The activities of fan translators and distributors can be explained with the conceptual tools drawn from the existing literature (e.g. working consumers, consumers put to work, consumers co-creating with producers and consumers as a source of innovation). Yet, this paper
The Fandom Brand Guarantee
When a fan goes into a bookstore, they can point at many books where even just by looking at the cover, they can tell that the author or the work in particular came from fandom. It might be that while
I washed my face and hands before I come, I did
Tags and different type of Internet paratext is something users are becoming more an dmore fluent in, however, different site structures might lend themselves to different uses of paratext. In a previous post, it was suggested that Archive of Our
My love is a work song
Fandom is fandom because of fans’ activities and participation. The fandom object can be any canon, we could argue then. Descriptions of typical canons still emerge. Sometimes they originate from what is already the result of fannish beheaviour. Indeed, Pearson
Another Transformative Approach to Fan Identity
When speaking of the possibility of K-pop stans transforming their fannish identity and negotiating their identification with their idols, inherent in the discussion is the racism and cultural appropriation of the industry and fandom that affords different possibilities to Black
A Transformative Approach to Fan Identity
In previous posts, I have talked about data fandom and fan labour as something inherently linked to commercialization. In a paper I read, though, I discovered a case where data fandom was used as a tool – both to achieve
Your Fill
In this past calendar year, we kept telling you about research we found interesting. Now, a prompt for you: what has been the meta, research paper, book, any text discussing fandom that caught your attention this year? Was it related
Fan commercial power: is there such a thing?
Fannish communities feel a sense of ownership over their media, but this feeling does not make them powerful in a sense. Like the poachers of old, fans operate from a position of cultural marginality and social weakness. Like other popular
Affective ownership and modern copyright
A history of how media fandoms viewed their communities, their own and the media industry’s relationship to their favourite works can be caught in ‘save our show!’ campaigns. There is an affective relationship here that stands in opposition with the
Pick me up for syndication!
Media fandoms are one of the most representative cases of fandom studies. When looking at television programming, the discourse does not question whether television is a social genre, but in what way it is. Perhaps media fandoms were so visible