#not to mention it was an extremely popular movie but showed in only select theatres

[fleursdesmorts]

i’ll honestly never get over how you people acted about call me by your name. like you can even just say something as simple as i liked the movie and people will come out of the walls to call you a pedophile

[ashxpad]

The 10 Hottest 35mm Cameras You Could Buy in 1991

1991. What a great time to be alive. Seeing movies like Robin Hood and Hook in the theatres, and hearing hits like “Joyride” by Roxette or “Losing My Religion” by REM are some of my favorite pop culture memories of that time. Not to mention watching TV shows like Home Improvement, America’s Funniest Home Videos, and The Fresh Prince of Bel-Air.

Of course, being eleven years old, my photography experience was limited to disposable cameras, but that might not be the case for you. If you were older or luckier, you might have had one of these classic or innovative cameras I’ll be talking about today.

Today I’m going to go over the top ten hottest 35mm cameras you could buy in 1991.

A couple of things I want to mention about this list before I get started.

I constructed the list with a few parameters in mind. First, I used Popular Photography’s Top Cameras for 1991 as the base for it. Next, I boiled the list down from twenty to ten, by selecting the ones still most relevant today. The higher number of Google results, the higher it appears on the list.

Read also: 10 of the Hottest 35mm Cameras You Could Buy in 1982

In this golden age of photography, which in my opinion was 1975 to 1995, many of the cameras released had a very long shelf life. Because of that, if I include the older models, my top ten list could have several of the same entries, even if I jump ahead nine years. So for that reason, I have put a cap on cameras to be no older than seven years from the year featured.

That brings me to the last bit, which is this isn’t a list of cameras released in 1991, rather it is a list of the hottest cameras you could buy in 1991. As I mentioned, some of these entries had been out for a few years by 1991.

With all that being said, let’s get started.

#10. Yashica 230 AF

The first camera on today’s list may be a bit of an unknown these days: the Yashica 230 AF. An early auto-exposure camera, with three modes plus manual. The 230 AF was announced in 1986 but immediately caused some controversy, as mentioned in an article by Norman Goldberg, released by Popular Photography in November 1986.

“Yashica created a stir when the company was forced to withdraw its newest entry in the autofocusing fray. Called the 230 AF, the camera quickly became the subject of a patent dispute, but not before several German-language photo magazines came out with the details on the camera. To satisfy the affronted party – perhaps Minolta – the camera was displayed in a locked showcase. Word is that the matter will be resolved soon.”

Despite the early controversy, the 230 AF made its debut in 1987. One of the more interesting features was the CS-110AF flash accessory, which fit over the hot shoe and pentaprism to give a seamless appearance, it almost makes it look like another camera.

Picking up one of these in 1991 with the flash and a 50mm f/1.8 would cost you $765, or $1,536 today. There are not many found on eBay but if you want one of your own you can expect to get one for under $100

#9. Olympus IS-1

At number nine is the Olympus IS-1. A very strange-looking camera. Even stranger at the time because cameras like this marked the birth of the bridge model. A camera that included many of the manual and auto exposure modes of an SLR, but with a fixed lens like a point and shoot.

Because it didn’t fit into an already established category of camera, Olympus dared to make their own, calling it a ZLR, or Zoom Lens Reflex. This was absolutely a marketing gimmick, but it seemed to work. The IS-1 garnered a fair amount of attention.

In December 1990, Mike Stensvold conducted a thorough review in Petersen’s Photographic on the IS-1 and concluded that “The Olympus IS-1 comes closer than most to truly being a ‘camera for everybody.’ In point and shoot mode, it’s as simple to use as any camera in its class. It offers versatility to the more creative snap shooter and it’s got some advanced features found in few other such cameras, making it useful to more serious photographers, as well.”

Olympus’s goal was centered around the idea that this was a new concept camera and the wave of the future. This three-page ad, published in November 1990 encompasses that notion by posing the question: “Remember the first time you received a fax, talked on a cellular phone or heard a CD”?

In 1991 you could expect to pay $800, or $1,600 in today’s money. If you want to buy one used on eBay they are cheap as chips.

I actually did a very detailed history on this camera recently on an episode of my show This Old Camera, in case you want to learn everything there is to know about the Olympus IS-1.

#8. Nikon N8008

Coming in at number eight is the Nikon N8008, funny how that worked out. A consumer-level autofocus SLR with some impressive features for its time including a 1/8000th shutter speed and a flash sync speed of 1/250.

While many camera manufacturers of the time were abandoning their lens mounts from the days of manual focus SLRs, Nikon was staying true to their user base by creating a new autofocus system that could still take older manual focus lenses with a fair amount of compatibility.

Peter Burian conducted a field test and wrote about it in the Winter 1989 issue of Outdoor and & Travel Photography magazine.

“Though the N8008 is clearly an advanced and sophisticated piece of high-tech engineering, it is exceedingly user-friendly,” says Burian. “I predict that any photographer who can operate a digital watch or VCR will be familiar with the N8008 and its use within 30 minutes.”

Peter also says it handles like a dream but had a couple of hang-ups about its operation. He noted that although the N8008 is capable of continuous autofocus, he nailed more sharp images with the standard AF.

The advertising campaign for the N8008 bore the title: “The difficult is does automatically. The impossible takes a few more seconds.”

Here are a couple of examples from 1989.

This one with the ballerina touches on the matrix metering system, and rear curtain fill flash. “The point is,” says the ad, “highly creative pictures that used to be difficult to impossible for anyone less than a professional photographer are now within your grasp.”

The other ad sings a similar tune stating “Ordinary exposure control systems could be fooled by the dark black sky and overexpose the lighted skyline.”

A brand new N8008 with a 50mm f/1.4 would cost you $960 1991 dollars, or $1,928 today. This camera is an unsung hero in today’s film photography community and comes in at an incredibly low price of $70 or less with shipping, body only.

#7. Contax RTS III

At number seven is the Contax RTS III. In a time when autofocus was quickly becoming King, the people at Kyocera decided to make a more streamlined, more sophisticated manual focus SLR. The first thing that people will notice is that the RTS III uses Zeiss glass, known for its build quality and sharpness. But the thing that reviewers and adverting talked about the most was a feature called RTV, or Real Time Vacuum.

In a user report, published by Petersen’s Photographic in 1991 and written by Bill Hurter, it’s explained that the RTV system is engaged when the shutter fires, and sort of sucks the film back onto the pressure plate, creating a flatter image, thus creating a sharper image.

“Roll film in cassettes was a great breakthrough, but one of its problems has always been that film curls,” says Hurter. “It curls because it is rolled into a cassette. Also temperature and humidity affect the degree of curl. Contax engineers have shown film-plane flatness error to exist in current state-of-the-art SLRs to a degree of 20-30 microns in extreme cases. Further, the contention is that a 10 micron error in film plane flatness would cause a rear focus displacement of approximately 1 cm in an image shot at a distance of 3 meters with a Zeiss 85mm f/1.4.”

Basically, you don’t buy a Contax RTS III for quick focus, but superior focus.

A 1992 ad titled “See through the eyes of a genius” gives the reader a visual of what the RTV does to film flatness and showcases the Zeiss glass.

The price on an RTS III with a 50mm f/1.4 would set you back $3,630 in 1991, or about $7,300 today — a steep investment for a manual focus camera in a progressively autofocus world, but still not the most expensive manual focus camera on today’s list.

#6. Minolta Maxxum 9000

Number six is the Minolta Maxxum 9000. In January 1985, Minolta changed photography forever with the Maxxum 7000, and ten months later we were introduced to the 9000. While the 7000 was a model meant for the broadest audience possible, the 9000 geared itself toward the more serious amateur and professional.

In May 1986, Modern Photography had a very extensive look at the Maxxum 9000. Seeing how it compared to the 7000, which they noted that “Indeed its designers not only responded to virtually every criticism we made of the original 7000, they have also created one of the most sophisticated, comprehensive, internally complex and startlingly original SLR systems the world has ever seen.”

Popular Photography did their own field test in September 1986, praising the camera. But even when incredibly innovative, a camera is rarely perceived as perfect, and the Maxxum 9000 is no exception. Writer Bob Schwalberg had a few complaints for sure, including the average/spot metering setting didn’t have a lock on it, so a sleeve, or a strap or whatever would often change metering modes without him realizing it. Also the lack of lens selection.

“Almost two years after the launching of the Maxxum autofocusing camera system, Minolta’s AF lineup is heavy on zooms, but short on meat and potatoes workaday optics.”

At the time of review, they have nothing wider than 24mm, no 35mm, and not a single zoom in the 50-135mm range.

Advertising claimed the Minolta Maxxum 9000 to be “The World’s Most Sophisticated Camera” and encouraged you to “Ascend to the height of professionalism.” It seems in this ad, released in 1989, one of Bob’s issues was resolved, as I’m seeing a 16mm prime and a 35mm to what I presume to be 105mm lens.

With a 50mm f/1.7, a Maxxum 9000 would set you back $974 in 1991, or about $1,950 today.

#5. Leica R6

The Leica R6 comes in at number five. While many cameras take a leap forward from one version to the next, Leica actually took a step back, as quoted in a review by Jack Neubart in the fall 1990 issue of Outdoor and Travel Photography Magazine.

“Unlike the R5, the Leica R6 is principally mechanically governed. The R5 comes complete with several auto exposure modes, plus manual; but the R6 has only manual exposure control, with shutter speeds ranging from 1 second to 1/1000th of a second.”

Another review, in Outdoor Photographer’s October 1989 issue by Debra Davis sums up the purpose of the camera the best.

“In this day of electronic-laden auto-everything cameras, there is a new product on the market that stands apart from the rest. Welcome to the Leica R6. Designed to appeal to the photographer who wants mostly a mechanical, manual camera, the R6 shuns current trends and offers a back to basics approach to photography.”

This three-page special advertising section titled “The Shot of a Lifetime” features three Leica cameras including the R6. The main photo was taken during a Mount Everest climb with an R6 by photographer Warren Thompson.

“A camera which could be disabled by a failed, inexpensive battery would jeopardize the photographic mission,” says the ad.

The next page claims the R6 can withstand temperatures as low as -4F and as high as 140F.

Something that made me chuckle was this quote on page 2: “If Michelangelo were alive today, he wouldn’t be painting – he’d be using a Leica.”

I guess we’ll never know.

This Leica R6 ad titled: “Seduction” gives a really nice top-down look.

“You’re irresistibly drawn to it – seduced by the beauty, the precision, the mystique of legendary performance. Unlike mere ‘cameras,’ you don’t just hold a Leica, you caress it and feel the perfect balance, comfortable fit and smooth, positive operation – an extension of your hand, your eye and your art. You’ll be starting an affair with excellence that will last a lifetime whether you choose the manual R6, the electronic R5 or fast handling RE.”

Settle down there Leica.

During my research for other videos, I’ve come across quite a few Leica ads, and I have to say, many are like this one, and there’s a reason that some Leica owners have, shall we say, a superiority complex.

If you wanted to be seduced by this all manual beast, you better take out a second mortgage, because with a 50mm f/1.4 this Everest climber will cost $5,550 in 1991, or… wait for it… $11,147 in 2021 money. These days though, you can get one for a respectable $600 used. That Summilux-R 50mm f/1.4 will still choke your wallet though, at a cost of 1,200-1,800 bucks.

#4. Nikon F4s

Sliding in at number four is the Nikon F4s. I’m always curious to know the differences between models with slightly different names. In my top 35mm cameras of 1982 article, I was wondering what the big deal was between the Nikon F3 and F3HP, and the answer was, basically, the viewfinder.

Here I was again curious what the difference between the Nikon F4 and F4s was and the answer may amuse you: a battery pack. What makes an F4 an F4s is the MB-21 battery grip that takes six AA batteries and that is about it. You get a beefier camera and a slightly higher frames per second burst rate. With the MB-21, you can turn any F4 into an F4s. It’s a little sneaky on Nikon’s part, especially since it got its own advertising campaign.

Here are a couple of examples. The first here says “The Reasons” and brackets the ‘S’ and another example here it brackets the ‘es’ in Lenses. An odd choice. You’ll notice all the ads for the F4s include the battery grip because it has to.

Regardless, the Nikon F4 was a revolution for Nikon. They plunged into autofocus and while everyone else was remounting their cameras, Nikon stayed true to their user base by allowing older manual lenses on their newer autofocus cameras.

#3. Canon EOS-1

Getting the bronze medal for today’s top 10 is the other autofocus revolution flagship, the Canon EOS-1. Announced in 1989, the EOS-1 was not Canon’s first EF mount camera, but the first flagship model. As you can imagine, many FD mount Canon users were very upset that their cameras were antiquated overnight. History speaks for itself though and Canon survived the backlash.

The earliest ad I found was in September 1989’s issue of American Photographer, a colorful three-page ad, that would be one of a theme of ads with the suggestion, to quote “shoot it hot”.

“Live for photography. Eat Sleep and breathe it. Become a photograph.”

“Send the world your message…written in silver.”

I did a full history on the EOS-1 on my segment This Old Camera, in case you’re curious. After I released that video, my Patreon patrons and I were making “Shoot it Hot” jokes for weeks. It’s so incredibly cheesy and so very 90’s.

In September 1992, Camera & Darkroom magazine published: “A Quiet Revolution, A look at the Canon EOS Phenomenon,” by Mike Johnston.

Johnston took an in-depth look at Canon as a company, specifically their transition from FD mount to EOS, the controversy, and resulting innovations.

“When Canon introduced the EOS line in 1987, they immediately earned for themselves, among other things, a bad rap of sorts. The reason was the lens mount capability. The introduction of the new line was news; and the reaction from those heavily invested in expensive FD optics was swift, loud- and, to put it mildly, less than pleased.”

He would go on to say “even if you’re not a Canon photographer, it might be wise to keep your eye on them… if only to see which way the winds of change are blowing in the field of 35mm photography.”

A Canon EOS-1 with a 50mm f/1.8 would knock $1,939 out of your 90s Velcro wallet. Or about $3,900 today.

I paid $197 for the copy I have with an EF 28-105mm lens. It wasn’t in the best shape though, so expect to pay a little more.

#2. Leica M6

Obtaining silver for today’s countdown is the Leica M6. Is it any surprise that a Leica made it to the top 3?

A review by Debra Davis in the June 1991 issue of Outdoor Photographer explains the advantage of using a Leica quite well.

“The M6 allows the photographer to know what’s coming into the frame by displaying six distinct frame lines in the viewfinder window. These are projected in pairs corresponding to different focal length lenses for 28mm or 90mm, 35mm or 135mm, and 50mm or 75mm. The correct set automatically appears when you attach a lens and includes an area outside the frame line so you’ll be alert to something moving into the photo. In addition, you may manually select a different set of frame lines just by pressing a lever next to the lens. So without actually changing lenses, you can see and decide quickly, which lens to use for best composition.”

The ability to go unnoticed in a crowd is also touched on.

“The M6 is fast and silent, small and simple,” says Davis.

And here we go again with the melodrama, using the same ad theme as the R6, except this time it’s not Seduction, it’s …Obsession.

“It’s an almost unreasonable dedication to quality – meticulous attraction to detail, flawless mechanical precision, incredibly quick, quiet handling and optics that defy comparison – an obsession with perfection. It’s what sets Leica above mere “cameras” and accounts for their unchallenged reputation and unequaled value.”

If Jesus was alive today, he wouldn’t be a carpenter, he would be making Leicas.

Okay, I made that last part up, but it’s hard not to snicker at the hubris of it all. I will give Leica this, the commitment to only making small changes from model to model is impressive. Even as they transitioned to digital models, the design made very little change. You know that when you buy one, and ever feel like upgrading, you can do so knowing you won’t have a huge learning curve ahead of you.

The M6 might be second on the list, but it’s first in price. With a 50mm f/1.4, you can expect to pay $5,685 in 1991 cash, and just to give you a better idea of how much that is, in 1991, you could buy a used 1987 Dodge Omni for less, at a cost of just under $5,300. With inflation, an M6 was $11,418 in 2021 money. That is, just bonkers in my opinion. Especially when you consider that these days, you pay for the sensor in a high-end digital camera, but back then, everyone was using the same film.

Getting one on eBay is still going to be pricey. Body only is going to be three to four K.

#1. Olympus OM-4T

Coming in with the gold, is a camera you probably didn’t expect, the Olympus OM-4T. Maybe some of you did, as last time I made a list like this on the hottest of 1982, lots of you asked where the Olympus cameras were. The OM-1N came in at eleventh place in case you’re curious.

One of the features of the OM-4T that caught my eye while reading up on it was the ability to multi spot meter, as described in this review by Petersen’s Photographic writer Dan O’Neill in December 1986.

“Multi-spot metering is done by selecting different areas in the scene and metering each one with the press of the spot button. Up to eight spots can be metered and averaged by the OM-4T’s microcomputer.”

The other big deal with the OM-4T is the Full Syncro flash system. Basically, Olympus uses a focal plane shutter and that comes with its limits on how fast you can sync a flash to it. While many other manufacturers worked on a better shutter, Olympus just increased the duration of the flash system to properly gather all that light at quicker speeds. A focal-plane shutter has two curtains. A leading one and a trailing one, and at higher speeds the trailing curtain is already closing before the leading one has completed its cycle, so in the case of flash, you get an incomplete flash exposure.

Long story short, the OM-4T had a max flash sync speed of 1/2000, as promoted in an ad titled: “The first camera ever to break the light barrier.” They also called the multi spot meter function, “The most precise built-in meter in camera history.”

So what does the T stand for? According to David Brooks of Petersen’s Photographic, “the use of titanium for the bodies top and bottom plates. This exotic metal provides both lighter weight and greater strength to protect the camera’s internal circuitry to dedicate the new F-280 flash and integrate its special new capabilities into the OTF auto flash exposure control, auto-spot continuous light metering, and exposure automation.”

With a 50mm f/1.8 lens, the OM-4T will set you back $1,330 by 1991 standards, or just under $2,700 by today’s. These days you can expect to pay a respectable three to four hundred body only.

Conclusion

And that concludes today’s list. Thanks for reading and watching, and happy shooting!

About the author: Azriel Knight is a photographer and YouTuber based in Calgary, Alberta, Canada. The opinions expressed in this article are solely those of the author. You can find Knight’s photos and videos on his website, Twitter, Instagram, and YouTube.

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[iwishiwasabigstrawberry-blog]

Fandom as audience in popular culture （blog#1）

have you seen something like this?

We call a group of people who obsess with specific stars, movies or other forms of media texts or articles fans.  They are listeners, spectators, viewers, and readers. Fandom can be seen as a group of audiences who are ardent admirers or even devotees. There are different types of fandom, some like sports some love Harry Potter. In this blog, we will talk about the fan of music. There is an example of a girl named Loweel from Loving music: listeners, entertainments and the origins of music fandom in 19th America written by Daniel Caricchi. After this Loweel girl first watching Opera, she loved it and start to watch every Opera she could and learn sing every week. (p235) There are people like Loweel who is a fan of music, more than that, some of them are not only listening to music, they start to love the person or groups who sing those songs and become consumers. They spend money to buy albums, posters or tickets for concerts just for pleasure. As fandom has developed till nowadays, it became more vast and powerful because of the globalization of the media industry and development of technology. This blog will discuss fandom as audiences in popular culture in five parts that will be mainly mentioned: how did fandom change in the history, what roles that fans playing, how fans affected by media as objects and at last what hidden troubles within the fandom. I will explain these parts combining with my own experience as an “Army” which is the name of fans of BTS (a Korean boy group 防彈少年團). 

How did fandom change in the history?

BTS is a boy group in Korea, they have seven members and each of them is talented and attractive. They made their own songs and even got Billboard Top Social Artist awards this year with breaking Billboard record of voting. Thanks to globalization and development in technology that help breaking the limitation of space and time, their music albums, music videos and program shows are all kinds of platforms being viewed. In C.Lee Harrimgton and Denise D.Bielby interviewed 65 scholars about the status and possibilities of global fandom and global fan studies, one of their points is that “originally an industrial (marketing) term linked with the rice of commercial radio broadcasting. The concept of the audience quickly became one of the central ideas in mass communications research.” (p181) BTS’s music video of their title song from the new album has been watched over 81 million times. Globalization also brings interactions in economy and language between countries, people can watch those media texts that have subtitles of different languages. BTS has done many world tour concert, they can speak English, Chinese and Japanese. They also active in social media sharing their daily lives which can be seen by “Army” all around the world. In history, form the appearance of Greek theatre in 4th - 5th BCE till around 20th-century audiences as a group has been gradually formed from unmediated to mediated, danger of the crowd to danger of the content and public to private. In this case, from what I learned in Korea. There is a complete k-pop stardom made system in Korea, entertainment companies select teenagers from auditions and training them about dancing and singing skills, languages and working for better body shape. The cost of the training and board and lodging are all come from entertainment companies, once they done training for years and debut 60% - 80% of the money they earned will go to the companies. Entertainment companies deiced what K-pop stars wear on the stage and how they speak in interviews until the expiration of contract they even not allowed to dating with anyone for a better image (which can be called persona in section 3 of this blog). Some said that it’s like contact of selling oneself to companies, but there are still large number of people want to be a famous k-pop stars due to its successes. Benjamin Han referred the word “trans-culture” in his research that in Latin America, people love K-pop as well. As a result of that, fans of k-pop are extremely large but under management, they behave (most of them). Some companies have rules like forbidding fans staying around there waiting for their idols, or if a fan wants to send presents they are not allowed to give directly to the idols etc. which also is a protection of stars (related to the last section about negative influence within fandom).

What roles that fans playing?

Audiences’ roles as the outcome, mass, and agent are playing in mass media. Mass sees audiences as “a large collection of people scattered across time and space, who act autonomously and have little or no immediate knowledge of one another” (Sullivan, p27). “Army” as a group people who are in different places in the world but have one thing in common--- loving BTS are a perfect example for this concept. Even we don’t know each other, we know that we are family. We have many organizations that autonomously managed by some of “Army”, some of them selling DIY products related to BTS, some raise funds for donation with the name “Army”, others who live in Korea would follow their schedule and take pictures sharing them to other “Army”.  When there is a concert, “Army” who are in charged of those organization will help to decorate the venue, preparing food for BTS and give free gifts for “army” who went to their concert. I got a lot of little gifts last year in Beijing concert of BTS 

As for the aspect of audiences as agents, which is “conceived of [audience members] as free agents choosing what they want to experience. Using their own interpretative skills to interpret the texts they encounter, making their own meanings, and generally using media to site them”(Sullivan, p27).   There are many YouTubers who recording their reaction of viewing MV and post them on Youtube. Like JREKML, he is so successful that even Taeyang from Bigbang knows him. https://www.youtube.com/watch?v=USS4KORhBYM Many “Army” know BTS from these agents, we can all be agents with our control of what to post on social media. Like me, in this case, I have a Sina Weibo (Chinese version of Twitter) account that full of information about BTS with hashtags about BTS, even my mom became an “army”. Besides, because some of the BTS MVs contain lots of metaphors and potential relations of each other, “Army” like to write articles and try to figure out what is in depth. Here is an analysis of BTS mv which is my favorite BTS song I need U https://whiskedawaybywords.com/bts-i-need-u-original-version-music-video-analysis/

Like what was brought up in the first section about changing from danger from the crowd in danger of the content, audiences as outcome “see people as being acted upon by media. Typically, it relates a concern about the power of media to produce detrimental effects on individuals, and by implication on society as a whole.” (Sullivan, p27) Same as parents’ worry about video games would make their children’s personality violent, some young “Army” who don’t have much self-control may have a chance to be wary of studying because their think the world in songs is real or fell in love easily due to romance content in songs. It is not only depended on fans’ critical thinking or self-control, according to Juluri media content is important as well.  He argues that “the study of globalization and media needs to turn its attention to the media audience, not merely as a commercially constructed aggregated of viewers or partially disembodied subjects of global modernity, but as the point at which media are made meaningful and effective.”  This point leads us to the next few sections, how fans affected by media? Is the influence good or bad?

How fans affected by media as objects?

Different from fans as agents, they as audiences can also be seen as objects that can be affected by media. “Cooley was one of the first intellectuals to link the development of individuals’ psyches and worldviews with their immediate surroundings, including social feedback from peers, parents and other authority figures; and messages carried by communications, media via print, telegraph, telephones, to name a few” (Sullivan, p27) That means people not only affected by people surround but also by media. I think what’s good in BTS is that they always try to pass good content to fans. We can find many encouraging sentences and positive things in their lyrics. I think that is also due to K-pop culture in which idols are designed with a perfect image, which can be called persona. They look great and kind, they say things politely, they are just like angles especially to the female fans. Sullivan also mentioned that ‘there are 4 processes of involvement, which were defined as “the degree of psychological response of a person to a mediated message or persona” (Brown, p260). ’I think these 4 processes are used by entertainment companies in Korea for forming idols’ persona.

1. Transportation. This one means that audiences get involved in the media text, they feel like living in the fictional world. I think fans are touched by verbally and visually because of lyrics and MVs, I love MV of Run especially the scene they are running and laughing. I think I am there as well, far away from troubles in my life. https://www.youtube.com/watch?v=5Wn85Ge22FQ 2. Identification refers that fans sometimes imagine that they are someone else rather than who they really are. In the teaser of BTS’s new album, there are six girls in it as love stories. With that came out, “Army” all pretend that they are the girls. There are also tests online saying results lead to which one of the BTS will you married in the future. Even though I don’t think that is possible, I tried one of those tests.  3.for parasocial interaction, like what in the introduction of this blog, they are active on social media which can interact with fans. They post their selfies without makeup and costumes on the stage, they look just like someone live next door who I grew up with, every time when I am staring at him he smiles at me... (I think myself exactly fit in the 1,2 and 3 processes) 4. Fans who are in process of worship regard their idols as God. I know some fans who only care about their idols, don’t talk to their families and friends. They don’t have a life, just sitting there watching things about their idols on the internet.

What hidden troubles within fandom?

However, are fans really passively accepting all the influences that media carry? There are two ways of showing active in fandom. Positive way is that fans can be affected to become better in their real life. I have friends who are “Army” too, one of them dances very well and records cover dance of BTS then post on social media, she has many fans too! Another one is good at using computers to edit video and Photoshop pictures because she always makes videoes of BTS and design fan-made poster or card for them. As for myself, I went to Korea last year studying Korean and started to write rap songs in Korean. The video that I posted on my Instagram got many likes. There are more “Army” who is making progress of their lives because of BTS, I remember that their first song talks about “young people should have dreams”.  The other way of showing active in fandom is so-called “hidden troubles” within the fandom. They are anti-fans that defined by Diane F. Alters, who has plenty of opinions but dislike a show so much that he or she refused to watch (Fandom, 343). They are fans who don’t behave as audiences, who also have power. Anti-fans post negative messages about idols they don’t like on social media, some fight with fans, some even harm idols. Because anti-fans mean words, many idols suffering from depression and even suicide. Anti-fans could be awful, there is one time that a member from TVXQ received superglue in a juice bottle, he drank and got hurt.  Fortunately, he still can sing, but he can barely drink any beverage for many years.  

  References

Gray, J., Sandvoss, C., & Harrington, C. L. (2007). Fandom : identities and communities in a mediated world. New York : New York University Press, c2007.

Han, B. (2017). K-Pop in Latin America: Transcultural fandom and digital mediation. International Journal Of Communication (Online), 2250.

Sullivan, J. L. (2012). media audiences: Effects, users, institutions, and power. Thousand Oaks, CA: SAGE publications.