Since the early 1990s, a series of concepts have been posited as alternatives to subculture, specifically ‘neo-tribe’ (Bennett, 1999), ‘post-subculture’ (Muggleton, 2000), and ‘scene’ (Harris, 2000; Shank, 1994; Straw, 1991). While none of these concepts specifically addresses the shifting deomgraphic of popular music fandom, each portrays individuals as more reflexive in their appropriation and use of particular musical and stylistic resources. In the case of neo-tribe and post-subculture, however, emphasis is still placed upon the importance of face-to-face gatherings and visual style as central aspects of popular music fandom. Scene, on the other hand allows for a more varied range of fan practices (…)
[ˈfɛndəm] Gesamtheit, Gemeinschaft aller Fans eines Stars, eines Films o. Ä.