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1 P M J O U R N A L O F D I G I T A L R ESEARCH & P UBLISHING Online publishing: (Anime) Fan ;3"$'&#(&8#$8-&"$"5 Nicola Santilli UNIVERSITY OF SYDNEY Abstract The internet is an ideal tool for exploring identity because it provides a unique space for selfexpression. N3"9&$"8$I$8(3#*&%P'>%**&6+%$>&$8%"6$6$%*&5>%36$I%#9&$"&G39*&6+36&>%*7"36%&G$6+&6+%$>&$"6%>%*6*M&23"&456$7"& is created when fans use existing narratives and characters as the basis for their own texts, often extending plot, creating new characters, and developing relationships. This article focuses on Japanese animation .3"$0%1&D3"870&3"8&D3"&456$7"S&3"8&%P30$"%*&+7G&G>$6$",&3"8&'()#$*+$",&D3"&456$7"&7"#$"%&3DD%56*&6+%& identity of a young woman, Tanaka Nanako. Research is sourced from books, articles, and case studies. B+$*& 3>6$5#%& 3>,(%*& 6+36& 6+%& 53*%& *6(89& 8%07"*6>36%*& 6+36& '()#$*+$",& D3"& 456$7"& 67& 3"& $"6%>356$I%& 3"8& >%5%'6$I%&7"#$"%&D3"&5700("$69&*(5+&3*&23"456$7"M"%6&53"&>%*(#6&$"&6+%&57"*6>(56$7"&7D&3"&%0'7G%>$",& 8$*5(>*$I%&$8%"6$69M&B+$*&3>6$5#%&%P'3"8*&7"#$"%&'()#$*+$",&>%*%3>5+&3"8&+$,+#$,+6*&6+%&)%"%46*&7D&D3"870& 3"8&D3"&456$7"&3*&$"*6>(0%"6*&D7>&6+%&"%,76$36$7"&7D&$8%"6$69M Keywords 6%0!-5','6%0'6"($"-0','"!+0$"$/','%0"5+','-0&"0+'.)1&"43"0#','-0&"0+'(-55)0"$/ Identity, Adolescents, and the Internet /"& %P30$"36$7"& 7D& 6+%& 6G%"6$%6+& 3"8& 6G%"69]4>*6& 5%"6(>$%*& >%I%3#*& 6+%*%& '%>$78*& 53"& be distinguished from others due to their unusual focus on identity. These are identities crafted around race, religion, gender, sexuality, and age; identities based on popular 5(#6(>%& 3"8& $6*& C(56(36$",& >%'>%*%"636$7"*& .g#35H& V;;n1M& X`8%"6$69L& $*& 3& 570'#%P& *75$3#& construction produced and maintained by a subject’s position within their culture and society. Individuals therefore possess the capacity for multiple identities. Adolescence is an important period in which individuals construct and develop their identities, negotiating the confusing feelings produced from straddling both childhood and adulthood (Thiel 2005). The confusion during this time allows for experimentation with different approaches towards communicating and conveying identity. Young women are particularly susceptible to identity crises during adolescence as a result of dominant patriarchal cultural and media discourses (Thiel 2005). Many young women seek alternative discourses from which they can construct alternative identities. Information and communication technology such as the internet provides these women accessible 40
1 P M J O U R N A L O F D I G I T A L R ESEARCH & P UBLISHING spaces for the negotiation of their alternative identities. It is important to investigate the ways in which identity construction has become increasingly complex. Online identity negotiation is often located directly through the discourse of online communication; that is, through language use and social networking (Thiel 2005). So do online interactions lead to the formation of a distinctive online identity 6+36& 039& 7>& 039& "76& )%& 8$DD%>%"6& D>70& 3"& $"8$I$8(3#L*& 7DC$"%& $8%"6$69p& B+$*& h(%*6$7"& 3**(0%*&3&X57>%L&$8%"6$69&6+36&$*&36&788*&G$6+&6+$*&3>6$5#%L*&8%4"$6$7"&7D&$8%"6$69&3*&0(#6$'#%& 3"8& C($8M& 5+& +3*& *+7G"& 6+36& >36+%>& 6+3"& 387'6$",& 3& 8$DD%>%"6& $8%"6$69& 7"#$"%S& $6& is sometimes the only place female adolescents feel comfortable expressing their ‘true’ identity (Thiel 2005, p. 185). One reason may be that female adolescents who are confused or negotiating identity do not feel pressured to conform to a single or particular identity on 6+%&$"6%>"%6M&B+$*&3>6$5#%&$*&*'%5$453##9&57"5%>"%8&G$6+&6+%*%&387#%*5%"6*&G+7&3>%&3#*7&D3"*M Fandom, Fan Fiction, and Identity A ‘fan’ is an individual with an intense liking and enthusiasm for a certain thing, called a ‘fanobject’ (Napier 2007). This fanobject can be anything: books, television series, or stars. Fans are distinguishable from other consumers by their level of emotional investment G$6+&6+%&D3"]7)R%56&.A3"8I7**&V;;r1M&B+$*&3>6$5#%&$*&57"5%>"%8&G$6+&3&*'%5$45&69'%&7D&D3"&t& 0%8$3&D3"*M&N%8$3&D3"*&57"*6>(56&5(#6(>3#&3"8&*75$3#&$8%"6$69&)9&X)7>>7G$",&3"8&$"C%56$",& mass culture images’ (Jenkins 1992, p. 23). While some media fans stay committed to a star, others use individual series as springboards into broader fan subcultures, called ‘fandoms’. A fandom’s existence represents a critique of conventional forms of consumer culture and provides a space where fans can discuss issues concerning sexuality, gender, racism, and forced conformity. Many fans feel greater freedom to express themselves and ask questions within fandoms, than outside them. Community is important: for many fans G+7&+3I%&"76&>%5%$I%8&4"3"5$3#&7>&5(#6(>3#&>%G3>8*&$"&,%"%>3#&*75$%69S&'>3$*%&D>70&6+%&D3"& community means a lot (Gregson 2005). ‘Fan reading’ is a social process during which individual fans’ interpretations are shaped and reinforced through ongoing discussion with other fans (Jenkins 1992). These discussions produce meanings that are more fully integrated with the fans’ lives. These ‘poached’ meanings shape how fans perceive future encounters with the fanobject (Jenkins 1992). There is empowerment in how fans assimilate fanobjects into their lives, and many D3"*&*+3>%&H"7G#%8,%&G$6+&76+%>*&)9&5>%36$",&D3"]6%P6*M&23"]6%P6*&$"5#(8%&D3"&456$7"S&D3"& art, and fan videos, and are shaped by the social norms and aesthetic conventions of the 41
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a large proportion of Chinese netiz
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issue and not be interfered by any
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