Fan Culture @ Swarthmore

These four articles touch on the possibilities of fandom in a global context. What does being a fan mean in different contexts? What are different fan objects around the world? How do fandoms operate around that object? What larger issues are implicated in the fandoms? All of the articles talk about media fandom, particularly film and television stars, and the overlap those stars have in the commercial realm. Punathambekar touches on the overlap between Tamil film stars and politics, but shies away from it because he wishes to place fandom on a continuum that does not highlight the political action of stars in India. However, I would like to go into the political potential of fandom and stardom in a global context. Cieko & Lee’s article highlights the parallels between different kinds of star capital and the political situation in South Korea, and I think this idea is interesting to explore in the Chinese context. They also point out the growing fluidity of gender in Korean film and television, which is also applicable in the Chinese context. All of the articles touch on the possibility of information flow, a flow that does not just go from West to East, but in all directions.

Super Girl was a hugely popular television show in China. It was a three-hour singing show based on American Idol, which is based on the British show Pop Idol. The official name of the show is “Mongolian Cow Sour Yogurt Super Girl Contest” because of the primary sponsor, a yogurt company. In each episode, there are multiple times when the people of China voted for their favorite star. This does not sound unusual, considering that many Americans do the same when watching American Idol. However, the three hour block of voting per week is different, because people in China don’t vote in political elections. The grand finale of the 2005 show drew 400 million viewers, which is roughly the population of the United States and Great Britain combined. About 8 million sent “text messages of support” (the actual term vote was not used). This contest marked the first time that a true Chinese pop star has emerged since the rise of Communism in 1949. According to a Christian Science Monitor article on Super Girl, the show is popular because of its “raw authenticity” and how it indirectly gives individuals in China a voice through the “text messages of support.” The show did not emerge from Beijing, the political and cultural capital of China, but rather from Hunan, a province in the Southwest of China. However, the show became a national phenomenon.

The winners of Super Girl (there were three seasons before the show was taken off the air) were tomboyish, and the one who has gained the most attention is the second season’s winner, Li Yuchun. On BBS websites and blogs, people argued about whether she was pretty or ugly, a boy or a girl, gay or straight, cool or weird. She is the most famous Super Girl and an interesting object of fandom. Her androgynous appearance and the fact that her English name is Chris have led to a lot of speculation about her sexuality and gender. As Ciecko & Lee pointed out in their article, there is a potential for the creation of a newer female gender role through popular depictions of women and men, and if Li Yuchun’s popularity is any indication, gender may be becoming more fluid. As quoted on a blog about the growing industrialization of China, one blogger said “Why is she so popular in China? I guess it reflects the confrontation between male and female in Mainland China. Most of her fans are women, and men prefer Zhang Liang Ying. Her victory is women’s victory and voting for her is voting for our own dream of being ourselves.” Others say that the popularity of this show is due to its unprecedented format and one of China’s most famous sociologists Li Yinhe called Super Girl a “victory of the grassroots over the elite culture.”

Although this is not distinct to Asia, the winners of Super Girl become spokespeople for various brands. Ciecko & Lee discuss the decrease in star capital if a star puts does not produce anything new but appears in commercials. Li Yuchun actually uses the brands that she endorses in her music videos, thus combining the commercial necessity of stardom with production. Amazingly, there is also a Li Yuchun stamp in China, something that normally only happens to important politicians.

One of Li Yuchun’s most popular songs is called “N+1,” and it is a mixture of classical Chinese music and hip-hop. A lot of songs performed on the Super Girl show are standard pop hits from America, such as Zombie by the Cranberries, Don’t Cry for Me Argentina from Evita, and Wherever, Whenever by Shakira. I chose to focus on Super Girl as my fan artifact presentation because I think it elucidates some points brought up in the readings on global fandom. Super Girl is an excellent example of Mainland China’s entrance into the global capitalist economy. The show’s title explicitly says the name of the sponsoring product, the songs performed are often in English, the winners receive product sponsorship with global companies, and when the videos are posted on YouTube, people’s comments, in English and other languages are shown. Americans now have access to Super Girl and can comment in their own right. Li Yuchun has performed in Las Vegas in the Fusion concert and has performed with Kenny G as well, singing Everything I Do by Bryan Adams. As quotes from fan of Super Girl demonstrate, there is also the potential for autonomy.

Here are links to videos:
1. Li Yuchun singing in Las Vegas (“N+1”)
2. Li Yuchun dancing (fan vid mashup!)
3. Li Yuchun “Happy Wakeup” music video (notice the product placement)
4. Li Yuchun and Kenny G (not very good quality; also, not good because Kenny G is involved, but I can tell you, he’s super popular in China)

Link to blog about China’s visibility in the global capitalist economy, with many posts about Super Girl

Questions:
1. Is there such a thing as global fandom? What does it look like?
2. How is/not Li Yuchun an example of fandom in a global context?
3. What do you think of the portrayal of fans in Otaku No Video?
4. Is there political potential in fandom? Why/why not?