[META] Worldcon, Not Just Literature

This is the second in a series of posts by Emma England on fannish issues surrounding Worldcon, the longest running science fiction and fantasy convention in the world. Emma is the 2014 Worldcon academic track organizer and is currently researching the history of conventions. The first post introduced Worldcon; this post debunks the myth that “traditional” conventions are only about literature.

Fan history is a disparate venture, with fans and scholars often limiting their explorations to that which interests them, as everyone does. A result of this is that many (but by no means all) people believe that media fans have never been welcome at Worldcon and that media was never a part of it as a traditional con. There may be a predominance of literature Guests of Honor, but the historical records prove that film and TV are part of Worldcon history (with comics getting their first dedicated panel in 1966). Worldcon is part of media fandom history. Some significant examples demonstrate this:

• There was a screening of The Lost World followed by a Masquerade Party (costuming, early cosplay) at Denvention I, the 3rd Worldcon, in Denver, 1941.
• The Day The Earth Stood Still had an advanced screening for attendees of Nolacon I, the 9^th Worldcon in New Orleans, 1951.
• Star Trek screenings were included on the Tricon program at the 24^th Worldcon in Cleveland, 1966.
• Gene Roddenberry, creator of Star Trek, gave a talk entitled “To Boldly Go Where No Man Has Gone Before” at Baycon, the 26^th Worldcon in Oakland, 1968. In the program book there is a full-page ad “from Roddenberry” thanking Worldcon attendees for their support of Star Trek. Amusingly, there is also a quarter-page ad claiming “SPOCK is a bad lay.” With the words: “This ad was sponsored by the committee to nominate Patrick McGoohan and ‘The Prisoner’ for a HUGO.”
• Ray Harryhausen, the groundbreaking Visual Effects Designer, was a Guest of Honor at Conspiracy ’87, the 45^th Worldcon at Brighton, England, 1987.
• Roger Corman, the famous horror movie director, was a Guest of Honor at L.A. Con III, Anaheim, 1996.
• J. Michael Straczynski, the creator of Babylon 5, was Special Guest at Bucconeer, the 56^th Worldcon in Baltimore, 1998 and the following Worldcon, Aussiecon Three in 1999 in Melbourne, Australia.
• Frankie Thomas, the actor in the early science fiction series Space Cadet, was Special Guest at L.A. Con IV, Anaheim 2006.

Additionally, the Hugo Awards have given awards for Best Dramatic Presentation, in various formats, every year since 1958 (except 1964 and 1966). Winners have included episodes of The Twilight Zone, Doctor Who and Battlestar Galactica (reimagining) and movies such as A Clockwork Orange, Star Wars, and Inception.

It is also worth noting that Worldcon has, in most programs throughout its history, included plays, ballets, bands, and numerous other art forms based around science fiction and fantasy.

If Worldcon has historically included media, why is there an apparent separation in contemporary fandoms and fan analysis? Why did Star Trek fans start their own conventions, with many claiming that they no longer felt welcome at Worldcon and other traditional cons and club meetings? A common answer is “gender and snobbery,” but there are alternative answers, although these are not mutually exclusive. Reasons for the separation may include the idea that types of fannish activities are valued differently; a critical mass of fans for one specific show/author/medium leads to a separation (as well as Star Trek conventions, Tolkien, comics etc had their own meetings and events) to maintain pre-existing diversity of the original event while enabling more focused activities around the new fandom; and some fans are more interested in going to conventions only of their specific subject.

Whatever the reasons are for the seeming separation of fandoms, it is true today that it is possible to be in a fandom for one specific TV show, book series, comics franchise, and so on without having much, if anything, to do with other fandoms. In reality, however, it is rare that fans only enjoy one text, or even type of work. Few fans are only interested in reading books or watching movies.

A challenge for Worldcon today is what direction to take the convention in: should organizers expand and overtly reach out to fans who would not normally attend a traditional con and who may bring their own “non-traditional” fan practices and (fan-)demographics; should Worldcon stick with the current attendees and format, thereby maintaining traditions; or is there a middle way that encourages media fan attendance by acknowledging the traditions of Worldcon and, perhaps, media’s place within it?

Currently, site-selection is in progress for Worldcon 2015 and the three options could be seen as representing different approaches to the challenge of identity and the marketing of Worldcon. This challenge will be discussed in the next post in this series.