In this article we decided to focus our analysis on Italian Facebook pages dedicated to the now-running series Pretty Little Liars (ABC family, 2010 - 2017), where audiences “store” details of individual episodes in many Internet places in order to manage that level of complexity. Those Facebook pages use to be a worthwhile repository of information and indications: a complex system capable of accommodating relations between users and cultural products. Italian audiences use Facebook to stay connected to the Pretty Little Liars TV series, and at the same time to build social relationships. In these environments, the connection levels are different and give rise to relations of different nature, so much so that the identity of the author appears to be at times blurred and confused (corporation, actors, audience..). Starting from these remarks, a few questions have guided our analysis: how is Facebook used by audiences? Can we say that today the viewing of a TV series also includes the daily monitoring of its developments on Facebook? Which kind of imaginaries are being evoked? Which kind of “translations” may be observed in the Facebook pages linked to a successful series?
Antonella Mascio (2019). Facebook and the TV Fandom: The Case of Pretty Little Liars.. Newcastle upon Tyne : Cambridge Scholars Publishing.
Facebook and the TV Fandom: The Case of Pretty Little Liars.
Antonella Mascio
2019
Abstract
In this article we decided to focus our analysis on Italian Facebook pages dedicated to the now-running series Pretty Little Liars (ABC family, 2010 - 2017), where audiences “store” details of individual episodes in many Internet places in order to manage that level of complexity. Those Facebook pages use to be a worthwhile repository of information and indications: a complex system capable of accommodating relations between users and cultural products. Italian audiences use Facebook to stay connected to the Pretty Little Liars TV series, and at the same time to build social relationships. In these environments, the connection levels are different and give rise to relations of different nature, so much so that the identity of the author appears to be at times blurred and confused (corporation, actors, audience..). Starting from these remarks, a few questions have guided our analysis: how is Facebook used by audiences? Can we say that today the viewing of a TV series also includes the daily monitoring of its developments on Facebook? Which kind of imaginaries are being evoked? Which kind of “translations” may be observed in the Facebook pages linked to a successful series?I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
