Earlier, in this post, we have talked about Jenkins’ idea of how fans, in the process of slashing, might read the body of characters (especially in media fandoms). We also talked about in this post I quoted Cathy Yue Wang
Earlier, I quoted Jonathan Gray and Anna Martin on how the basis of The Lord of the Rings Real Person Fandom is their connection to The Lord of the Rings fandom. In the bonus material, (Gray) points out, the actors
It might be interesting to consider the space in which RPS usually takes place: any real person can be the object of RPF in theory, yet, it is usually the same space from where our favourite fictional worlds are produced.
The process of slashing a text is described by Jenkins as reading the body for clues of a relationship. Here and in other such moments, characters retrace the steps of the fan viewers who have searched the performers’ bodies for
Over the last week, we received many responses to the question how RPF can operate without a canon text, the majority of them among the lines of much the same way non-RPF fandoms do: by constantly negotiating fanon interpretations. It
When writing about RPF, there is one crucial question that makes it different from other parts of fandom (generally accepted as media fandoms). How does it work without a clearly-defined centralcanon text to play with? MARTIN, Anna (2014). Writing the