As fans create, then, they not only create for a public but also create a public; that is, in producing for such a community, they call one into existence. (…) Fan creative production like fiction and vidding is produced for an imagined audience of people who know not only the source text or texts but also—more importantly—people who understand what these forms are as a genre. This can be seen from the ways in which fan creators tend not to do the work of explaining how to interpret these things. When fans create, they do so with the understanding that the people who ultimately consume their work will understand that they are reworking popular cultural texts within a set of conventions of both authorship and ownership. Through addressing an imagined public with those specifications, that text performatively produces one. Fandom is defined as the group of people who understand what is being done in the fan text; “the circularity is essential to the phenomenon” (Warner 2005, 67). The public of fandom—or, to use Warner’s terminology (since fandom is a minoritized position), the counterpublic of fandom—is produced through an ongoing circulation of these texts binding people together.
Mel Stanfill – Fandom, public, commons ift.tt/1DBM315