Of course, fandom has never been isolated from market values, not least because it tends to respond to capitalist-produced media. But normatively, the counterpublic hailed by fan texts was a noncommercial one. This has given rise to contentions that Kindle Worlds is not really fan fiction, that E. L. James betrayed the fans of her Twilight fan fiction, and that both of these cases are not really fandom. In Karen Hellekson’s (2013) inimitable phrase, “if you define fan fiction as ‘derivative texts written for free within the context of a specific community,’ then this isn’t that. True, they are fans. And they write…fiction,” but who’s doing what alone is not enough to make it fan fiction in the absence of those norms of authorship and ownership. Indeed, “you could even say that Amazon is turning the term ‘fan fiction’ into fan fiction itself, lifting it from its original context and giving it a new purpose and a new narrative, related to the original but not beholden to it” (Berlatsky 2013). However, considering that fandom must be continually reconstituted through being addressed, and given this question of generations and fannish continuity, is there a critical mass of fan subjects who will feel hailed by industry’s invitation?

Mel Stanfill, Fandom, public, commons

[QUOTE] From Mel Stanfill, Fandom, public, commons
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