To begin with cosphtography is the act of both photography and videoing those who choose to cosplay. The word itself is a portmanteau of the two words, photography and cosplay. It has become a widely known form of art within the 21st century, and fans show their appreciation of cosphtography by taking part in huge festivals that showcase the different characters through cosplay. Cosphotograohy is a means through which cosplayers labor and hardwork are validated by fans. Additionally, thorough cosphotography, cosplayers are given the ability to showcase how dedicated they really are to their chosen fandom. This is similar to creating a social media platform to promote a fandom, only now it is done through cosplay using cosphotography, after which the photos are distributed online through platforms such as fandom pages and message boards, in order to bring popularity to the cosplayer. Mountfort (2018) explains how photography is essential for cosplayers as it draws them attention, giving rise to their cosplay and establishing a ‘fan capital’. Mountfort (2018) elaborates on how cosplayers spend a lot of time, effort and money into their costumes. Therefore, they expect some sort of capital as a token of their dedication, recognition and hardwork.
Cosphotography is not just valuable for the cosplayers but also fans. This is because it is a type of currency that can be traded between cosplayers, fans and photographers. All parties have some sort of financial gain from the act as well as an increase in personal value, and appreciation.To break it down, a ‘fan capital’ is a source of popularity and income to the cosplayer. Fans may request photos which the cosplayers can sell to them.In saying that, gaining a fan capital is not easy, as the cosplayer must be outstanding amongst all else. Cosplayers gain “subcultural capital or a quality of hipness” through each photo that is taken (Hale, 2014, p. 9).In addition, Mountford informs the readers that gathering the correct resources to morph into a character requires a lot of money. This is when cosphotography comes into play, and cosplayers are provided with “private value but fan capital that circulates within wider, largely online networks of exchange operating in the cosphere.” Accordingly, they rise in popularity, and develop a hobby into something more. (Mountfort et al., p. 47, 2018).
Unfortunately for some, there are always negative implications of every form of art. Cosphotography brings into picture- bullying, body shaming and the hyoer sexualisation of female cosplayers within the industry. This has been evident in expos such as Armageddon and Comicon within the years where cosplayers do not return back the following year as they are discouraged or made to feel embarrassed and ‘child like’. Failing to realise the amount of effort and commitment that is put into transforming your body into art. Visual token of course, are the centre of attraction as they can be exchanged within the community and as a result, tensions are never ending.As Mountford mentions, reality Televison series such as cosplay Melee are facing backlash due to creating a competitive environment that is a threat to the heterotpian side of cosplay. The lack of collaboration and the increase in rivalry does not unify the community to collaborate and attain a greater ‘fan capital’. (Mountford, 2018).
Despite the fact that there is a negative aspect to cosmotography due to its exploitative nature and stigmatisation. Cosplayers and fans are able to express themselves freely, they are able to switch from passive consumers to producers of culture, and vice versa. (Mountfort, 2018). These orthodox notions of judgement and sexualisation of cosplayers are quite frankly undeserving. Just like any other ‘academic convention’ cosplayers deserve to be recognised and accredited for their efforts regardless of what their cosplay may be interpreted as. Rightfully so, they should be awarded with a fan capital.
References
Mountfort, P. (2018). Planet cosplay. Intellect Books.
Mountfort, P., Peirson-Smith, A., & Geczy, A. (2018). Planet Cosplay: Costume Play, Identity and Global Fandom. Blackboard. https://blackboard.aut.ac.nz/
Geczy, A., Mountfort, P., Peirson- Smith, A. (2018). Planet cosplay. United Kingdom: Bristol, United States: Chicago. Interlect
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