“Alex, DO NOT BACKPEDAL ON SANDY HOOK!”: Reactionary Fandom, Cancel Culture, and the Possibility of ‘Audience Capture’ on YouTube

IF 2.4 2区 文学 Q1 COMMUNICATION
Daniel Jurg, Marc Tuters, Ike Picone
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引用次数: 0

Abstract

“Cancel culture” has gained tremendous attention in contemporary political discourse. On platforms like YouTube, reactionary ideological entrepreneurs often employ what Ng terms second-order discourses on cancel culture, that is, portraying call-out practices such as shaming public figures as left-wing censorship efforts stifling free speech. This article argues that such call-out practices, generally ascribed to progressive communities, also occur internally within reactionary communities where fans hold ideological entrepreneurs accountable for adhering to potentially extreme political canons. Adopting a fan studies perspective, this exploratory investigation used “close” and “distant” readings on 1.8 million comments from the now-canceled “The Alex Jones Channel” on YouTube (2017–2018). Focusing on Jones’ recantation of the “Sandy Hook Hoax,” the authors show that, akin to traditional fandom conceptions, radical audiences engaged in call-out practices demanding “character” and “narrative” fidelity. This contribution, theorized as “audience capture,” emphasizes the bottom-up efforts of audiences to maintain the radical views of ideological entrepreneurs.
"亚历克斯,不要在桑迪-霍克面前退缩!":YouTube上的反动粉丝、取消文化和 "观众捕获 "的可能性
在当代政治话语中,"取消文化 "获得了极大的关注。在YouTube等平台上,反动的意识形态企业家经常使用吴氏(Ng)所称的关于取消文化的二阶话语,即把羞辱公众人物等叫板做法描绘成左翼扼杀言论自由的审查努力。本文认为,这种一般被归咎于进步社群的叫停做法也发生在反动社群的内部,在这些社群中,粉丝要求意识形态企业家对遵守潜在的极端政治准则负责。本文采用粉丝研究的视角,对 YouTube 上现已取消的 "亚历克斯-琼斯频道"(The Alex Jones Channel)(2017-2018 年)的 180 万条评论进行了 "近距离 "和 "远距离 "解读。作者聚焦于琼斯对 "桑迪胡克骗局 "的反悔,表明激进受众参与了要求 "角色 "和 "叙事 "忠实性的呼唤实践,这与传统的粉丝概念类似。这一贡献被理论化为 "受众捕获",强调受众自下而上地努力维护意识形态企业家的激进观点。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
5.60
自引率
5.00%
发文量
49
期刊介绍: Television & New Media explores the field of television studies, focusing on audience ethnography, public policy, political economy, cultural history, and textual analysis. Special topics covered include digitalization, active audiences, cable and satellite issues, pedagogy, interdisciplinary matters, and globalization, as well as race, gender, and class issues.
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