How digital remix and fan culture helped the Lego comeback
<jats:p>The LEGO Movie, the highest-grossing animation film of 2014, surprised and impressed children, adults, and critics worldwide. The film's transfranchisal approach and its clever merchandising helped the Lego Group become the world's biggest toymaker in the following year. In o...
| Main Authors: | , |
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| פורמט: | Journal article |
| יצא לאור: |
Organization for Transformative Works
2017
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| _version_ | 1826299352590581760 |
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| author | Einwächter, S Simon, F |
| author_facet | Einwächter, S Simon, F |
| author_sort | Einwächter, S |
| collection | OXFORD |
| description | <jats:p>The LEGO Movie, the highest-grossing animation film of 2014, surprised and impressed children, adults, and critics worldwide. The film's transfranchisal approach and its clever merchandising helped the Lego Group become the world's biggest toymaker in the following year. In order to provide context for understanding the Lego comeback, we first address the corporate history of the Lego Group and how its product range has developed over the years. Next, we take a closer look at adult fans of Lego (AFOL), in particular a German fan club that considers Lego building to be a form of art. The final part of our paper deals with brickfilming as a cultural practice bringing together fans, the brand, Lego-building, and filmmaking. Taking The LEGO Movie and the overwhelmingly positive response to it as a starting point for cultural analysis helps to deepen our understanding of contemporary media production and resulting (trans)formations of fan phenomena. Furthermore, investigating Lego allows us to tackle some of the key rules and mechanisms underlying cultural participation and creativity today. Ultimately, the difficult past and current success of the Lego brick may attest to the often challenged yet sometimes reaffirmed status of tangible objects in a now predominantly digitally mediated era.</jats:p> |
| first_indexed | 2024-03-07T05:00:37Z |
| format | Journal article |
| id | oxford-uuid:d826eb0b-c9fb-482a-a28e-142e1c0e3244 |
| institution | University of Oxford |
| last_indexed | 2024-03-07T05:00:37Z |
| publishDate | 2017 |
| publisher | Organization for Transformative Works |
| record_format | dspace |
| spelling | oxford-uuid:d826eb0b-c9fb-482a-a28e-142e1c0e32442022-03-27T08:46:19ZHow digital remix and fan culture helped the Lego comebackJournal articlehttp://purl.org/coar/resource_type/c_dcae04bcuuid:d826eb0b-c9fb-482a-a28e-142e1c0e3244Symplectic Elements at OxfordOrganization for Transformative Works2017Einwächter, SSimon, F<jats:p>The LEGO Movie, the highest-grossing animation film of 2014, surprised and impressed children, adults, and critics worldwide. The film's transfranchisal approach and its clever merchandising helped the Lego Group become the world's biggest toymaker in the following year. In order to provide context for understanding the Lego comeback, we first address the corporate history of the Lego Group and how its product range has developed over the years. Next, we take a closer look at adult fans of Lego (AFOL), in particular a German fan club that considers Lego building to be a form of art. The final part of our paper deals with brickfilming as a cultural practice bringing together fans, the brand, Lego-building, and filmmaking. Taking The LEGO Movie and the overwhelmingly positive response to it as a starting point for cultural analysis helps to deepen our understanding of contemporary media production and resulting (trans)formations of fan phenomena. Furthermore, investigating Lego allows us to tackle some of the key rules and mechanisms underlying cultural participation and creativity today. Ultimately, the difficult past and current success of the Lego brick may attest to the often challenged yet sometimes reaffirmed status of tangible objects in a now predominantly digitally mediated era.</jats:p> |
| spellingShingle | Einwächter, S Simon, F How digital remix and fan culture helped the Lego comeback |
| title | How digital remix and fan culture helped the Lego comeback |
| title_full | How digital remix and fan culture helped the Lego comeback |
| title_fullStr | How digital remix and fan culture helped the Lego comeback |
| title_full_unstemmed | How digital remix and fan culture helped the Lego comeback |
| title_short | How digital remix and fan culture helped the Lego comeback |
| title_sort | how digital remix and fan culture helped the lego comeback |
| work_keys_str_mv | AT einwachters howdigitalremixandfanculturehelpedthelegocomeback AT simonf howdigitalremixandfanculturehelpedthelegocomeback |