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By: Melissa Aimes

By: Melissa Aimes. “THE INTER(ACTIVE) SOAP OPERA VIEWER”. “Feminist Culturalist Television Criticism”. Cultural implications of Soap fans A gain or loss of social status Resistance and acceptance of hegemonic pressures. Beyond the “Trivial”. Fan as a gendered term “Manitee Girls”

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By: Melissa Aimes

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  1. By: Melissa Aimes “THE INTER(ACTIVE) SOAP OPERA VIEWER”

  2. “Feminist Culturalist Television Criticism” Cultural implications of Soap fans A gain or loss of social status Resistance and acceptance of hegemonic pressures

  3. Beyond the “Trivial” Fan as a gendered term “Manitee Girls” Communicative nature of the fan Women and oral culture (easy entry to fandom?) Fan Talk and it’s endless nature “…offer moral judgment in characters’ actions…make predictions about likely plot developments, or provide background…to new fans” -Jenkins Spoken dialogue = endless in nature Fans derive meaning from “trivial” Breeds relationships “active producers and manipulators of meaning” Utility is key

  4. Aren’t they all just passive receptors…? "Fandom does not prove that all audiences are active; it does, however, prove that not all audiences are passive” –Jenkins Refunction actively consumed programming Women are active in nature “One size fits all” vs "Infinite Diversity in Infinite Combination” Enjoy creation Space for dialogue and belonging Fans fulfill some need through regular interactions with products Why are fantasies needed?

  5. Soap Opera’s: An Endless Genre? Soap’s longevity and seriality change the fan community Participant isolation (“en masse”) Fans filter in and out Abundance of episodes at high intervals = Internet

  6. Soaps and the Web Oral nature of soap fandom Chat forums and virtual communities Joined by common interest and practice One participant simply enjoyed "having some people to talk about the show with.” -Baym Usenet message system "is a novel hybrid between written, oral, interpersonal, and mass communication” –Baym

  7. General Hospital Case Study Search results broken down into six categories (145,000 hits on Google… research for first 100 hits) Commercial sites looking for profit (fan-directed) Official corporate created by network (29%) Information databases, entertainment centers, and TV specific (55%) Well established sites devoted to GH (no affiliation to ABC) (under 50%) Less commercial sites (fan-created) “Fan site” with chat rooms, forums, fan event info, etc…(over 64%) Devoted solely to fan fiction (3%) Devoted to specific characters (10%)

  8. So What? Huge opportunities for communication Regularity of episodes and amount of “text” possible to comment on Why so many sites? House more characters Endless narrative form More archived episodes, spoilers, and new storylines…

  9. Interaction and Participation Production and consumer control Levels in televisual text Primary Secondary Tertiary Silent party say in show’s creation (sometimes direct) Networks create proximity Special events

  10. Conclusion …we must analyze how an object and/or representation is manipulated by its users, claiming that "only then can we gauge the difference or similarity between the production of the image and the secondary production hidden in the process of its utilization.” –Certeau “… the emergence of this reading public co-occurred with the emergence of a multiply genred and distributed novel. All of Dicken’s novels…were so published, “generally in monthly parts”….and the readers were more than consumers; they helped shape the development of the text-in-process.” –Kathleen Yancey

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