By Cornel Sandvoss
Specialist soccer is among the most well-liked tv 'genres' around the globe, attracting the help of thousands of enthusiasts, and the sponsorship of strong businesses. In A online game of 2 Halves, Sandvoss considers football's dating with tv, its hyperlinks with transnational capitalism, and the significance of soccer fandom in forming social and cultural identities world wide. He provides the phenomenon of soccer as a mirrored image postmodern tradition and globalization.Through a chain of case reviews, dependent in ethnographic viewers examine, Sandvoss explores the motivations and pleasures of soccer fanatics, the serious bond shaped among supporters and their golf equipment, the consequences of soccer intake on political discourse and citizenship, soccer as an element of cultural globalisation, and the pivotal function of soccer and tv in a postmodern cultural order.
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Additional resources for A Game of Two Halves: Football Fandom, Television and Globalisation
There is a lot of ﬂair, but it hasn’t always been like that. When I started to go . . they had a wonderful team, Peter Osgood, . . and all those names. We were really living on memories for a long time, not playing any football at all until recently. So adjectives to the club would be ‘an exciting, but not a great team’. They couldn’t really win that many competitions over the years . . They are inconsistent. They have always been inconsistent till now. They could win at Manchester United one week and then next week lose at home to Leicester or something like that.
The wisdom of the Narcissus myth does not convey any idea that Narcissus fell in love with anything he regarded himself. Obviously, he would have had very different feelings about the image had he known it was an extension of himself. (McLuhan 1964: 42) This observation is crucial to the interpretation of football fandom as an extension of self. Previously, I have argued that fandom is based upon a conscious habitus, that fans are more aware, although not necessarily more in control, of the patterns of consumption that articulate their fandom.
For all its subtlety and sensitivity, Distinction has little to say about variations, transformations and oppositions within, especially, working-class culture; little to say about other dimensions of social differentiation which can be articulated in consumption (difference of religion, ethnicity, gender); little to say about the prior coding of products in and through consumption; and little to say, in Daniel Miller’s (1987: 155) terms, about ‘the actual brilliance often displayed in the art of living in modern society by people of all classes’.