How digital remix and fan culture helped the Lego comeback

Abstract

The LEGO Movie, the highest-grossing animation film of 2014, surprised and impressed children, adults, and critics worldwide. The film's transfranchisal approach and its clever merchandising helped the Lego Group become the world's biggest toymaker in the following year. In order to provide context for understanding the Lego comeback, we first address the corporate history of the Lego Group and how its product range has developed over the years. Next, we take a closer look at adult fans of Lego (AFOL), in particular a German fan club that considers Lego building to be a form of art. The final part of our paper deals with brickfilming as a cultural practice bringing together fans, the brand, Lego-building, and filmmaking. Taking The LEGO Movie and the overwhelmingly positive response to it as a starting point for cultural analysis helps to deepen our understanding of contemporary media production and resulting (trans)formations of fan phenomena. Furthermore, investigating Lego allows us to tackle some of the key rules and mechanisms underlying cultural participation and creativity today. Ultimately, the difficult past and current success of the Lego brick may attest to the often challenged yet sometimes reaffirmed status of tangible objects in a now predominantly digitally mediated era.

Hollywood movies and China: Analysis of Hollywood globalization and relationship management in China’s cinema market

“…Fandom and fan culture have been widely studied as important concepts and phenomenon in research of pop culture and film studies (e.g., Barbas, 2001;Buckley, 2009;Einwächter & Simon, 2017;Harrington, Bielby, & Bardo, 2011;Orgeron, 2009;Soukup, 2006). Different from the general movie audiences, fans of movies and film franchises attend cinemas more frequently (López-Sintas & García-Álvarez, 2006), are "in the know" and knowledgeable about contents and subjects (Beaty, 2016), seek pleasure or a promise of future pleasure from film productions (Beaty, 2016), are regarded as content experts and having positive impact on the methods of productions (Liang & Shen, 2016), and can be counted upon as reliable customers (Einwächter & Simon, 2017). In similar fashion, fans of stars excessively admire and worship the stars and their personality, desire to know more about them, actively participate in starrelated cultural products and activities (Barbas, 2001), and are motivated to consume the media products (Soukup, 2006).…”

“…The success of Fast & Furious movies in China may have made Hollywood studios realize that good relations with the Chinese fans' communities could boost box-office performance. Fandom and fan culture have been widely studied as important concepts and phenomenon in research of pop culture and film studies (e.g., Barbas, 2001;Buckley, 2009;Einwächter & Simon, 2017;Harrington, Bielby, & Bardo, 2011;Orgeron, 2009;Soukup, 2006). Different from the general movie audiences, fans of movies and film franchises attend cinemas more frequently (López-Sintas & García-Álvarez, 2006), are "in the know" and knowledgeable about contents and subjects (Beaty, 2016), seek pleasure or a promise of future pleasure from film productions (Beaty, 2016), are regarded as content experts and having positive impact on the methods of productions (Liang & Shen, 2016), and can be counted upon as reliable customers (Einwächter & Simon, 2017).…”