„PRIJATELJU MOJ, TI SI JEDINO ŠTO JE OSTALO OD NJIHOVE RELIGIJE“ : RATOVI ZVEZDA, FANDOM I NOSTALGIJA
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Nekada davno (mada ne i u jednoj dalekoj galaksiji), fandom i fan kultura bili su u najboljem slučaju deo studija kulture, a u najgorem, prihvatljiva meta ismevanja i pop-kulturni simbol Drugosti. Međutim, otkako su početkom devedestih godina dvadesetog veka akademski izučavaoci fan kulture poput Henrija Dženkinsa i Kamil Bejkon-Smit objavili svoje pionirske studije, fandom je stekao poštovanje (i postao izuzetno unosan) kao multidisciplinarna oblast izučavanja i profitabilni deo komercijalne popularne kulture. Ne samo što su danas fandom i štreberska kultura postali mejnstrim, nego su se udružili sa rizomskim internetskim platformama i stvorili digitalno doba u kome najvažniju narativnu ulogu igra transmedijalnost i gde su se priče pretvorile u „intelektualnu svojinu“. To se najbolje može primetiti na primeru Ratova zvezda, koji su nekada bili filmske priče koje je osmislio jedan autor, a danas su franšiza u vlasništvu monopolističke megakorporacije, sa brojnim autorima, pričama i narativnim platformama. Kao rezultat toga, fandom Ratova zvezda, koji nikada nije bio naročito gostoljubiv prostor, još se više podelio i okrenuo ka nostalgiji u potrazi za utehom. Posledica toga je očekivana nestabilnost fandoma, čije različite grupacije smatraju da jedino one polažu pravo na autentičnost. Ratovi zvezda, dakle, obitavaju u savršenom liminalnom prostoru između obožavanja i mržnje, sadašnjosti i prošlosti, nostalgije i patetične sentimentalnosti. Koristeći savremene studije fan kulture, ovaj članak preispituje ulogu nostalgije u današnjem fandomu Ratova zvezda, sa naglaskom na medijskoj konvergenciji i kulturnim sukobima u digitalnim društvenim prostorima, čime se istražuje šira popularna kultura konvergencije.
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