2016
DOI: 10.1080/17544750.2016.1207695
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Culture, boundary, and identity: a comparison of practices between two online punk communities in China

Abstract: This article analyzes how digital technology can shape cultural practice in Chinese online communities. By using the concepts of boundary and identity, it explores the formation of two online punk communities in China, created by those who are interested in punk music originating from the Anglo-American countries. Drawing on data from participant observation and 10 in-depth interviews, this article first reviews literature on Internet culture in China, online community, boundary and identity. It then focuses o… Show more

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Cited by 8 publications
(3 citation statements)
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“…The framework of minor transnationalism is very useful to the study of Chinese online subcultural communities. In the milieu of vibrant transnational media flows and changing political climate, Chinese consumers have been proactively seeking out cultural resources from foreign media to accommodate alternative imaginations of life and articulate discontent about the society (Xiao, 2018; Xiao & Stanyer, 2017) Horizontal transnational flows, as conceptualized by Lionnet and Shih (2005a), either intentionally or unintentionally, are not necessarily mediated by the “center,” which means institutions or discourses produced by them. When the minor groups find more resonances from another culture than from the dominant discourse of one’s own nation, their cultural practices naturally dissolve the politics of national boundaries (Bao, 2018).…”
Section: Globalization Minor Transnationalism and Cultural Resiliencementioning
confidence: 99%
“…The framework of minor transnationalism is very useful to the study of Chinese online subcultural communities. In the milieu of vibrant transnational media flows and changing political climate, Chinese consumers have been proactively seeking out cultural resources from foreign media to accommodate alternative imaginations of life and articulate discontent about the society (Xiao, 2018; Xiao & Stanyer, 2017) Horizontal transnational flows, as conceptualized by Lionnet and Shih (2005a), either intentionally or unintentionally, are not necessarily mediated by the “center,” which means institutions or discourses produced by them. When the minor groups find more resonances from another culture than from the dominant discourse of one’s own nation, their cultural practices naturally dissolve the politics of national boundaries (Bao, 2018).…”
Section: Globalization Minor Transnationalism and Cultural Resiliencementioning
confidence: 99%
“…In addition, the term ‘scene’ is adopted here, to afford understanding of the localisation of punk activities in the Chinese context. Having developed over a span of 20 years in China, the punk phenomenon tends to be pluralistic (Xiao and Stanyer, 2016), showing diversity of musical styles (e.g. with the coexistence of genres such as hardcore, Oi!…”
Section: From Cccs Beginnings To Post-subcultural Studiesmentioning
confidence: 99%
“…This continued interest in punk, even rebirth, is reflected in the scholarship. A recent resurgence of scholarly interest in punk includes nine monographs and edited collections (Ambrosch, 2018;Bernhard, 2019;Bestley et al, 2021;Dines et al, 2017;Dunn, 2016;Patton, 2018;Smith et al, 2017;Worley, 2017;Xiao, 2018) and a growing body of work focused on the ongoing lives of punk in places such as Portugal (Guerra, 2014(Guerra, , 2018Guerra & Bennett, 2015;Guerra & Santos Silva, 2015;Santos Silva & Guerra, 2017), Brazil (Guerra & Gomes, 2017), Canada (Fauteux, 2017;O'Connor, 2002), China (Field & Groenewegen, 2008;Xiao, 2016Xiao, , 2017aXiao, , 2017bXiao, , 2018Xiao & Stanyer, 2017), Malaysia (Mura & Yuen, 2019) and Indonesia (Baulch, 2007;Donaghey, 2021;Dunn, 2016;S. Martin-Iverson, 2011Saefullah, 2017).…”
Section: Introductionmentioning
confidence: 99%