Fan conventions have historically been characterized as safe, even utopian spaces in which differences are embraced. My work on the Twilight protests at San Diego Comic-Con 2009 (Scott 2011), the recent sexual harassment debacle at Readercon 23 (Colby et al. 2012), and comic book artist Tony Harris’s November 2012 Facebook screed against “COSPLAY-Chiks [sic]” who “DONT [sic] KNOW SHIT ABOUT COMICS” (Dickens 2012), all indicate that these utopian characterizations of comic book conventions belie how gendered subcultural tensions manifest in these spaces. Specifically, the hostility directed at the Batgirl of San Diego from fans and publishers alike suggests a sort of panopti(comic)con, in which fan expression is increasingly policed.
Suzanne Scott, Fangirls in refrigerators: The politics of (in)visibility in comic book culture
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Fan Art Law at Comic-Con (by deviantart)
From a review of the video by Boing Boing:
Here’s an hour-long presentation on copyright law and fan art from San Diego ComicCon 2012, presented by a lawyer from DeviantArt who once worked as a copyright enforcer for Paramount. It’s a pretty good overview, though — predictably enough — the presenter waits until quite late to talk about fair use and other public rights in copyright, generally downplaying them and omitting the de minimis exemption to copyright (the idea that it’s not infringement if you take a small enough piece, for reasons that are separate from fair use) altogether.
During the Q&A, he also mischaracterizes SOPA and PIPA as having been concerned with “mass-scale” infringement (the laws allowed for censorship if there was a single link to a website that infringed), but makes up for it somewhat by plugging EFF, Public Knowledge and other public interest groups.