Of the many films that dramatise the deranged behaviour of celebrity fans, one of the most popular is Der Fan, a German production from 1982 about a teenage girl obsessed with a pop singer. It begins predictably enough – she writes him dozens of letters – but the ending is a little less orthodox. When he doesn’t reply she intercepts him outside one of his gigs, hangs out in his dressing room, has sex with him, kills him with a statue, chops him up and puts the dismembered body parts in a freezer. Unsurprisingly, it has become a cult classic.
Like most works of its genre, Der Fan taps into a stereotype that fans have had to endure since the emergence of popular culture. Characterised as hysterics, fantasists, psychopaths, geeks, misfits or mindless consumers, they are feared either as obsessive loners who spend their lives fretting in their bedrooms (like the protagonists of most fan movies) or as members of a frenzied mob (screaming teenagers at a Harry Styles gig). The word is still associated with “fanatic” in the public consciousness. We assume that anyone with a consuming interest in a celebrity or fictional universe is this way inclined (unless they are a sports fan, in which case their behaviour is likely to be applauded).
