摘要
21世纪的西方数字粉都研究在沿袭费斯克粉丝生产力的同时整合了web2.0的生产民主化概念。其间最主要关于粉丝生产的矛盾冲突是:大众文化学者坚持web2.0的粉丝生产不需要专业技能,而精英文化学者认为需要恢复粉丝生产专业/业余的区隔。本文以"回到菲斯克"的方式借由区分不同的粉丝文化道德经济,重新厘清粉丝生产专业性和web2.0生产民主之间的关系,而并非简单认定这一关系存有逻辑矛盾或是悖论。
Partly in response to debates surrounding participatory culture of web2.0,writers in fan studies have recently made use of John Fiske＇s classic tripartite model to theorise online fandom＇s creativity.In this article, I identify a tension in web2.0 scholarship between those who follow Fiske＇s populist and those who seek to recuperate and amateur/professional binary. I argue that a ＇return to Fiske＇ can usefully highlight varying relationships between fan expertise and web2.0＇s democratization of production, it is managed via differing fan-cultural ＇moral economies＇.
出处
《电影艺术》
CSSCI
北大核心
2018年第1期65-73,共9页
Film Art
