![]() ![]() The reception model is rooted in critical theory, semiology, and discourse analysis. Stuart Hall’s reception model ( 1980) is one of the four prominent models of communication (the others include a transmission model, a ritual model, and a publicity model) (as cited in McQuail, 2010). This means that they have power to emphasize or exclude certain contents to the audiences. In other words, they give us a selective and manufactured set of representations of the reality of the world. 64, as cited in Croteau and Hoynes, 2003, p. As Hall (1982) argued “ Representation is a very different notion from that of reflection, It implies the active work of selecting and presenting, of structuring and shaping not merely the transmitting of an already- existing meaning, but the more active labor of making things mean” (p. However, to the constructivists, media does not simply shape or reflect society. Traditionally, media has been viewed as the shapers of society, in which they have the power to influence people (intentional approach), or has been viewed as the mirror that reflects society (reflective approach) (Hodkinson, 2017). In other words, understanding fans and their fandom has become the bridge to understanding contemporary life and society driven by the power of online technology.Īs a consequence, this study investigates how Thai fans construct their identities mainly through their language used in popular online contexts like Twitter. As a consequence of these fan activities, recently more and more researchers have turned to explore fandom in online contexts (Baker, 2009 Black, 2008 Booth and Kelly, 2013 Booth, 2008). In addition, according to Matusitz ( 2005), there are more chances for a greater variety of identities to emerge in the online world. Thus, many fan activities have moved from the real world to the online world, for example, fan fiction, games, and group chat. It is the same for fans, as they often follow information and communicate with one another on internet platforms like Facebook and Twitter rather than frequently meeting up in real life. Moreover, in the present online era, most people tend to use the Internet on a daily basis. Numerous websites in different countries provide spaces for fans to write fan fiction in their own languages (i.e. Many people have been participating in fan activities such as cosplay and cover dance. There have been many fan conventions held in many countries (i.e. On the contrary, fandom has only grown bigger and is expanding all over the world. Moreover, mostly driven by the use of social media, younger generations are increasingly eager to participate in fan cultures therefore, this phenomenon does not seem like it will subside or end anytime soon. The media industry itself has turned its strategy from driving not only breadth but also depth of engagement, and shifting their target from audiences to fans (Kresnicka, 2016). It redefines popular culture as something that is more diverse and complex than the culture of the “mass” (Lewis, 1992), and it reflects a contemporary culture and society, where the Internet is at the heart of communication and consumers now are parts of the production (Gray et al., 2007, 2017 Jeewa and Wade, 2015). At present, fandom has become a phenomenon that is very influential and global (Black, 2008 Booth and Kelly, 2013). If not, they are bound to know someone who is” (p. ( 2007) stated that, “most people are fans of something. This article further discusses the humorous nature and the transcultural elements found in fan tweets, especially the ‘Thai-ifize’ method that fans use in creating fan tweets. Moreover, this article discusses fans’ shared lexicon called ‘fan talk,’ and how fans position themselves as relatives and friends of the source texts. The results from a selected sample comprising 100 fan tweets from four different sources, suggests five types of fan tweets, including: hypothetical interpretation, fan art, narrative concerning an anecdote regarding the source text, expression of personal opinions and feelings, and fan parody. This article explores how Thai fans engage with fan text on popular social media platforms such as Twitter, and how fandom relates to identity construction among Thai fans who are online media users. ![]() Fans are dedicated, and creating fan text (i.e., text production made by fans about their object of fandom) is one way of showing dedication and passion to the fan base. ![]() In our digital era, fandom has become a social and cultural phenomenon, notably in Thailand. ![]()
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