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dc.contributor.authorMorris, A
dc.date.accessioned2024-08-29T13:47:15Z
dc.date.issued2024-04-04
dc.date.updated2024-08-29T13:20:03Z
dc.description.abstractThis paper explores the role of escapism in Taylor Swift’s music and her fandom, referred to as ‘Swiftie’ culture or ‘Swifties’. Swift has always been known for her personal lyrics set to catchy melodies, and in recent years, she has leaned further into leaving ‘Easter eggs’ for her fans to piece together through her lyrics, music videos and social media presence. Drawing upon Jenkins’ (2006) work on ‘prosuming’ and McRobbie and Garber’s (1975) ‘bedroom cultures’, I explore the storytelling in Swift’s craft, and argue that online engagement with her work enables a productive fandom built upon nostalgic escapism. This paper interrogates the role of the Swiftie fandom in cultivating digital bedroom cultures; utilising a feminist discourse analysis of Swiftie Reddit and YouTube, I suggest that Swift’s evolving view of girlhood, as well as her use of metaphor and colour, has built an alternative world of nostalgia that predominantly exists online. As such, fans are offered a community to escape into the mythology of Swift in a way that speaks to and celebrates ‘girlish’ emotions, cultivating digital spaces that emulate the ‘real life’ bedroom.en_GB
dc.identifier.citationPublished online 4 April 2024en_GB
dc.identifier.doihttps://doi.org/10.1080/19392397.2024.2338540
dc.identifier.urihttp://hdl.handle.net/10871/137283
dc.identifierORCID: 0009-0003-8177-1084 (Morris, Amelia)
dc.language.isoenen_GB
dc.publisherRoutledgeen_GB
dc.rights© 2024 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. The terms on which this article has been published allow the posting of the Accepted Manuscript in a repository by the author(s) or with their consent.en_GB
dc.subjectTaylor Swiften_GB
dc.subjectmusicen_GB
dc.subjectnostalgiaen_GB
dc.subjectfandomen_GB
dc.subjectgirlhooden_GB
dc.titleDrew a map on your bedroom ceiling: fandoms, nostalgic girlhood and digital bedroom cultures in the Swiftie-sphereen_GB
dc.typeArticleen_GB
dc.date.available2024-08-29T13:47:15Z
dc.identifier.issn1939-2397
dc.descriptionThis is the final version. Available on open access from Routledge via the DOI in this recorden_GB
dc.identifier.eissn1939-2400
dc.identifier.journalCelebrity Studiesen_GB
dc.rights.urihttps://creativecommons.org/licenses/by/4.0/en_GB
dcterms.dateAccepted2024-03-30
rioxxterms.versionVoRen_GB
rioxxterms.licenseref.startdate2024-04-04
rioxxterms.typeJournal Article/Reviewen_GB
refterms.dateFCD2024-08-29T13:45:37Z
refterms.versionFCDVoR
refterms.dateFOA2024-08-29T13:48:07Z
refterms.panelDen_GB
refterms.dateFirstOnline2024-04-04


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© 2024 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. The terms on which this article has been published allow the posting of the Accepted Manuscript in a repository by the author(s) or with their consent.
Except where otherwise noted, this item's licence is described as © 2024 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. The terms on which this article has been published allow the posting of the Accepted Manuscript in a repository by the author(s) or with their consent.