Many (New York Times) articles frame fanfiction as yet another aspect of these media brands. As Stuart Elliot (2005) notes: “[I]f you like the TV show, why not buy the fra- grance? Wear the jewelry? Read the book? Join other
[QUOTE] From Machinima: A Meme of Our Time | Tracy Harwood
Machinimators have created and distributed tens of thousands of fan vids, parodies, satires, reenactments and original content through online fora in an increasingly complex ecology of technologies and new media. Its influence has been widespread, impacting digital arts, film, new
[QUOTE] From Drew Emanuel Berkowitz, Framing the Future of Fanfiction: How The New York Times’ Portrayal of a Youth Media Subculture Influences Beliefs about Media Literacy Education, p205
Corporations no longer need to sue fanfiction communities; rather than being litigated into submission, authors now give up their rights willingly. Drew Emanuel Berkowitz, Framing the Future of Fanfiction: How The New York Times’ Portrayal of a Youth Media Subculture
[QUOTE] From Iron Man in Chinese boys’ love fandom: A story untold | John Wei | Transformative Works and Cultures
Founded in 2003, Jinjiang Wenxue Cheng (the Jinjiang City of Literature, hereafter Jinjiang) (http://www.jjwxc.net/) proclaims itself to be the largest female cyberlit platform in the world, with 93 percent of its over 7 million registered members being women (JJWXC n.d.;
[QUOTE] From Drew Emanuel Berkowitz, Framing the Future of Fanfiction: How The New York Times’ Portrayal of a Youth Media Subculture Influences Beliefs about Media Literacy Education
The New York Times generally presented fanfiction as a financial opportunity for the corporations that own the intellectual properties copied by fanfiction. Many articles asserted that franchises benefit from, and in some cases rely on, their fanfiction communities. For example,
[QUOTE] From Posted on September 02, 2014 by Rebecca Tushnet, http://ift.tt/1numd2K
Neal Pollack’s article defending Amazon has many points of interest. The only one I’ll engage with is that, contrary to the marketing, Amazon is still seeding Kindle Worlds with pro authors under contract—and apparently given advances as well as editorial
New issue of Transformative Works and Cultures
The open access fan studies journal Transformative Works and Cultures has released another issue! The issue’s eight articles, three Symposium pieces, three interviews, and three book reviews all relate to the roles that objects play in various fan cultures. All articles:
[QUOTE] From Salil K. Mehra, Copyright and Comics in Japan: Does Law Explain Why All the Cartoons My Kid Watches Are Japanese Imports? p54-55
Perhaps most notably, by offering works that arguably “push the envelope” more than the works of the formal manga industry, dōjinshi may produce examples of innovation that create new opportunities for the entire industry. Indeed, mainstream manga publishing companies have
[QUOTE] From Anna von Veh, Kindle Worlds: Bringing Fanfiction Into Line But Not Online?
So if being online is so important to fanfiction, why has Amazon not adopted this central mechanism which could have drawn millions of views to its own online site? One reason may simply be that they are relying on sites
[QUOTE] From Thomas Lamarre, Introduction to Mechademia 6: User Enhanced
in the wake of government policies in Japan promoting Akihabara as a tourist destination and championing otaku culture as a new national paradigm for economic prosperity, some otaku were quick to point out that the prosperity of otaku culture was