2022
DOI: 10.1080/1369118x.2022.2161829
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‘Push-and-pull’ for visibility: how do fans as users negotiate over algorithms with Chinese digital platforms?

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Cited by 7 publications
(13 citation statements)
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References 32 publications
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“…If previous literature (Liang, 2022;Yin, 2020;Yin and Xie, 2021;Zhang et al, 2023;Zhang and Negus, 2020) has documented a wide range of practices of idol fans and dangai fans (e.g. the Untamed Girls) on the platformized and datafied online fandom in China, the current study on shipping fandom showcases the precariousness of their unique praxis and desires in the paradoxical power relations which are the forces which shape the fandom's practices.…”
Section: Concluding Discussionmentioning
confidence: 91%
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“…If previous literature (Liang, 2022;Yin, 2020;Yin and Xie, 2021;Zhang et al, 2023;Zhang and Negus, 2020) has documented a wide range of practices of idol fans and dangai fans (e.g. the Untamed Girls) on the platformized and datafied online fandom in China, the current study on shipping fandom showcases the precariousness of their unique praxis and desires in the paradoxical power relations which are the forces which shape the fandom's practices.…”
Section: Concluding Discussionmentioning
confidence: 91%
“…Following the platformization of pop culture and the entertainment business, the datafied online fandom emerges from the platform logic centered on online traffic and quantifiable metrics (Yin and Xie, 2021). Under such complicated circumstances, even though fans are partially empowered with fragmentary agency via personalized digital media technologies, the fandom has been placed into a paradox of multiple social forces pointing in contrasting and often conflicting directions (Zhang et al, 2023). How to make sense of the unique fandom practices and experiences in this paradoxical site warrants updated theorization and empirical evidence (Busse and Gray, 2011).…”
Section: The Paradoxical Site Of Fandom: Entertainment Industry State...mentioning
confidence: 99%
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“…In the era of the Internet, entrepreneurs are expected to possess the essential skill of adeptly employing traffic logic in commercial services (Sohu, 2019). Similarly, the logic of traffic has been embraced in the digital entertainment industry, where it serves as a gaming strategy within the digital fandom community, transforming it into a competitive arena for gaining visibility (e.g., Y. Zhang et al, 2023).…”
Section: Introductionmentioning
confidence: 99%