Stereotyped Emo Kids: A literature review

Arunrangsiwed, Proud; Arunrangsiwed, Ratajit

doi:10.1109/times-icon47539.2019.9024586

Cited by 2 publications

(2 citation statements)

References 24 publications

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“…Other than the mentioned practices, suicide and self-injury are perceived as important norms of emo subculture [11], [12]. After the suicide of two Australian female students, Jodie Gater and Stephanie Gestier, in 2017, emo kids were not viewed only as subculture members or fans of modern punk music, but folk devils [13], [14].…”

Section: Introductionmentioning

confidence: 99%

Overcome Discrimination: A Logistic Regression with 10-year Longitudinal Investigation of Emo Kids’ Facebook Posts

Arunrangsiwed¹,

Sawangdee²

2020

Adv. sci. technol. eng. syst. j.

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This study primarily aims to identify the factors that helped emo kids in 2010 move through the emo-identity discrimination and be able to obtain a certain level of achievement. Facebook is the social network that allows users to track friends' posts back over 10 years. Content analysis was conducted by using two coders to rate 1,432 Facebook posts published during 2010 until 2019, based on the variables: (1) emo-related content, (2) emotion expression, (3) being a part of fandom, (4) the group of fandom, (5) friend(s) and (6) family appearance. The results from logistic regression analysis reveal that past emo kids' Facebook posts are increasing in the contents about friends, family, and fan objects over time. However, the number of posts with emo music or emo fan object was reduced. Having social support and belonging to social group, like fandom, might help past emo kids overcome the hard time that they had got prejudiced. Future studies should develop a model or existing theory to explain the complexity of individuals' overlapping identities blended in social networking profiles.

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Section: Introductionmentioning

confidence: 99%

Overcome Discrimination: A Logistic Regression with 10-year Longitudinal Investigation of Emo Kids’ Facebook Posts

Arunrangsiwed¹,

Sawangdee²

2020

Adv. sci. technol. eng. syst. j.

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“…Scholars note how this affective disposition implicit in emo music-fatalistic and dark, yet dramaticbolsters the subculture's appeal to not only youths who feel misunderstood, marginalized and excluded from mainstream society (Carrillo-Vincent 2013;Fathallah 2010) but also teenagers and young people in general because it speaks to the emotionally charged tensions of growing up and coming-of-age in modern society (Trager 2018). To this end, research generally observes that emo music invokes themes of social rejection and alienation, loneliness, heartbreak, and turbulent social relationships (Carrillo-Vincent 2013), with numerous studies emphasizing emo music's preoccupation with depression, anxiety, self-contempt, self-harm, and suicide (e.g., Arunrangsiwed and Arunrangsiwed 2019;Trnka 2017;Munteanu et al 2011). While these thematic qualities are readily identified in emo music, studies evince a range of empirical subjects in explaining these themes in relation to various facets of emo identities and experience, such as style, gender, and moral panic.…”

Section: Emotive Themes In Emo Musicmentioning

confidence: 99%

Self-images, emotions, and music videos: studying reflexivity and the emergence of subcultural selves for 'emo kids' in Singapore

Lim

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In this thesis, I investigate the ways that interactions with music videos shapes emotions and sense of self for participants of the emo subculture in Singapore (comprising those who self-identify as 'emo kids'). My interest is in how music videos become symbolic, reflexive resources for youths as meaningful, subcultural self-meanings and self-images emerge-in other words, how they began to see themselves as emo kids during their teenage years. Specifically, I explore how these self-images represent reflexive, emotionbased embodiments that culminate towards the emergence of meaningful subcultural selves in emo kids' everyday lives. Based on interviews with 15 emo kids, my analysis focuses on interpretive processes of meaning-making as interviewees interacted with various emo music videos from the early 2000s-2010s. Taking a grounded approach, I draw from both socio-cognitive and symbolic interactionist frameworks as sensitizing concepts that are useful to unpack my findings and analysis. Overall, my emo kid interviewees expressed that interacting with emo music videos on YouTube facilitated three ways of reflexively "seeing themselves in music videos". First, self-images embedded in music videos represented ways that my participants were able to internally articulate discrete feelings and reflexively understand these emotional embodiments as "feeling emo". Second, self-images embedded in music videos represented ways that my participants could reflexively embody a subcultural worldview grounded in affective, social dispositions. These self-images were made meaningful as "naturally seeing myself as an emo kid". Third, self-images embedded in music videos represented ways that my participants reflexively embodied a subcultural experience of self-awareness-an affective subcultural meta-reflexivity. These self-images were described as "seeing myself as emo kids see themselves". Overall, I discuss how these findings about digital media interactivity and reflexive, emotional embodiments relate to the ideas about subcultures, self-making, and sociality. This study thus offers important insights that bridge central concerns across the fields of self and identity, sociology of emotions, subcultures, music sociology, and digital media studies.

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Stereotyped Emo Kids: A literature review

Cited by 2 publications

References 24 publications

Overcome Discrimination: A Logistic Regression with 10-year Longitudinal Investigation of Emo Kids’ Facebook Posts

Overcome Discrimination: A Logistic Regression with 10-year Longitudinal Investigation of Emo Kids’ Facebook Posts

Self-images, emotions, and music videos: studying reflexivity and the emergence of subcultural selves for 'emo kids' in Singapore

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