As films like Star Wars become more prominent, and with the growing importance of Chinese audiences, these kinds of marketing strategies that capitalises on the official and special edition merchandise will become more common. Fans as consumers will be normalised, as rather than participating in practices that often challenge the readings of the text or (Asian) societal norms, consumption advances the capitalist sensibilities of Hollywood studios that produce franchises like Star Wars.
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The mainstreaming of fandom into millennial culture is a chosen stance of fans to represent their modes of engagement as more than only niche and subcultural. Fans choose to post about their fan engagement in the public spaces of Tumblr rather than the locked communities and friends-only journals of the late 1990s and early 2000s. They may perceive these fan spaces as intimate publics, as I’ve written about elsewhere, yet they choose to allow for the possibility of visibility, for a default public culture, albeit one with intimate semi-private pockets. Indeed, the social activism of, for example, what some refer to as Tumblr feminism is part of—or at least deeply connected to—this fan performance of fandom as an expansive mode of engagement with something important to share and spread.
Who Are Millennial Fans?: An Interview with Louisa Stein (Part One)
See also @millennialfandom ift.tt/2dL1h99
Less a form of antisocial (or subsocial) behavior, fandom is shown as a way for individuals to creatively manage, at both the personal and the interpersonal levels, the “rules of play” imposed upon them by a variety of social institutions (economics, education, family, etc.). At least, this is what the episode itself suggests has happened for the protagonists Dean and Sam, who are depicted leaving the fan convention with a new appreciation not only for Supernatural fans, but also (…) for each other.
Review of Playing fans: Negotiating fandom and media in the digital age, by Paul Booth | Gregory Steirer | Transformative Works and Cultures ift.tt/2eSabXq
Fan fiction archives’ mission is to preserve all fan works for all fans, not to judge which are “worth” saving and which are not worthy. Fan critics can debate which fan works, in any given universe, are the “best,” but fan archivists strive to preserve all of the works, as much as they can - because they value their fandoms as important and significant living cultural communities, and they feel that every corner of their cultures is worth safeguarding.
Abigail de Kosnik, in Why Study Fan Archives: An Interview with Abigail De Kosnik (Part One) ift.tt/2eB5H7g
The behavior is a blur between punk fashion and commune. Like punks, mass hoarders implicitly critique capitalist values by inventing a playstyle that elevates self-expression, personal goals, and nontraditional desires. But this practice is communally rather than rebelliously focused: they create a mutually supportive subculture in which the profit motive is derailed in favor of a rigorous sense of fairness. Through this combination, the fans turn an app designed to stress profit and acquisition and to minimize personality into a space where both clear identities and fair play can rule. They create pockets of humanity and humane behavior in a digital world where those sentiments were (perhaps intentionally) omitted.
Hoarding and community in Star Wars Card Trader | Jeremy Groskopf | Transformative Works and Cultures ift.tt/2dnIxye
Just as hooking up is central to many sexual subcultures, rewatching, reworking, reviewing, and redoing are central aspects of many fannish practices. (…) This queer, fannish emphasis on the re, rather than the mix, is the place where creation and authorship in fan communities most clearly opposes normative practices of future-oriented production.
Fannish masculinities in transition in anime music video fandom | Samantha Close | Transformative Works and Cultures ift.tt/2cN4EOZ
From the website: In this course, together with three other specialists, Professor Niijima, Professor Takahashi and Professor Ohwada, we will explore girls comics, boys comics, the Hatsune Miku vocaloid, cosplay, and J-pop idols, focusing on the themes such as Love, Battle, Technology and Fan culture, in which you’ll learn about the different cultural creations that underpin Japanese subcultures. With materials for cultural analysis, you’ll develop a basic knowledge of key Japanese subcultures, learning the recognisable traits of each.
Wikipedia is perhaps the only platform available on which fans can effectively and efficiently broadcast facts about their media objects of interest and receive built-in approval, encouraging them to continue.
Wikipedia and participatory culture: Why fans edit | Paul Thomas | Transformative Works and Cultures ift.tt/2d2pbSb
In Sweden, older siblings are generally the ones who introduce younger siblings to various fandoms, such as digital games and fan fiction sites, thus further conflating online and real-life relationships (Swedish Media Council 2013a, 2013b; Olin-Scheller 2011).
Technological advancement, English proficiency, and fandom activities are all closely interrelated. However, being connected to the Internet and being heavily involved in digital fan activities do not necessarily imply that one’s main focus is international. Instead, digital activities are associated with closeness, both in terms of relationships (friends sitting on the same couch when going online) and geographical locations (attending local cosplay or gaming conventions). This way of being and acting as a fan is likely not limited to Sweden or Swedish fan communities; it is probably also the case in other areas with ubiquitous Internet access and English-language proficiency.
A connected country: Sweden—Fertile ground for digital fandoms | Christina Olin-Scheller and Pia Sundqvist | Transformative Works and Cultures ift.tt/2cBHqK4
What is crucial in both ‘Morangate’ and ‘Theory of fic gate’ is that none of the fans were asked permission for their involvement, and none of the instigators considered the effects on the fans. In other words, the fans were acted upon rather than able to determine quoting an author without seeking their permission first. In the social sciences, though, the person is put first. It’s why we have ethics boards in universities and why we have to consider humanities, of course. My work falls squarely under the humanities banner, as done much fan studies, but we are asking permission of fans and seeking out ethical approval from institutions for our research. But privilege is still an issue which needs to be understood more fully in academia and we have to recognise the ways in which we, as well as the press, engage with fans.
‘The Ethical Hearse’: Privacy, Identity and Fandom Online | Bethan Jones ift.tt/2bTw82o
I’ve been trying to think through this kind of canon versus fanon kind of thing, and for the longest time I was a “who needs canon” kind of person. We have our archetypes, we have our narratives, and we’ll run with it. And those are the stories I want, and I don’t care whether they are the same stories I’ve read a hundred times, those are the stories I want. But as those stories themselves, as those characters have changed, I’ve realized that it’s not that simple. That I can go and find versions of queerness, but those versions of queerness in fandom will mostly be white queerness. They’re not going to be brown queerness, they’re not going to be black queerness. And that’s something that I’m going to have to rely on canon to center those characters to the point that they cannot be ignored. And that is very very rare.
We’ve now kind of come to the tipping point where how much primacy can a character of color get and still be marginalized in fandom? And you know, it seems like we’ve come to the end of that rope! I don’t think you could have—this is a question I think that a lot of people have kind of been thinking about at the back of their minds. Surely some text will come along where there’s no other option. And we’ve seen that fandom will make the option and it still won’t be black or brown queerness.
Rukmini Pande, Episode 29 of @fansplaining, “Shipping and Activism.” There are so many things I want to quote from this episode, but this segment in particular was extraordinary in helping me frame my thinking about conflict between fanon, canon, queerness, and race.
(via elizabethminkel) ift.tt/2bJp0eI
CALL FOR CONTRIBUTIONS: A Tumblr Book
co-editors: Allison McCracken, American Studies, DePaul University; Louisa Stein, Department of Film and Media Culture, Middlebury College; Alexander Cho, University of California Humanities Research Institute
We’re putting together a book to identify ways in which Tumblr has had an important social and industrial impact, both as a digital platform and a cultural forum. This volume will be multi-vocal and accessible to a broad audience, representing a variety of Tumblr users and commentators, including scholars, public intellectuals, activists, and fans. We are particularly compelled by Tumblr’s status as a social media platform known for fostering spaces for socially marginalized users, including youth, people of color, queer people, the disabled, and the poor.
This publication will be in English, but we are committed to exploring non-Western perspectives and others beyond the US/UK. We are soliciting contributions that focus on various aspects of the platform, including any combination of:
Tumblr’s affordances and limitations as an interface/platform and as a cultural space
Aesthetic and linguistic traditions on Tumblr, including hashtags, gifs, images, and notes
History and development, including the Yahoo acquisition
Industry presence, marketing practices and goals
Creative production and/or critical analysis
Intersections of race, gender, sexuality, class, age, and ability
Community development and support
Politics and activism (including the “social justice warrior” discourse)
Identity formation and affirmation
Education and mentoring networks
Tumblr within the transmedia landscape
Fan cultures and activities
The centrality of sexually explicit content (“nsfw”), pornography, and pleasure
Teaching, therapy and other professional uses (such as “social media director”)
We welcome proposals that address any of the aforementioned topics of analysis, and we are looking for work in a range of formats, including traditional academic essays, shorter think pieces, personal testimonies, interviews, video essays, art, GIF essays, and group discussions. This book will combine hard copy and digital components in order to incorporate multimedia contributions. For example, we are interested in community histories and activities (written by individuals or groups), critical discourses and discussion (including specific examples of such), and creative production we can reference in the book and publish digitally (such as fan art). We will use both illustrations and written excerpts with artist and author permission. It is very important to us to feature a variety of voices; please feel free to contact us for help in developing a proposal, especially if you are not familiar with the publication process but have an idea of something you’d like to contribute.
Written work should generally fall between 2,000 and 7,000 words. Inclusion in the book will be based on abstracts of between 300-500 words and, for full consideration, they should be received by September 30, 2016. Contributors can use their tumblr or public names or remain anonymous. Please send this abstract and any questions or concerns you have to firstname.lastname@example.org. Visit ift.tt/2bH0Krl for more information.
Football slash fan fiction is both a result of and reaction to mediated football fandom. It exists because of the understanding of football as a narrative, but also because of what mainstream football fandom leaves out of its world. It is a way to play with the boundaries between real and fictional while also exploring the hidden potential of the football narrative and experiencing it in a welcoming environment.
It is also a result of changes in fan fiction practice. Contemporary slash fan fiction writers see nearly any media narrative as transformable, and this potential increases when the narrative is seen as slashy. Changes in the way that fan fiction is distributed and consumed meant that the older proscriptions about what was “fic-able” and what wasn’t became less powerful. Once they learn the form, slash fan fiction writers become trained to see slash and fan fiction potential in the media they encounter. Professional football’s heavily homosocial environment makes it ideal for a slash interpretation, with the visual material to stimulate the imagination and a variety of potential relationship dynamics and character types to write and read about. Additionally, its similarity to cult narratives means that fan fiction writers recognize where they can fill in the narrative spaces of football to suit their needs. This is not necessarily in contrast to being a more traditional sports fan, but rather in tandem with it, a way to work through the emotions of being a football fan and to explore parts of it in a way not seen in more mainstream football fan spaces.
The creation of football slash fan fiction | Abby Waysdorf | Transformative Works and Cultures ift.tt/2bml2Cy
The significance of manga and anime in German fan fiction remains recognizable today. 29 percent of all pieces of fan fiction uploaded to FanFiktion.de and 49.5 percent of the 148,220 fan writings on Animexx are categorized as manga/anime (the latter unsurprising considering that the Web site caters to anime and manga fans), whereas the international FanFiction.net archive lists only 25.3 percent of its 41,183,979 texts in these categories and Archive of Our Own (ift.tt/1ffprbE) not even 12 percent (Table 1).
A brief history of fan fiction in Germany | Vera Cuntz-Leng | Transformative Works and Cultures ift.tt/2bMqZdK
As part of my geography project, I am looking at factors of change in a community. I’m looking at the effect of Internet on the fandom, but I’m not old enough to know any fandom pre-Internet.
I’m hoping for some information on how fandom has been shaped and is being shaped by the Internet, whether it be higher visibility, easier access, different forms of fanworks gaining prominence, archives and more gathered communities etc.
I have looked at Fanlore, but since for this project I need primary as well as secondary sources, I was hoping to fulfil that requirement here.
Thank you so much.
Hi Aileen, do you mean you’re looking to hear from fans about their own experiences?
By the way, there are also a lot of other good secondary sources on this topic besides Fanlore, for instance academic work. Are you looking for that sort of thing as well?
(My Little Pony: Friendship is Magic) is feminized for adhering to (feminine) tropes, and for doing so with bright pastel colors and chipper voices talking about friendship, but it was deliberately created to be both girly and good.
Bronies’ praise, however, frequently separates FiM from its association with its feminist possibility and young, gendered target audience. They contend that the series “has a higher quality writing style than other children’s shows, with varied themes, and the plot and characters develop over the seasons” (Angel 2012). Bronies discuss how they were not expecting to like and watch such a program. One recounts, “First we can’t believe this show is so good. Then we can’t believe we’ve become fans for life” (Watercutter 2011). Another notes, “If you asked me three years ago if I would be running pony stuff and watching My Little Pony, I would be like ‘What? No, that’s girl stuff’” (Peters 2013). The aspects of the show lauded by bronies, including its animation style and clever references to geek and pop culture, are associated with masculine genre and aesthetics, and their praise thus reframes it as something more suited to an adult male viewership.
What we talk about when we talk about bronies | Anne Gilbert | Transformative Works and Cultures ift.tt/2b1VNZd
Via @tea-and-liminality: “For anyone interested, there’s a new themed section on transcultural fandom up at the online journal Participations, with the following essays:
Chin, Bertha & Lori Hitchcock Morimoto:
Devereux, Eoin & Melissa Hidalgo:
‘“You’re gonna need someone on your side”: Morrissey’s Latino/a and Chicano/a fans’
‘Music fanzine collecting as capital accumulation’
van de Goor, Sophie Charlotte:
‘“You must be new here”: Reinforcing the good fan’