Fangirls Run the Economy女性粉絲推動(dòng)經(jīng)濟(jì)

From the box office to book publishing， stans1 are making their influence felt.

從票房收入到作品出版，超級(jí)粉絲的影響力正在崛起。

In recent years， cultural critics have described the Internet as an “attention economy，” referring to the hot， volatile business of converting views and clicks into dollars. But in 2023， we watched fandom burst to the forefront， and the truth became undeniable： We’ve exited the attention economy and entered something less transient.

近年來(lái)，文化評(píng)論家把互聯(lián)網(wǎng)稱為“注意力經(jīng)濟(jì)”，意即這是一種快速傳播又迅速變化的熱門商業(yè)模式，能將瀏覽量和點(diǎn)擊量變現(xiàn)。但在2023年，我們看到粉絲群體突然闖進(jìn)大眾視野的中心，其背后的真相無(wú)可爭(zhēng)辯：注意力經(jīng)濟(jì)已成過(guò)去，人們的關(guān)注變得持久。

“The attention economy is the brief focus on nearly any subject as algorithms focus on engagement，” says Jamie Cohen， Ph.D.， an assistant professor of media studies at City University of New York’s Queens College. “This， of course， results in the temporary uplift into mainstream media and a short marketable trend. On the other hand， the fangirl economy is far more powerful because a small group of passionate users is far more valuable than millions of flash-in-the-pan2 trend followers.”

“受算法注重參與度的影響，注意力經(jīng)濟(jì)對(duì)幾乎所有話題的關(guān)注都很短暫?！奔~約市立大學(xué)皇后學(xué)院主攻媒體研究的助理教授杰米·科恩博士說(shuō)，“注意力經(jīng)濟(jì)的確能暫時(shí)增加主流媒體的流量，短期拉動(dòng)市場(chǎng)走勢(shì)。然而，女性粉絲群體的經(jīng)濟(jì)力量要強(qiáng)大得多，因?yàn)樗齻內(nèi)藬?shù)雖少，但比起眾多來(lái)去匆匆的關(guān)注者，勝在熱情持久，商業(yè)價(jià)值大得多。”

On some level， fans’ economic impact isn’t new. In 2016， for instance， Red Lobster sales spiked after Beyoncé name-dropped3 the restaurant in the lyrics of “Formation.” But the double-header of Swift’s Eras tour and Beyoncé’s Renaissance tour in 2023 marked a turning point. These weren’t just high-grossing tours; they were full-on stan tours， complete with unofficial dress codes and community-building activ-ities.

從某種程度來(lái)說(shuō)，粉絲經(jīng)濟(jì)的影響力早已有之。例如，早在2016年，碧昂絲在單曲《編隊(duì)》的歌詞中提到海鮮餐廳“紅龍蝦”，這使得餐廳營(yíng)業(yè)額一度飆升。不過(guò)，粉絲經(jīng)濟(jì)崛起的關(guān)鍵點(diǎn)是2023年兩位歌壇巨星的演唱會(huì)：泰勒·斯威夫特的“時(shí)代”巡回演唱會(huì)和碧昂絲的“文藝復(fù)興”巡回演唱會(huì)。她們的巡演不僅收入頗豐，而且完完全全是屬于超級(jí)粉絲的盛會(huì)——歌迷自發(fā)統(tǒng)一著裝，還組織豐富多彩的社群活動(dòng)。

All that fan passion yielded more than just ticket sales： Swift’s three-night stretch in Houston resulted in the city’s highest hotel revenue week of 2023， Axios reported; a special report for the California Center for Jobs confirmed that her SoFi Stadium shows brought in an estimated $320 million in tourism revenues， taxes， and extra jobs for Los Angeles County alone. As for the Renaissance tour， visitors to Houston shows spent $18.2 million at area hotels alone， and Danske Bank economists believe the kickoff show in Stockholm contributed to higher inflation in Sweden.

歌迷的熱情不僅帶來(lái)了演出收入：據(jù)美國(guó)新聞網(wǎng)站“愛(ài)可信”報(bào)道，斯威夫特在休斯敦連續(xù)三晚的演唱會(huì)，讓該市酒店當(dāng)周收入一舉創(chuàng)下2023年之最；加利福尼亞州就業(yè)中心的專題報(bào)告證實(shí)，斯威夫特在索菲體育場(chǎng)的演唱會(huì)僅為洛杉磯縣一地就預(yù)計(jì)帶來(lái)3.2億美元的旅游收入和稅收，還創(chuàng)造了大量臨時(shí)就業(yè)崗位。再以碧昂絲的“文藝復(fù)興”巡回演唱會(huì)為例，前往休斯敦的觀眾光是在當(dāng)?shù)鼐频曜∷蘧突?820萬(wàn)美元。丹斯克銀行的經(jīng)濟(jì)學(xué)家認(rèn)為，碧昂絲在斯德哥爾摩的巡演首秀甚至導(dǎo)致瑞典的通脹走高。

“A digital standom is charged with energy， so you only need a small amount of push into the marketplace to create a vast consumer response or even a civic mobilization，” says Cohen. “The tighter knit the passionate standom， the more they are ready to act either with their wallet or with their feet4.”

“數(shù)字時(shí)代的超級(jí)粉絲群體能量十足，只需輕輕刺激市場(chǎng)，就能激發(fā)消費(fèi)者的強(qiáng)烈反應(yīng)，甚至能動(dòng)員全民?！笨贫鞑┦空f(shuō)，“超級(jí)粉絲越是緊密團(tuán)結(jié)，他們對(duì)營(yíng)銷做出的反應(yīng)就越快，要么掏錢購(gòu)買產(chǎn)品，要么用行動(dòng)抗議。”

The trend extends beyond music-al superstars. Many authors are getting their first break into publishing by gaining steam on fandom sites like Archive of Our Own5， and fan fiction is now being developed into film—Anne Hathaway’s film， Amazon Prime’s The Idea of You， is based on a fic that may have been inspired by One Direction， and Netflix’s hit series Heartstopper is based on the webtoon6 of the same name.

粉絲的影響力也擴(kuò)散到了音樂(lè)巨星以外的群體。在以“我們自己的檔案”為代表的粉絲平臺(tái)上，許多作者收獲熱度，從而首次涉足實(shí)體出版業(yè)。如今，粉絲小說(shuō)甚至能搬上大銀幕——由亞馬遜流媒體平臺(tái)出品、安妮·海瑟薇主演的電影《對(duì)你的想象》就翻拍自粉絲小說(shuō)，而這部小說(shuō)的靈感可能來(lái)自單向樂(lè)隊(duì)；奈飛熱門劇《心跳漏一拍》則改編自同名網(wǎng)絡(luò)漫畫。

More than just supporting their faves economically， fangirls have the power to shift marketing strategies， product creation， and narratives in their favor. Take the way that the Brit Awards changed its rules after initially denying Rina Sawayama entry to the competition because she was not a U.K. citizen， though she has lived there for 26 years. Fans got #SawayamaIsBritish trending on Twitter in 2021， ultimately convincing the organization to change its criteria to include long-term residents.

女性粉絲不僅花錢支持自己最喜歡的偶像，她們還能夠扭轉(zhuǎn)營(yíng)銷策略、產(chǎn)品開(kāi)發(fā)和敘事方向，使之對(duì)自己的偶像有利。例如，歌手澤山璃奈在英國(guó)生活了26年，卻因非英國(guó)公民的身份而無(wú)緣入圍全英音樂(lè)獎(jiǎng)。2021年，她的粉絲把話題“澤山是英國(guó)人”刷上推特趨勢(shì)，最終成功說(shuō)服主辦組織改寫評(píng)獎(jiǎng)規(guī)則，將久居英國(guó)的歌手納入?yún)⒃u(píng)范圍。

On BookTok and BookTwt， a single video or tweet within the community can spark mass interest for a new piece of literature or an upcoming artist. “Fan fiction on a wider basis is having more commercial success， with stories adapted for publication or even giving those writers a platform and the confidence in their storytelling skills to pursue a career as an author，” says Beth Reekles， author of the Kissing Booth book series， which was adapted as a Jacob Elordi-starring Netflix franchise. “Fandom-driven literature on platforms like Wattpad often becomes major hit film adaptations.”

在TikTok和推特的薦書社區(qū)里，一個(gè)視頻或一條推文就可能激起大眾對(duì)某部文學(xué)新作或某位新晉藝術(shù)家的興趣?！坝H吻亭”系列小說(shuō)的作者貝絲·里克爾斯指出：“粉絲小說(shuō)在更廣泛的領(lǐng)域里正在取得更多商業(yè)上的成功——許多網(wǎng)絡(luò)故事經(jīng)改編后出版發(fā)行；粉絲小說(shuō)甚至為寫手提供了寫作平臺(tái)，提升了他們對(duì)自己敘事技巧的信心，進(jìn)而鼓勵(lì)他們踏上職業(yè)作家之路?！崩锟藸査沟摹坝H吻亭”系列小說(shuō)已改編為奈飛系列電影，由雅各布·埃洛迪主演。里克爾斯還說(shuō)：“在以 ‘沃帕德’為代表的電子書平臺(tái)上，粉絲創(chuàng)作的文學(xué)作品往往會(huì)改編為大熱電影?！?/p>

“Standom， to me， is about loving and supporting a star wholeheartedly and believing the best in them， sometimes even despite lower moments or them not deserving it，” says video producer and creator Joelle Park， whose “eating like K-pop stars” series has amassed more than 20 million views on YouTube. “Standom gives the sense of community and inner circle between members， [even though] it’s sometimes competitive between stans to prove greater devotion to the celebrity.”

“我對(duì)超級(jí)粉絲的定義就是全心熱愛(ài)、全力支持某個(gè)明星的群體。即便在偶像處于低谷，甚至不配獲得信任的時(shí)候，他們?nèi)匀荒芸吹脚枷褡詈玫囊幻?。”視頻制作者兼創(chuàng)作人若埃勒·帕克說(shuō)。她的系列節(jié)目《像韓流明星一樣吃飯》在優(yōu)兔上的觀看次數(shù)已超過(guò)兩千萬(wàn)?！俺?jí)粉絲群體給人認(rèn)同和歸屬感，打造出小圈子文化，（雖然）有時(shí)粉絲也會(huì)互相較勁，爭(zhēng)著表明自己對(duì)偶像更忠心。”

This isn’t entirely good. The publishing industry in particular has come under fire for practices reminiscent of “fast fashion，” turning out books that appeal to social media trends.

粉絲經(jīng)濟(jì)也不全是好處，對(duì)出版業(yè)來(lái)說(shuō)尤為如此。為迎合社交媒體熱點(diǎn)而出書的做法不免讓人聯(lián)想到“快時(shí)尚”，出版業(yè)已然因此遭到抨擊。

Fandoms can also turn on you. “I’ve also seen the potential of people’s novels diminish or lose popularity because of nuanced situations or negative actions of the author， especially in an online space，” says Nicole Nwosu， whose Wattpad novel The Bad Boy and the Tomboy has amassed more than 100 million reads on the platform.

粉絲群體也會(huì)拆臺(tái)。“我也見(jiàn)過(guò)小說(shuō)熱度下滑、人氣不再，可能是因?yàn)樽髡呶⒚畹牧?chǎng)或不當(dāng)?shù)难孕?，特別是作者在網(wǎng)絡(luò)空間里的所作所為?！蹦菘茽枴ざ魑痔K說(shuō)，她的小說(shuō)《壞男孩與假小子》在“沃帕德”平臺(tái)上的閱讀次數(shù)超過(guò)一億。

As Cohen says， “You can make mistakes in the attention economy when it comes to criticism or marketing. In the fangirl economy， brands， marketers， and even journalists have to be aware of the collective power of fangirl and standom economies because they can exert power in strange ways.”

正如科恩博士所言，“注意力經(jīng)濟(jì)是容許在評(píng)論和營(yíng)銷方面犯錯(cuò)的。在女性粉絲經(jīng)濟(jì)中，品牌方、營(yíng)銷方甚至記者都必須意識(shí)到女性粉絲經(jīng)濟(jì)和超級(jí)粉絲經(jīng)濟(jì)的凝聚力，因?yàn)檫@兩個(gè)群體可能會(huì)以不尋常的方式施展力量?！?/p>

In December 2023， for example， fantasy author Cait Corrain lost her book deal after it was revealed that she was creating fake accounts on Goodreads to boost her own reviews and lower those of her peers—an example of people review-bombing books for any number of vendettas， sometimes even before it has been released. Meanwhile， the fans of the Harry Styles fanfic series After sent hate comments en masse to the film adaptation producers after trailers for the final installment， After Everything， were released; growing frustration over the creative direction of the movie boiled over when the trailers included what appeared to be recycled shots of the lead， Josephine Langford. The movie became the lowest-grossing of the series—grossing $10.6 million compared with the first installment， which earned $69.5 million.

舉例來(lái)說(shuō)，2023年12月奇幻作家凱特·科拉因被曝出在書評(píng)網(wǎng)站“好讀網(wǎng)”上建立數(shù)個(gè)假賬戶為自己刷好評(píng)，給同行打低分，她的出版合約因此落空。這一事例表明，人們因?yàn)樾膽殉鹪箷?huì)對(duì)書籍進(jìn)行差評(píng)轟炸，有時(shí)甚至連未出版的也不放過(guò)。同年，根據(jù)粉絲小說(shuō)“之后”系列改編的系列電影發(fā)布了最終篇《一切之后》的預(yù)告片。這一系列粉絲小說(shuō)以哈里·斯泰爾斯為原型，小說(shuō)粉絲本來(lái)就對(duì)電影的創(chuàng)意改編大失所望，預(yù)告片中又似乎使用了主演約瑟芬·朗福德以前的鏡頭，更是讓小說(shuō)粉絲的怨氣沸騰，于是他們聯(lián)合起來(lái)對(duì)制片方發(fā)表惡評(píng)。結(jié)果，《一切之后》的票房?jī)H1060萬(wàn)美元，在“之后”系列中表現(xiàn)最差，而該系列首部電影的票房高達(dá)6950萬(wàn)美元。

But it also means that more people garnering attention for their craft understand the importance of fandom. Increasingly， more young public figures are bringing their own experiences with digital fandom to the table7. Nwosu， for example， was a part of various fandoms growing up， namely the 5 Seconds of Summer， Halsey， and Zayn Malik online fan contingents. Reekles was a part of the SuperWhoLock Tumblr fandom， a fictional alternate universe in which the characters and plots of the television shows Supernatural， Doctor Who， and Sherlock inhabit the same universe.

不過(guò)，越來(lái)越多因才華走紅的創(chuàng)作者也因此認(rèn)識(shí)到了粉絲群體的重要性。越來(lái)越多的年輕公眾人物也開(kāi)始公開(kāi)講述自己與線上粉絲群之間的往來(lái)。比如，恩沃蘇從小就是五秒盛夏樂(lè)隊(duì)、歌手哈爾西和歌手扎因·馬利克的忠實(shí)歌迷，也是他們線上粉絲團(tuán)的一員。里克爾斯是“湯博樂(lè)”上“邪惡神秘洛克”粉絲群的成員，他們這群粉絲構(gòu)建了一個(gè)虛擬的平行宇宙，讓電視劇《邪惡力量》《神秘博士》與《神探夏洛克》的人物和情節(jié)共存其中。

Since she doesn’t have access to her sales numbers， Reekles instead measures her success by her ability to build a community of people who bond over her work. “Those kinds of people are still massively underestimating the power of fandom and the community it gives—the sense of belonging， friendship， and self-assurance that keeps us all coming back for more，” she says.

里克爾斯無(wú)法掌握自己作品的確切銷量，于是她為自己的忠實(shí)讀者建立了粉絲群，以此衡量自己的成功。她說(shuō)：“很多人還是嚴(yán)重低估了粉絲群體的力量以及由此產(chǎn)生的團(tuán)體精神——我們能在社群里找到歸屬、結(jié)識(shí)朋友、收獲自信，這一切都讓我們不斷回到群里尋求更多?！?/p>

（譯者為“《英語(yǔ)世界》杯”翻譯大賽獲獎(jiǎng)?wù)?；單位：上海工程技術(shù)大學(xué)）

1源自美國(guó)說(shuō)唱歌手埃米納姆（Eminem）2000年推出的歌曲Stan，歌詞講述了狂熱粉絲斯坦的追星故事。后來(lái)，stan一詞的意思逐漸引申為高度狂熱、極度執(zhí)著的超級(jí)粉絲。

2 flash-in-the-pan曇花一現(xiàn)的。" 3 name-drop說(shuō)出名人名字來(lái)抬高自己。

4 act with one’s feet指用行動(dòng)表態(tài)，多用于抗議，與vote with one’s feet意思相近。" 5非營(yíng)利性粉絲作品托管網(wǎng)站，旨在保存和展示各種形式的粉絲作品，其核心特點(diǎn)是創(chuàng)作自由和內(nèi)容豐富。" 6 webtoon網(wǎng)絡(luò)漫畫，由web（網(wǎng)絡(luò)）與cartoon（漫畫）縮合而來(lái)。

7 bring sth to the table推上臺(tái)面；提供有益的建議，帶來(lái)價(jià)值或做出貢獻(xiàn)。