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This article advocates autoethnography as a critical feminist methodology for using personal testimony to investigate women’s experience and performance of fandom The article’s centerpiece is an analysis of the personal testimonies of three women—researcher-fans of different ages—of a fan-owned club Hapoel Katamon Jerusalem. In addition to revealing women’s gendered-based experiences and the different ways in which women acquire and perform fandom, their personal stories prove valuable for exposing the gendered regime of the football field. Moreover, they reveal how women who are not fluent in the hegemonic language of fandom make their way in the fandom field as they seek their own voice and position in it. The analysis suggests that women’s participation can disrupt the hegemonic masculinity of fandom and challenge its established boundaries, thereby problematizing accepted definitions of the authentic fan.

This study traces, conceptually and historically, how the relationship between Israeli soccer, its fans, and the varied means of communications has evolved over the last century. We contend that these symbiotic relations, including their effects on soccer devotees, can be divided into four sub-epochs, each having a tremendous effect, not only on the development of soccer and media, but on other interrelated processes. Consequently, we argue that the development of soccer (association football), can be adequately understood only by presenting it in its historical context. The processes of state formation, population growth, urbanization, commercialization and, most germane for present purposes, the development of soccer-media-fan relations, are not isolated but rather interdependent, and therefore of significant importance when discussing soccer and media in the Israel context.

This article reexamines my argument published in 2007 regarding the apolitical character of Arab soccer fans in Israel. Until recently, explicit political protest and expressions of Palestinian national identity have remained outside the stadium. For most Arab fans, soccer was an opportunity to display common ground with Jewish citizens. Displaying Palestinian nationalism was considered to be endangering the potential for rapprochement. However, over the past decade the barriers that blocked political protest from entering the stadium have been ruptured. Several interrelated factors are suggested as explanations for this shift: multiple cycles of escalated violence in the region, a wave of anti-Arab legislation, the globalization of fan culture, the model of a politicized soccer fan provided during the Arab Spring, and the emergence of social media.

This article explores the opposition expressed by fans of the Beitar Jerusalem football club to the presence of Arab players on their team. I suggest that instead of suspecting that fans’ behavior originates in false consciousness, we suspend suspicion and reconstruct the meanings they bring to their actions. Narrative analysis of fan interviews reveals the communitarian logic underlying their points of view. By appropriating sacred spheres in Judaism that demarcate the boundaries of the Jewish community, and identifying them with Beitar as opposed to signifying Arab players as defiling Beitar, fans delineate boundaries between Jews and Arabs. Through the sanctification of Beitar, the fans define Jewish collective boundaries and thereby preserve their worldview and identity while maintaining a hierarchy that grants Jews advantages in Israel.

This article explores the public persona of hip hop artist Nicki Minaj, and her appropriation of the iconic Barbie doll. Minaj's image has drawn criticism from pundits and peers alike, but, nonetheless, it has inspired a creative fan following. With reference to feminist theory and recent trends in poststructuralist thought, this article suggests the ways in which Minaj and her fans pluralize how we think about Barbie, race and idealized femininity in the West.

Like other fangirls, fans of former boyband One Direction (“Directioners”) have often been represented in media discourse as obsessive and hysterical, with fan behaviour interpreted as longing for heterosexual intimacy with band members. Subverting this heteronormative framing, a group of Directioners known as “Larries” have built a sub-fandom around imagining a relationship (“ship”) between two of the band members, Harry Styles and Louis Tomlinson. Representation of the Larry fandom has gone beyond pathologizing fangirls to framing their shipping practice in terms of “fake news.” The conspiracy theory panic around Larries misses the complex ways that subtext and queer reading are mobilized within the fandom to invoke feelings of queer intimacy and belonging. Drawing on a digital ethnography conducted on Twitter with Larries, we argue that these fans engage in queer reading strategies to explicitly imagine and interrupt dominant heterosexual narratives, and thus queer the figure of the fangirl.