代写论文：名人粉丝俱乐部
在传统时代的这种范式中，詹金斯（Jenkins，1992）指出，热心的粉丝是群众歇斯底里的热心追随者或迷恋孤独的粉丝。这种范式中特定名人的狂热分子追随着人群和群众追随的方向，或试图在个人迷恋层面与名人联系，以满足他们的个人需求。詹金斯（Jenkins，1992）认为，这些观众仅仅是追随霸权文化的妄想个体。他们被认为是经常误解幻想与现实的人。詹金斯（Jenkins）（1992）进一步指出，球迷们与名人们进行了明显的互动，并且包含了五个重要的变量来作出区分。球迷们利用名人的典故保持情感接近，使用了解释性的做法，并坚持他们最喜欢的名人的风格。
代写论文：名人粉丝俱乐部
粉丝们创造了粉丝俱乐部和粉丝团，向他们的名人致敬。他们还创造了另类的诠释，并创造了更新的社区，成为他们最喜欢的名人的粉丝基地。电视的出现创造了新型的粉丝。电视录像以直接关系收集，以满足观众的要求。然后观众开始寻找并观看欣赏或满足他们个人要求的内容（Jenkins，1992）。为了推动商业并带来收入，制作人开始制作内容以满足观众的需求。这是从被动观众转变为积极观众参与的起点（Becker andSchönbach，2013）。
代写论文：名人粉丝俱乐部
In this paradigm in the conventional times, Jenkins (1992) stated that the ardent fans were the zealous followers of mass hysteria or the obsessive loner fans. The zealots of a particular celebrity in this paradigm either followed the direction of the crowd and mass following or tried to connect with the celebrity in an individual obsessive level to satiate their individual requirement. Jenkins (1992) opined that these audiences are mere delusional individuals, who followed the hegemonic culture. They are considered to be who often misconstrued fantasy with reality. Jenkins (1992) further stated that the fans interacted with the celebrities distinctively and encompassed five important variables to make the distinction. The fans used the allusion of the celebrity to maintain emotional proximity, used interpretive practices and adhered to the style of their favourite celebrity.
代写论文：名人粉丝俱乐部
Fans created fan clubs and fandoms as a tribute to their celebrities. They also created alternative interpretations and also created newer social communities as fan bases for their favourite celebrity. The advent of television had created newer kinds of fans. The television videos were collected in direct relationship to meet the audience requirements. The audience then started to seek out and watch content that gratified or satiated their individual requirements (Jenkins, 1992). In order to drive the commerce and bring in revenue, the producers started to develop content to meet the needs of the audience. This was the inception point for the change from passive audience to the active audience participation (Becker and Schönbach, 2013).
