《六人行》（Friends）是一部於90年代誕生的美國情境喜劇。在該劇播映的十年間，不僅是在美國吸引著數百萬個閱聽人觀看，更是在全球超過一百多個國家播映，吸引著全球觀眾共賞。在《六人行》於2004年5月6日完播時，對迷而言，不只是結束10季236集的觀影經驗，更是象徵一個時代的結束。但《六人行》並沒有因此從迷們的心中消失，事實上，即使是距《六人行》播畢超過十五個年頭的今日，在臺灣仍還是有一群不斷重複觀看／收聽該劇的迷。而本研究所關懷的是，在現今身處於網路無所不在的螢幕與流動的全球文化下，持續召喚臺灣迷們不斷重複觀看／收聽《六人行》的原因，且臺灣迷們在這之中產生何種的跨國文化想像，以及前往迷地方觀光朝聖的可能。

本研究透過深度訪談法，與十五位生長於臺灣且至今仍是不斷重複觀看／收聽《六人行》的迷們，在臺北一間依照劇中中央公園咖啡館場景（Central Perk）而打造出的咖啡館對談。其中，受訪者的觀看年資介於五至二十五年，每位受訪者重複觀看／收聽的次數至少有三次以上，部份的受訪者重複觀看／收聽超過一百次，而大多受訪者重複觀看／收聽的次數落在十至二十次之間。

本研究發現，即使是在新科技媒體景觀下的今日，這群臺灣迷們仍會透過觀看《六人行》來想像某種美式生活型態，但他們不斷重複觀看／收聽該劇最主要的目的，是享受著該劇所帶來的安心感、陪伴感與和劇中角色所建立起的擬社會關係。而移動新媒體、串流影音平台與社群媒體等新傳播科技，更是使迷們能夠將這個如同「家」一樣的地方帶在身上。他們不停重新解構自己的日常生活來重複觀看／收聽《六人行》以尋求連結，亦能透過社群媒體來觀看任何與《六人行》相關的資訊來持續維繫他們對於該劇的情感。《六人行》的觀看／收聽成了這群迷們生活中無意識的事實與有意識的行動，迷們的個體邊界變得含糊流動。其不再只是追尋一種理性的個體認同，而是在隨時更是隨地實踐文本式／觀看式象徵性朝聖下，獲得能使個人感到安全、穩定與溫暖的陪伴感、歸屬感與家的安居感。

Friends is an American situation comedy born in the 1990s. During its ten-year run, Friends aired in over one hundred countries, attracting not only millions of viewers in the U.S. each week but also audiences around the world. The series finale was broadcasted on May 6, 2004. For its fans, it marked the end of the watching experience of 10 seasons, with 236 episodes. Moreover, it represented the end of an era. Although Friends ended, it continues to live on in fans’ hearts. In fact, nowadays some fans in Taiwan still watch/listen to it repeatedly. In a world constructed by ubiquitous internet, screen culture and cultural globalization, this research discusses the reasons why many fans in Taiwan have been re-watching/re-listening to Friends, the kind of transnational cultural imagination they have formed, and their willingness of visiting fan places.

This research conducts in-depth interviews with 15 participants, who were born and raised in Taiwan and have been watching/listening to Friends constantly and repeatedly. The interviews took place in a cafe in Taipei, which is a replica of the iconic Central Perk coffee shop in the series. The interviewees have been watching/listening to Friends for 5 to 25 years. All interviewees have watched the show over three times. Most of them have watched it over ten times, with some of them having watched it over one-hundred times.

This research discovers that the major reason for these fans to re-watch/re-listen to this show repeatedly is the sense of belonging and companionship Friends has brought, and the parasocial relationships they have developed with the characters of Friends. New technologies, such as mobile devices, streaming platforms and social media, allow fans to carry this “home feeling” with them. This, in a way, deconstructs fans’ daily lives, and then through re-watching/re-listening to Friends, they can seek connections with the show and the characters. They also use social media to follow any news or information related to this show to maintain their feelings towards it. Their individual boundaries have become blurred and dynamic, and the continuous act of watching is not about pursuing a rational individual identity. Watching/listening to Friends anytime, anywhere has become a symbolic pilgrimage to acquire a sense of companionship and a journey of homecoming, in search of a sense of safety, stability and emotional warmth.

中文部分
Lee, E.（2019年10月16日）。〈珍妮佛安妮斯頓終於開通IG了！首曬《六人行》同框照每分鐘5500人追蹤破世界紀錄〉，《柯夢波丹》。取自https://www.cosmopolitan.com/tw/entertainment/celebrity-gossip/g29485352/jennifer-aniston-ig-open
Lee, L.（2019年8月7日）。〈經典美劇《六人行》25歲啦！ 周邊紀念商品直送臺灣，咖啡桌、橘沙發版畫⋯⋯每樣都超有畫面老劇迷會邊搶邊哭吧〉，《ELLE》。取自https://www.elle.com/tw/life/style/g28598814/friends-pottery-barn
王小惠、闕奕婷（2011）。〈華文社群之「韓劇迷」解讀型態研究－以《我叫金三順》一劇為例〉，《傳播與社會學刊》，16：99-122。
王幸麗（2009）。〈從日本偶像劇的風潮審視當代消費流行文化的意義〉，《績效與策略研究》，6(1)：1-19。
王映涵（譯）（2012）。《迷與消費》。新北市：韋伯。（原書Sandvoss, C. [2005]. Fans: The mirror of consumption. Cambridge: Polity Press.）
王淑美（2014）。〈馴化 IM：即時通訊中的揭露、協商與創造〉，《中華傳播學刊》，25：161-192。
王銘紳、黃心悌（2018年5月11日）。〈咖啡城市的困境？與藝文結合破舊立新〉，《小世界》。取自https://reurl.cc/0oN7Y6
民報（2017年5月26日）。〈【那一年的這一天 】1951.5.26 美國第一位上太空的女性 莎莉萊德生日〉，《民報》。取自https://www.peoplenews.tw/news/607fc6e8-7921-481f-aec2-b29d8e267198
朱瑞玲、章英華（2001年7月）。〈華人社會的家庭倫理與家人互動：文化及社會的變遷效果〉，發表於《華人家庭動態資料庫學術研討會》，臺北市：中央研究院經濟研究所、國科會社會科學研究中心。
余意（2006）。《臺灣單身都會女性主體分析---以〈慾望城市〉女性閱聽人為主》。國立政治大學新聞研究所碩士論文。
呂苡琳（2018年1月5日）。〈終於等到了！20年來最經典美劇《六人行 Friends》所有集數一次上架Netflix！〉，《VOGUE》。取自https://www.vogue.com.tw/culture/content-38064
呂曉志（2008）。〈美國情境喜劇的起源與發展考略〉，《現代傳播：中國傳媒大學學報》，4：90-92。
李丁讚、陳兆勇（1998）。〈衛星電視與國族想像 以衛視中文台的日劇為觀察對象〉，《新聞學研究》，56：9-34。
李少南（2004）。〈美、日、台電視文化價值觀之比較〉，《新聞學研究》，78：45-69。
李修慧（2018年9月11日）。〈17年後的911事件：為何「死亡人數」還在持續增加？〉，《關鍵評論》。取自https://www.thenewslens.com/article/103909
尚國強（2019年11月7日）。〈【柏林圍牆倒塌30周年】冷戰兩大集團對抗　形塑二戰後40年國際秩序〉，《上報》。取自https://www.upmedia.mg/news_info.php?SerialNo=74852
林玉婷（2019年6月5日）。〈黑金商機燒！台灣人一年喝掉6億杯外帶咖啡，可繞地球1.35圈！〉，《食力》。取自https://www.foodnext.net/issue/paper/5975326331
林安儒（編）（2019年9月16日）。〈《安眠書店》這類原創節目沒人要做了？專家分析：CP值太低，串流平台寧砸錢買下舊影集〉，《風傳媒》。取自https://www.storm.mg/lifestyle/1714804
林秀雲（譯）（2013）。《社會科學研究方法》。臺北市：雙葉書廊。（原書Babbie, E. [2012]. The Practice of Social Research 13/E. Boston: Cengage.）
林書荷（2019年9月15日）。〈《六人行》首播25週年！周邊商品再掀風潮〉，《TVBS新聞網》。取自https://news.tvbs.com.tw/entertainment/1200746
林真伶（2012）。《臺灣「英語熱」現象的知識社會學分析－M. Apple理論觀點》。國立中興大學教師專業發展研究所碩士論文。
林淑娟（2000年7月19日）。〈《影集開天窗》男歡女愛六人行--國語行不行？〉。取自https://reurl.cc/R4E1mZ
林雅婷（2011）。《美國影集在臺灣－購片與播映的脈絡》。國立臺灣師範大學大眾傳播研究所碩士論文。
林照真（2003）。《全球化浪潮下台灣英語教學之批判性解讀》。中華傳播學會年會論文。
林積萍（2009）。〈論台灣一九七〇年代通俗文化的集體想像〉，《東海中文學報》，21：371-387。
林積慶（2006）。《「六人行」（Friends）與我同在：以生活風格觀點探討臺灣觀眾對美國影集「六人行」之在地消費與解讀》。中華傳播學會年會論文。
林積慶（2008）。《跨國電視，在地消費－－論臺灣青年觀眾之美國影集收視經驗》。國立政治大學新聞研究所碩士論文。
祁若昀（2016）。〈韓流威力　韓流在臺大事紀 2009 - 2016-01〉，《共誌》，12：6-7。
邱子珉（2016）。《解構幸福： 從「小確幸」現象看台灣八〇後世代的失權》。國立交通大學社會與文化研究所碩士論文。
侯憲諭（2015年7月21日）。〈全台唯一《六人行》場景　中央公園咖啡館重現台北〉，《ETtoday新聞雲》。取自https://travel.ettoday.net/article/537906.htm
紀思道（2014年5月19日）。〈「美國夢」移民加拿大〉，《紐約時報中文網》。取自https://cn.nytimes.com/opinion/20140519/c19kristof/zh-hant
胡綺珍（2009）。〈中國字幕組與新自由主義的工作倫理〉，《新聞學研究》，101：177-214。
唐子晴（2019年6月10日）。〈各方巨頭都到了，影音串流的戰國時代來臨〉，《數位時代》。取自https://www.bnext.com.tw/article/53575/future-of-ott
徐亞鈴（2004）。《〈慾望城市〉與女性情慾的探索》。國立臺南藝術學院音像藝術管理研究所碩士論文。
翁秀琪（1993）。〈閱聽人研究的新趨勢－收訊分析的理論與方法〉，《新聞學研究》，47：1-15。
張四德（2010）。〈何處是桃源？「美國夢」：「迦南地」(Land of Canaan)？夢魘之地？〉，《輔仁歷史學報》，25：165-197。
張錦華（2010）。《傳播批判理論—從解構到主體（增修版）》。臺北市：黎明文化。
許如婷（2014）。〈台灣K-POP女性「迷／粉絲」的跨國消費與文化想像〉，《傳播與社會學刊》，30：97-131。
郭家平（2007）。《台灣女性韓劇迷的收視經驗及認同過程》。國立交通大學傳播研究所碩士論文。
陳光興（2001）。〈為什麼大和解不／可能？《多桑》與《香蕉天堂》殖民／冷戰效應下省籍問題的情緒結構〉，《台灣社會研究季刊》，43：41-110。
陳至中（2018年6月14日）。〈台生留學年齡降　國家選擇趨多元〉，《中央通訊社》。取自https://www.cna.com.tw/topic/newsworld/113/201806140005.aspx
陳竫詒（編）（2019年7月10日）。〈《六人行》將下架 痛失熱門影集 Netflix還能領先多少？〉，《天下雜誌》。取自https://www.cw.com.tw/article/articleLogin.action?id=5095958
麥浩禮（2018年9月13日）。〈拍下911世貿恐攻震撼照片　攝影師17年後首度自白〉，《上報》。取自https://www.upmedia.mg/news_info.php?SerialNo=47985
彭啟貴（2006）。〈美國情境喜劇探源〉，《中國電視》，5：76-80。
游上民（2008）。《「上電影院＝看好萊塢電影？」：美國化下臺灣觀眾的電影想像》。國立臺灣師範大學大眾傳播研究所碩士論文。
童曼甄（2015）。《觀看殭屍文本的道德判斷與角色情感傾向塑造--以《陰屍路》影集為例》。國立交通大學傳播研究所碩士論文。
華爾街見聞（2014年11月24日）。〈台生留美人數下滑、陸生留美數暴增：為什麼我們不去美國念書了？〉，《報橘》。取自https://buzzorange.com/2014/11/24/more-chinese-students-study-abroad
黃厚銘、曹家榮（2015）。〈「流動的」手機： 液態現代性的時空架構與群己關〉，《新聞學研究》，124：39-81。
黃讌（2020年1月15日）。〈半世紀的美國夢，從留美學生看區域經濟消長〉，《科技新報》。取自https://technews.tw/2020/01/15/foreigner-students-america-dream-decline
楊澤（主編）（1994）。《七〇年代懺情錄》。臺北市：時報文化。
詹宇（2019年11月15日）。〈走過美援台灣記憶：美援 15 年，讓體弱的臺灣開始長骨轉大人〉，《換日線》。取自https://crossing.cw.com.tw/article/12568
廖建容（譯）（2014）。《大賣場裡的人類學家：用人文科學搞懂消費者，解決最棘手的商業問題》。臺北市：天下文化。（原書Madsbjerg, C., & Rasmussen, M. [2014]. The Moment of Clarity: Using the Human Sciences to Solve Your Toughest Business Problems. Brighton: Harvard Business Review Press.）
廖婉晴（2015）。《臺灣美劇迷樣貌的變遷－從電視時代到網路時代》。國立交通大學傳播研究所碩士論文。
趙綺娜（2001）。〈美國政府在台灣的教育與文化交流活動（一九五一至一九七〇）〉，《歐美研究》，31(1)：79-127。
劉伊倩（2005）。《韓劇閱聽人研究－以台北女性為例》。國立臺灣大學新聞研究所碩士論文。
劉維公（2001）。〈當代消費文化社會理論的分析架構：文化經濟學(cultural economy)、生活風格(lifestyles)與生活美學(the Aesthetics of Everyday Life)〉，《東吳社會學報》，11：113-136。
潘姿羽（2019年1月27日）。〈披薩小吃連環漲惹民怨 學者：問題根本在低薪〉，《中央通訊社》。取自https://www.cna.com.tw/news/afe/201901270021.aspx
鄭百雅（譯）（2013）。《大媒體的金權遊戲: 為什麼有權力的人都想要搞媒體？》。臺北市：漫遊者文化。（原書Bettig, R. V., & Hall, J. L. [2012]. Big media, Big money: Cultural Texts and Political Economics. Lanham, Maryland: Rowman & Littlefield Publishers.）
鄭義愷（譯）（2009）。《消失的現代性：全球化的文化向度》。臺北市：群學。（原 書Appadurai, A. [1996]. Modernity at Large: Cultural Dimensions of Globalization. Minnesota: University of Minnesota Press.）
盧開朗（2015）。〈「韓流後」與「後韓流」之間〉，《新聞學研究》，122：219-231。
賴筱茜、陳延昇（2015）。〈不只是聽廣播：廣播與社群媒介匯流的擬社會互動經驗〉，《廣播與電視》，38：1-33。
戴肇洋（主持）、行政院研究發展考核委員會（編）（2006）。《出國留學人數降低問題及因應對策(POD)》。臺北市：行政院研究發展考核委員會。
聯合新聞網（2019年10月9日）。〈愈老愈值錢！華納花4.25億美元才搶到《六人行》播出權〉，《遠見雜誌》。取自https://www.gvm.com.tw/article/68767
簡妙如（1996）。《過度的閱聽人：「迷」之初探》。國立中正大學電訊傳播研究所碩士論文。
簡恒宇（2018年9月15日）。〈歷史上的今天 9月21日──打破司法殿堂性別藩籬 歐康納成為美國第一位女性大法官〉，《風傳媒》。取自https://www.storm.mg/article/166446?srcid=7777772e73746f726d2e6d675f30393536633166666439646230323638_1556796049
魏玓（1999）。〈全球化脈絡下的閱聽人研究－理論的檢視與批判〉，《新聞學研究》，60：93-114。
魏玓（2017）。〈跨國文化流動的理論裝備檢查：拆解與修整「文化接近性」〉，《中華傳播學刊》，31：17-48。
龎袿方（2019）。《迷的情感經濟與勞動：防彈少年團（BTS）與迷的社群媒體實踐》。國立政治大學傳播學院碩士論文。
羅世宏（主譯）（2010）。《文化研究：理論與實踐－二版》。臺北市：五南。（原書Barker, C. [2008]. Cultural studies: theory and practice. London: SAGE.）
蘇詠智（2014年9月12日）。〈六人行歡度20周年 台灣曾收視慘敗〉，《聯合新聞網》。取自https://udn.com/news/story/7482/314542
蘇詠智（2020年4月11日）。〈「六人行」重聚被新冠肺炎害到遲到！全10季仍如期上架〉，《聯合新聞網》。取自https://stars.udn.com/star/story/10091/4484924
蘇筱雯（2010）。《後女性主義的電視論述：《慾望城市》和《醜女貝蒂》中的後女性主義論述》。國立交通大學外國文學與語言學研究所碩士論文。
蘇蘅、陳雪雲（2000）。〈全球化下青少年收看本國及外國電視節目之現況及相關影響研究〉，《新聞學研究》，64：103-138。

英文部分
Adams, J. T. (1931). The Epic of America. Boston, MA: Little, Brown and Company.
Aden, R. C. (1999). Popular stories and promised lands: fan cultures and symbolic pilgrimages. Tuscaloosa, AL: University of Alabama Press.
Andersen, K. (2015, February 6). The Best Decade Ever? The 1990s, Obviously. The New York Times. Retrieved from https://reurl.cc/3LoayV
Anderson, B. (1991). Imagined communities: Reflections on the spread of nationalism. London, England: Verso.
Ang, I. (1985). The battle between television and its audiences. Television in Transition, 250-266.
Apple, M. W. (1990). Ideology and Curriculum (2nd Ed.). New York, NY: Routledge.
Aurthur, K. (2020, June 22). The One Where Jennifer Aniston and Lisa Kudrow Have a Glorious ‘Friends’ Reunion. Variety. Retrieved from https://variety.com/2020/tv/features/jennifer-aniston-lisa-kudrow-friends-reunion-1234643291
Auter, P. J., & Palmgreen, P. (2000). Development and validation of a parasocial interaction measure: The audience–persona interaction scale. Communication Research Reports, 17(1), 79-89.
Baym, N. K. (1998). Talking about soaps: Communicative practices in a computer-mediated fan culture. In C. Harris & A. Alexander (Eds.), Theorizing fandom: Fans, subculture and identity (pp. 111-131). New York, NY: Hampton Press.
BBC. (2017, October 2). Las Vegas shooting: At least 59 dead at Mandalay Bay Hotel. BBC. Retrieved from https://www.bbc.com/news/world-us-canada-41466116
Becker, R. (2006). Gay TV and straight America. New Brunswick, NJ: Rutgers University Press.
Bodroghkozy, A. (1992). ‘Is This What You Mean by Color TV?’: Race, Gender and Contested Meanings in NBC’s Julia. Private screenings: Television and the female consumer, 143-167.
Bourdieu, P. (1984). Distinction: A social critique of the judgement of taste. Cambridge, MA: Harvard University Press.
Bowes, P. (2004, May 7). Fans applaud Friends finale. BBC. Retrieved from http://news.bbc.co.uk/2/hi/entertainment/3690425.stm
Boyce, C., & Neale, P. (2006). Conducting in-depth interviews: A guide for designing and conducting in-depth interviews for evaluation input. Watertown, MA: Pathfinder International.
Brooker, W. (2005). The Blade Runner Experience: Pilgrimage and Liminal Space. In W. Brooker (Ed.), The blade runner experience: The legacy of a science fiction classic (pp. 11-30). London, England: Wallflower Press.
Brooker, W. (2007). A sort of homecoming: fan viewing and symbolic pilgrimage. In J. Gray., C. Sandvoss & C. L. Harrington (Eds.), Fandom: Identities and communities in a mediated world (pp. 149-164). New York, NY: NYU Press.
Caughey, J. L. (1978). Artificial social relations in modern America. American Quarterly, 30(1), 70-89.
Chen, K. H. (2000). The Formation and Consumption of KTV in Taiwan. In B. H. Chua (Ed.), Consumption in Asia: Lifestyle and identities (pp. 159-182). London, England: Routledge.
Chiaro, D. (2010). ‘In English Please!’ Lost in Translation: Little Britain and Italian Audiences. In S. Lockyer (Ed.), Reading Little Britain: comedy matters on contemporary television (pp. 183-207). London, England: I. B. Tauris.
Chitnis, K. S., Thombre, A., Rogers, E. M., Singhal, A., & Sengupta, A. (2006). (Dis)similar readings: Indian and American audiences’ interpretation of Friends. International Communication Gazette, 68(2), 131-145.
Chun, A. (2012). The Americanization of pop culture in Asia? Inter-Asia Cultural Studies, 13(4), 495-506.
Cobb, S. (2018). “I’d Like Y’all to Get a Black Friend”: The Politics of Race in Friends. Television & New Media, 19(8), 708-723.
Comedy Central UK. (2019). Friendsfest is Back! The Summer's Biggest TV Event is Back! Comedy Central UK. Retrieved from https://www.comedycentral.co.uk/news/comedy-centrals-friendsfest
Critchley, S. (2002). On humour. London, England: Routledge.
Csikszentmihalyi, M. (2002). Flow: the classic work on how to achieve happiness. London, England: Rider.
Cuddy, A. (2020, June 5). George Floyd: Five pieces of context to understand the protests. BBC. Retrieved from https://www.bbc.com/news/world-us-canada-52904593
Dai, J., & Liu, Q. (2018). Interpretation of Humor between Chinese and Americans from the Angle of Culture in Friends. Journal of Language Teaching and Research, 9(6), 1356-1361.
Dalton, M., & Linder, L. (2016). The Sitcom Reader, Second Edition: America Re-viewed, Still Skewed. New York, NY: SUNY Press.
Duffett, M. (2013). Understanding fandom: An introduction to the study of media fan culture. New York, NY: Bloomsbury Publishing USA.
Evans, G. (2020, February 22). Friends fans ecstatic after the cast announced they would be reuniting for one-off special. Indy100. Retrieved from https://www.indy100.com/article/friends-reunion-hbo-max-twitter-reaction-date-9352261
Eyal, K., & Cohen, J. (2006). When good friends say goodbye: A parasocial breakup study. Journal of Broadcasting & Electronic Media, 50(3), 502-523.
Fiske, J. (1987). Television culture. London, England: Routlege.
Fiske, J. (1989). Understanding Popular Culture. London, England: Routledge.
Fiske, J. (1992). The cultural economy of fandom. In L. A. Lewis (Ed.), The Adoring Audience: Fan Culture and Popular Media (pp. 30-49). London, England: Routledge.
Flint, J., & Sharma, A. (2019, April 24). Netflix Fights to Keep Its Most Watched Shows: ‘Friends’ and ‘The Office’. The Wall Street Journal. Retrieved from https://www.wsj.com/articles/netflix-battles-rivals-for-its-most-watched-shows-friends-and-the-office-11556120136
Freund, K. (2018). “Becoming a Part of the Storytelling”: Fan Vidding Practices and Histories. In P. Booth (Ed.), A Companion to Media Fandom and Fan Studies (pp. 207-223). Hoboken, NJ: John Wiley & Sons.
Furno-Lamude, D., & Anderson, J. (1992). The Uses and Gratifications of rerun viewing. Journalism Quarterly, 69(2), 362-372.
Garde-Hansen, J., & Gorton, K. (2013). Emotion online: Theorizing affect on the Internet. London, England: Palgrave Macmillan.
Geraghty, L. (2014). Cult Collectors: Nostalgia, Fandom, and Collecting Popular Culture. London, England: Routledge.
Gilbert, A. (2019). Push, Pull, Rerun: Television Reruns and Streaming Media. Television & New Media, 20(7), 686-701.
Godwin, R. (2019, August 21). The age of comfort TV: why people are secretly watching Friends and The Office on a loop. The Guardian. Retrieved from https://www.theguardian.com/tv-and-radio/2019/aug/21/the-age-of-comfort-tv-why-people-are-secretly-watching-friends-and-the-office-on-a-loop
Gray, J., & Lotz, A. D. (2019). Television studies. Hoboken, NJ: John Wiley & Sons.
Grossberg, L. (1992). Is There a Fan in the House? The Affective Sensibility of Fandom. In L. A. Lewis (Ed.), The Adoring Audience: Fan Culture and Popular Media (pp. 50-65). London, England: Routledge.
Gullage, A. (2014). Fat Monica, Fat Suits, and Friends: Exploring Narratives of Fatness. Feminist Media Studies, 14(2), 178-189.
Ha, A. (2020, May 27). HBO Max launches today; here’s what you need to know. TechCrunch. Retrieved from https://techcrunch.com/2020/05/27/hbo-max-launches-today-heres-what-you-need-to-know/?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAABE7Ouuk6LzkQZjy28Q-E0MPbXgAl8VucE6aX3eLamurPLPsFuh53R7x_OZnQaETExDfB7OaLAj2sGhh
Hall, S. (1981). Encoding/Decoding. In S. Hall, D. Hobson, A. Lowe & P. Willis (Eds.), Culture, Media, Language (pp. 128-138). London, England: Hutchinson.
Harrison, E. (2020, June 8). Friends creator Marta Kauffman fights back tears as she admits she ‘didn’t do enough’ for diversity. Independent. Retrieved from https://www.independent.co.uk/arts-entertainment/tv/news/friends-creator-marta-kauffman-racial-diversity-a9554071.html
Hartley, J. (2001). Situation comedy, part 1. In T. Miller, J. Tulloch & G. Creeber (Eds.), The television genre book (pp. 65-67). London, England: British Film Institute.
Havens, T. (2018). Netflix. Streaming Channel Brands and Global Meaning Systems. In D. Johnson (Ed.), From Networks to Netflix: A Guide to Changing Channels (pp. 321-332). London, England: Routledge.
History.com Editors. (2009, November 24). Original “Amos ‘n’ Andy” debuts on Chicago radio. A&E Television Networks. Retrieved from https://www.history.com/this-day-in-history/original-amos-n-andy-debuts-on-chicago-radio
Hoffmann, J. (2006). “Play it again, Sam”. A differentiating view on repeated exposure to narrative content in media. Communications, 31(3), 389-403.
Horton, D., & Wohl, R. R. (1956). Mass communication and para-social interaction: Observations on intimacy at a distance. Psychiatry, 19(3), 215-229.
Horton, D., & Strauss, A. (1957). Interaction in audience-participation shows. American Journal of Sociology, 62, 579-587.
Huang, I. C. (2016). ‘Everybody learns English, and so do I’: The dominance of English and its effects on individuals: What English learning means to college students in Taiwan? English Today, 32(1), 28-34.
Inniss, L. B., & Feagin, J. R. (1995). “The Cosby Show”: The View from the Black Middle Class. Journal of Black Studies, 25(6), 692-711.
Jenkins, H. (1988). Star Trek Rerun, Reread, Rewritten: Fan Writing as Textual Poaching. Critical Studies in Mass Communication, 5(2): 85-107.
Jenkins, H. (2006). Fans, Bloggers, and Gamers: Exploring Participatory Culture. New York, NY: NYU Press.
Jenkins, H. (2018). Fandom, negotiation, and participatory culture. In P. Booth (Ed.), A Companion to Media Fandom and Fan Studies (pp. 13-26). Hoboken, NJ: John Wiley & Sons.
Jenner, M. (2018). Netflix and the Re-invention of Television. London, England: Springer Nature.
Kalviknes Bore, I.-L. (2011). Transnational TV Comedy Audiences. Television & New Media, 12(4), 347-369.
Kanazawa, S. (2002). Bowling with our imaginary friends. Evolution and Human Behavior, 23(3), 167-171.
Kane, S. (2019, May 28). The Common Characteristics of Generation X Professionals. The Balance Careers. Retrieved from https://www.thebalancecareers.com/common-characteristics-of-generation-x-professionals-2164682
Kasasa. (2020, July 22). Boomers, Gen X, Gen Y, and Gen Z Explained. KASASA. Retrieved from https://www.kasasa.com/articles/generations/gen-x-gen-y-gen-z
Koenig, F., & Lessan, G. (1985). Viewers’ relationship to television personalities. Psychological Reports, 57(1), 263-266.
Kompare, D. (2005). Rerun Nation: How Repeats Invented American Television. New York, NY: Routledge.
Kuipers, G. (2006). Television and taste hierarchy: The case of Dutch television comedy. Media, Culture and Society, 28(3), 359-378.
Kuipers, G. (2011). Cultural Globalization as the Emergence of a Transnational Cultural Field: Transnational Television and National Media Landscapes in Four European Countries. American Behavioral Scientist, 55(5), 541-557.
Kutulas, J. (2018). Anatomy of a hit: Friends and its sitcom legacies. The Journal of Popular Culture, 51(5), 1172-1189.
Lee, E. (2019, July 9). ‘Friends’ to Leave Netflix for HBO Max, AT&T’s New Streaming Service. The New York Times. Retrieved from https://www.nytimes.com/2019/07/09/business/media/hbo-max-friends-netflix.html?module=inline
Levin, G. (2019, September 3). Exclusive: The 'Friends' Central Perk couch is traveling to a landmark near you. USA Today. Retrieved from https://eu.usatoday.com/story/entertainment/tv/2019/09/03/friends-central-perk-couch-goes-tour-25th-anniversary/2191416001
Levs, J. (2004, May 4). Commentary: Final 'Friends' end of Era-Show's characters mirrored lives of many. CNN. Retrieved from http://www.cnn.com/2004/SHOWBIZ/TV/05/03/friends.tribute
Lévy, P. (1997). Culture Collective Intelligence: Mankind’s Emerging World in Cyberspace. Cambridge, MA: Perseus.
Lewis, L. A. (Ed.). (1992). The Adoring Audience: Fan Culture and Popular Media. London, England: Routledge.
Linden, H., & Linden, S. (2016). Fans and fan cultures: Tourism, consumerism and social media. London, England: Springer Nature.
Litman, B.R., & Kohl, L.S. (1992). Network rerun viewing in the age of new programming services. Journalism Quarterly, 69(2), 383-391.
Livingstone, S. M. (1988). Why people watch soap opera: An analysis of the explanations of British viewers. European Journal of communication, 3(1), 55-80.
Lockyer, S., & Popa, D. E. (2016). “I Like the Metamorphosis of the Characters”: Dynamics of Transnational Television Comedy Engagement. International Journal of Communication, 10, 20-41.
Lotz, A. D. (2018). Evolution or revolution? Television in transformation. Critical Studies in Television, 13(4), 491-494.
McCarroll, C. (2004, May 6). A 'family' sitcom for Gen X - 'Friends' cast a new TV mold. The Christian Science Monitor. Retrieved from https://www.csmonitor.com/2004/0506/p01s01-ussc.html
McLuhan, M. (1964). Understanding Media: The Extension of Man. New York, NY: McGraw-Hill Education.
Medd, J. (unknown). Friends: The One Where You Realise Most of It Wasn't Filmed In New York. Condé Nast Traveler. Retrieved from https://www.cntraveller.com/gallery/where-is-friends-filmed
Medhurst, A. (2007). A national joke: Popular comedy and English cultural identities. London, England: Routledge.
Merriam, S. B., & Tisdell, E. J. (2015). Qualitative research: A guide to design and implementation. Hoboken, NJ: John Wiley & Sons.
Milan, A. (2019, April 18). Where was Friends filmed and which scenes were actually filmed in New York City? Metro.co.uk. Retrieved from https://metro.co.uk/2019/04/18/friends-filmed-scenes-actually-filmed-new-york-city-9226291
Miller, K. (2018). I'll Be There For You: The One about Friends. New York, NY: Hanover Square Press.
Mills, B. (2009). Television Sitcom. Edinburgh, England: Edinburgh University Press.
Mittell, J. (2001). A cultural approach to television genre theory. Cinema Journal, 40(3), 3-24.
Mōri, Y. (2019). Lukewarm Nationalism: The 2020 Tokyo Olympics, Social Media and Affective Communities. International Journal of Japanese Sociology, 28(1), 26-44.
Nabi, R. L., & Green, M. C. (2015). The role of a narrative's emotional flow in promoting persuasive outcomes. Media Psychology, 18(2), 137-162.
O’Connor, J. (1994, September 29). TELEVISION REVIEW; Yes, More Friends Sitting Around. The New York Times. Retrieved from https://www.nytimes.com/1994/09/29/arts/television-review-yes-more-friends-sitting-around.html
Oualili, O. (2018, August 26). 6 Locations Every Friends Fan Should Visit. In a City Near You. Retrieved from https://inacitynearyou.net/6-locations-every-friends-fan-should-visit
Poniewozik, J. (2015, December 16). Streaming TV Isnʼt Just a New Way to Watch. Itʼs a New Genre. The New York Times. Retrieved from https://nyti.ms/227Y2h7
Robinson, J. (2019, December 21). ‘Friends’ is not leaving Netflix in January 2020 in these regions. What’s on Netflix. Retrieved from https://www.whats-on-netflix.com/news/friends-is-not-leaving-netflix-in-january-in-these-regions
Russell, C, A. (2002). Investigating the Effectiveness of Product Placements in Television Shows: The Role of Modality and Plot Connection Congruence on Brand Memory and Attitude. Journal of Consumer Research, 29(3), 306-318.
Russell, C. A., & Levy, S. J. (2012). The temporal and focal dynamics of volitional reconsumption: A phenomenological investigation of repeated hedonic experiences. Journal of Consumer Research, 39(2), 341-359.
Sandell, J. (1998). I'll be there for you: Friends and the fantasy of alternative families. American Studies, 39(2), 141-155.
Savorelli, A. (2010). Beyond Sitcom: New Directions in American Television Comedy. Jefferson, NC: McFarland & Company.
Serafino, J. (2019, September 19). The One Where Jennifer Aniston's 'Rachel' Haircut on Friends Became a Phenomenon. Mental Floss. Retrieved from http://mentalfloss.com/article/598225/jennifer-aniston-the-rachel-haircut-friends-history
Shales, T. (1994, September 22). FALL TV PREVIEW. The Washington Post. Retrieved from https://www.washingtonpost.com/archive/lifestyle/1994/09/22/fall-tv-preview/5147e53e-bfd2-4aae-be75-0e95c561cad9
Sher, A. (2017, June 5). The Original ‘Goldbergs’ TV Show Changed 1950s America. Jewish Telegraphic Agency. Retrieved from https://www.jta.org/jewniverse/2017/this-1950s-tv-show-was-the-first-to-feature-jewish-life-on-the-small-screen
Silverstone, R. (1994). Television and everyday life. London, England: Routledge.
Staiger, J. (2000). Blockbuster TV: Must-See Sitcoms in the Network Era. New York, NY: NYU Press.
Stanley, A. (2004, May 6). Twilight of the Sitcom Gods (Cue the Strings). The New York Times, B1.
Sternbergh, A. (2019, September 17). Is Friends Still the Most Popular Show on TV? Why 20-somethings want to stream a 20-year-old sitcom about a bunch of 20-somethings in a coffee shop. Vulture. Retrieved from https://www.vulture.com/2016/03/20-somethings-streaming-friends-c-v-r.html
Straubhaar, J. D. (2007). World television: From global to local. New York, NY: SAGE publications.
Strause, J. (2019, September 6). 'Friends' Turns 25: Inside the NBC Sitcom's Pop-Up Return to New York. The Hollywood Reporter. Retrieved from https://www.hollywoodreporter.com/live-feed/friends-turns-25-inside-new-york-city-pop-up-1237174
Tan, S. K. (2011). Global Hollywood, narrative transparency, and Chinese media poachers: Narrating cross-cultural negotiations of Friends in South China. Television & New Media, 12(3), 207-227.
Tannenbaum, P. (1985). “Play it again, Sam”: Repeated exposure to television programs. In D. Zillmann & J. Bryant (Eds.), Selective exposure to communication (pp. 225-242). London, England: Routledge.
The Guardian. (2020, June 1). George Floyd: protests take place in cities around the world. The Guardian. Retrieved from https://www.theguardian.com/us-news/2020/jun/01/george-floyd-protests-take-place-in-cities-around-the-world
THR staff. (2015, September 16). "Hollywood's 100 Favorite TV Shows". The Hollywood Reporter. Retrieved from https://www.hollywoodreporter.com/lists/best-tv-shows-ever-top-819499/item/desperate-housewives-hollywoods-100-favorite-820451
Thompson, L. J. (2018). “It’s Like a Guy Never Lived Here!”: Reading the Gendered Domestic Spaces of Friends. Television & New Media, 19(8), 758-774.
Thorp, C. (2019, June 6). The films that defined Generation X. BBC. Retrieved from http://www.bbc.com/culture/story/20190606-the-films-that-defined-generation-x
Todd, A. M. (2011). Saying Goodbye to Friends: Fan Culture as Lived Experience. The Journal of Popular Culture, 44(4), 854-871.
Tracy, S. J. (2013). Qualitative research methods: Collecting evidence, crafting analysis, communicating impact. Hoboken, NJ: John Wiley & Sons.
Turkle, S. (2008). Always-on/Always-on-you: The tethered self. In J. E. Katz (Ed.), Handbook of communication studies (pp. 121-137). Cambridge, MA: The MIT Press.
Turkle, S. (2011). Alone together: Why we expect more from technology and less from each other. New York, NY: Basic Books.
UKEssays. (2017, May 4). History and Evolution of Sitcoms. UK Essays. Retrieved from https://www.ukessays.com/essays/film-studies/history-and-evolution-of-sitcoms-film-studies-essay.php?vref=1
Vanderstoep, S., & Johnston, D. (2008). Research Methods in Everyday Life: Blending Qualitative and Quantitative Approaches. Hoboken, NJ: John Wiley & Sons.
Vanderwerff, E. (2019, July 3). Seinfeld is 30 years old. Here are 5 ways it changed television. Vox. Retrieved from https://www.vox.com/2014/7/6/5874267/how-seinfeld-changed-tv-30th-anniversary
Varon, J. (2015, February 27). 23 Annoying Things You Realize When You Rewatch Friends as An Adult. Thought Catalog. Retrieved from https://thoughtcatalog.com/jamie-varon/2015/02/thats-not-how-any-of-this-works-friends
Waterman, D., & Rogers, E. M. (1994). The economics of television program production and trade in Far East Asia. Journal of communication, 44(3), 89-111.
Watkins, M. (1991, July 7). What Was It About 'Amos 'n' Andy'? The New York Times. Retrieved from https://www.nytimes.com/1991/07/07/books/what-was-it-about-amos-n-andy.html
Weispfenning, J. (2003). Cultural functions of reruns: Time, memory, and television. Journal of Communication, 53(1), 165-176.
Weiss, S. (2020, June 19). ‘Friends’ reunion will resume shooting in August after coronavirus delay. New York Post. Retrieved from https://nypost.com/2020/06/19/friends-reunion-will-resume-shooting-in-august
Wild, D. (1995, May 18). ‘Friends’: Six Lives on Videotape No sex, bad jobs, improbably huge apartments - why do we like this show so much? Rolling Stone. Retrieved from https://www.rollingstone.com/tv/tv-news/friends-six-lives-on-videotape-182832
Williams, R. (2018). “Fate Has a Habit of Not Letting Us Choose Our Own Endings”: Post‐object Fandom, Social Media and Material Culture at the End of Hannibal. In P. Booth (Ed.), A Companion to Media Fandom and Fan Studies (pp. 447-459). Hoboken, NJ: John Wiley & Sons.
Yanal, R. (1996). The paradox of suspense. The British Journal of Aesthetics, 36(2), 146-158.
Zoglin, R. (1995, March 20). Friends and Layabouts. Time Magazine. Retrieved from https://time.com/3403781/friends-and-layabouts
Zoglin, R. (2014, September 22). The One with the Bad Review. Time Magazine. Retrieved from https://time.com/3403782/friends-1994
Zubernis, L., & Larsen, K. (2018). Make Space for Us! Fandom in the Real World. In P. Booth (Ed.), A Companion to Media Fandom and Fan Studies (pp. 145-159). Hoboken, NJ: John Wiley & Sons.