framework of meaning in the text and symbols to realize the reconstruction of their selves and reality.Text symbols,as cultural capital,social capital and economic capital,have transformed each other,which promote the production of meaning and create the illusion of"rich"in the consumer society.The idol-fandom in the social media environment can participate in and complete online and offline ritual activities in the absence of the body,which means imitating learning,emotional connection and self-identity.However,due to the involvement of social media,the boundaries between online and offline ritual activities of the idol-fandom have become increasingly blurred,resulting in a phenomenon of"universal ritual".This exposes fans to extreme emotional fluctuations and further immerses themselves in cognitive synergies or biases about selves and groups.The ritual activities promote the idol-fandom to produce“collective unconsciousness"or forced"unconsciousness",which also stimulate the fans to awaken and resist.But no matter what kind of action the fans take,they are still in the framework of ritual,and they are caught in a cycle of uninterrupted imagination and performance.After summarizing and reflecting,this study further develops the theory of the spectacle/performance paradigm and puts forward the following points:First,social media has a“dispersion effect".It blurs the line among the communities and between the virtual world and the reality while it also exacerbates the division and changes within the community.Secondly,the communication behavior of idol-fandom in social media is a kind of“stylized performance"which can further consist of the spectacle on social media.They decorate their appearance and spiritual world in the visual culture and the aesthetics of daily life,and get more direct about themselves.The specific imaginary text is in the cycle of deconstruction and construction of the self.Finally,the idol-fandom push"consumerism"to the climax called“emotion consumerism"in the collusion with commercial capital.This wave sweeps through everything including the“love"of idols and fandom their selves,deeply affecting and countering the culture consumer market. |
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