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storytelling

[QUOTE] From Sherlock and the Adventure of the Overzealous Fanbase by Laurie Penny (via cypress-tree)

What is significant about fan fiction is that it often spins the kind of stories that showrunners wouldn’t think to tell, because fanficcers often come from a different demographic. The discomfort seems to be not that the shows are being reinterpreted by fans, but that they are being reinterpreted by the wrong sorts of fans – women, people of colour, queer kids, horny teenagers, people who are not professional writers, people who actually care about continuity (sorry). The proper way for cultural mythmaking to progress, it is implied, is for privileged men to recreate the works of privileged men from previous generations whilst everyone else listens quietly.

Sherlock and the Adventure of the Overzealous Fanbase by Laurie Penny (via cypress-tree) ift.tt/1nt4wz2

[META] Artistic Freedom, or This Is Not a Review of The Hobbit

This is not a review of The Hobbit: The Desolation of Smaug, but I’ll share some impressions for context. Though it kept me entertained, I didn’t think it was very good. The story felt padded; the implausible action scenes lacked tension; the moralizing was often forced. But for all that, I’m glad the movie was made because it means that the narrative of Middle-earth is still alive.

Storytelling belongs to the public consciousness. All the copyright laws in the world cannot stop that being true. It is human nature to imitate: it is how we learn to talk, to dress, to be polite, to live in society. It is embedded in human nature to take in stories and breathe them out again. This is not to say there is no place for copyright. As long as we live in a nominally free market society, artists must be able to make money from their work for art to flourish, and copyright (ideally) gives them control over distribution of their work to prevent market saturation and grant them remuneration. But if copying must be restricted, the creation of art itself is naturally free: the mind flies to it as it flies to love, and no prison nor prison sentence can stop it.

One common complaint about derivative works is that they are often bad quality. And this is true. (It’s true of original works just as much.) I would argue that The Hobbit: The Desolation of Smaug, despite a great deal of talent and effort, is bad quality in many ways. It’s a legal, licensed work, but aside from giving it a big budget, that doesn’t affect whether it’s good or bad art. Likewise, some still claim fan fiction has dubious legality, but that has no bearing on whether it is brilliant or painful to read. Art is speech, and democratic society has long understood that respecting freedom of speech exposes us to reams of stupid speech. That is a very small price to pay for the freedom to share thought and learn and grow as individuals and cultures.

I don’t doubt that Tolkien would be rolling over in his grave at the excesses of the Jacksonverse. In this particular movie, I suspect he’d find the Elf-Dwarf romance ridiculous, the sex joke appallingly inappropriate, the fight scenes mostly absurd and undercutting of the quieter narrative of Bilbo’s clever heroism—and that’s just for a start. I wouldn’t be surprised if his heirs have similar feelings. I have many of the same feelings myself.

Who cares? We don’t really deserve any say in how others choose to retell a tale. I mean this as a statement about natural rights rather than gracious conduct. A gracious standard of conduct might well choose to consult with a respected original author or their heirs, might make an effort not to bruise their feelings, might listen to critiques and revise accordingly. But a narrative belongs to the mind of every person it has touched. And no one has a right (regardless of the current law of the land) to tell any person not to re-envision that narrative however they wish.

Without such re-envisioning, The Hobbit is just a novel, a good novel, written in the 1930s in Britain, growing slowly more remote from the language, tastes, and customs of the new century. Without this re-envisioning, one day it will die. And so we create new versions, and they have women and more action and additional tie-ins to The Lord of the Rings and sex jokes and a younger, sexier Thorin and a scarier Ring. And out of what might be considered the mess of this particular version, out of the sloppy, poorly paced, bad taste et cetera comes a new perspective on an old story.

I liked the scarier Ring, the almost-heavy handedness in showing its immediate hold on Bilbo, the changes in his behavior when he fears he’ll lose it. I liked the general tone of foreboding, the sense of social breakdown among the Wood Elves and the Lake Men that presages the cataclysmic War to come in The Lord of the Rings. Tolkien could not have done this for the simple reason that he hadn’t yet written The Lord of the Rings when he wrote The Hobbit. Whether or not he would have done it if he had already developed the full history of the War of the Ring is moot (as an Ent would say). The story left Tolkien years ago. It is our story now. It is Peter Jackson’s. It is mine. It is yours. And as the years pass and its iterations continue to ripple out—a cartoon here, a CGI-heavy trilogy there, a radio drama, a few thousand fan fics, and who knows what—it will be reshaped by the minds it meets, often badly but perhaps one day with hammer-blow of genius that will truly reinvent it. Perhaps Tolkien has yet to meet his Shakespeare. But the tale will always be reshaped to meet the changing world it continues to speak in. And it will keep living, as art has to if the human spirit is to thrive.

Submission by Arwen Spicer

[QUOTE] From Frank Rose, The Art of Immersion: How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories, location 2324

Far from giving the audience a role in the storytelling, the participatory aspect of Lost was actually a result of its creators’ strict control. Viewers were ambivalent about the role they wanted to take. One of the most persistent questions the producers got was, how much of this has been plotted out in advance? “The fans want the story to be completely planned out by us,” said Lindelof, “and they also want to have a say. Those two are mutually exclusive.

Frank Rose, The Art of Immersion: How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories, location 2324

[QUOTE] From Frank Rose, The Art of Immersion: How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories

In Dickens’s own time, however, serialized novels were hugely controversial. Novels themselves were only beginning to find acceptance in polite society; for upper-class commentators, serialization was entirely too much. From our perspective, Dickens is a literary master, an icon of a now threatened culture. From theirs, he represented the threat of something coming.

(…)

Worse, the format seemed dangerously immersive. In 1845, a critic for the patrician North British Review decried it as an unhealthy alternative to conversation or to games like cricket or backgammon. Anticipating Huxley and Bradbury by a century, he railed against the multiplying effects of serialization on the already hallucinatory powers of the novel.

(…)

Toward the end of the nineteenth century, as further advances in technology continued to bring down the costs of printing and distribution, books and periodicals evolved into separate businesses and book publishers gradually moved away from serialization. The threat of immersiveness moved with them, first to motion pictures, then to television. Books, movies, TV—all were mass media, and mass media had no mechanism for audience participation. But the reader’s impulse to have a voice in the story didn’t vanish. It went underground and took a new form: fan fiction.

Frank Rose, The Art of Immersion: How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories, location 1308-1321

[QUOTE] From Cathy Cupitt, Nothing but Net

It has often struck me that stories are the universal language of Web 2.0, and I think the importance of participatory audiences is the reason why. The giant metanarrative of fan fiction is not unlike the interweaving strands of open source projects such as Wikipedia, or the memes of Anonymous (the self-adopted name of a loose coalition of Internet users organizing and acting anonymously, probably best known for protesting against Scientology) and social networking in general, all of which enable and value multiple points of view.

Cathy Cupitt, Nothing but Net

[META] Can Fandom Change Society? (by PBSoffbook)

Can Fandom Change Society? (by PBSoffbook)

Before the mass media, people actively engaged with culture through storytelling and expanding well-known tales. Modern fan culture connects to this historical tradition, and has become a force that challenges social norms and accepted behavior. Whether the issue is gender, sexuality, subversiveness, or even intellectual property law, fans participate in communities that allow them to think outside of what is possible in more mainstream scenarios. “Fannish” behavior has become its own grassroots way of altering our society and culture, and a means of actively experiencing one’s own culture. In a sense, fans have changed from the faceless adoring masses, to people who are proud of their identity and are stretching the boundaries of what is considered “normal”.

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[QUOTE] From Jeanette Winterson (via austinkleon)

As a writer, you’re always something of a vandal. You’re a tomb raider. You’re gonna go in there and take the things that already exist – drag ‘em out again, and dress them up differently. There is a sense in which you are a thief. It’s no wonder that writers are ruled by Mercury, god of thieves and liars, and Mercury of the double tongue. There is the sense in which you will always steal, and take for yourself, the things that you need. But then you also bring them back into the light. You dust them down, and then you put them out again for people to find in a different way. The whole thing about myths is that they need to stay fluid, they need to keep moving, and they need to be dynamic. And that’s why we can go on retelling them, so that, what is valuable is passed on from generation to generation, across time, through cultures.

Jeanette Winterson (via austinkleon, reblogged from vinvalenwind)