If there are any trends in current fan studies, it clearly has to be the shift toward industry focus and the myriad ways to monetize fan labor. Both industry and academic events concentrate on the intersections and collaborations, sometimes at
On monetization of fandom by big name Disney fans
The Disney lifestyler phenomenon emerged within the sharing culture of social media, and, as a result of their subcultural celebrity status, their collective discursive power has shaped what it means to be a Disney fan in the new media age
The Yogscast are a group of online Let’s Players who produce YouTube videos in which they play video games, joke with one another, and sometimes engage in long-form storytelling. Some members of the Yogs have been friends for a decade,
Proponents of pervasive licensing (or near-licensing) describe it as a way to embrace online cultures while generating a profit, instead of attempting in vain to suppress all unauthorized uses. But as one commentator on Kindle Worlds noted, “[e]mbrace is always
The provision of “official” GIFs also demonstrates that controlling what is provided and how it is accessed is a key concern for many media rights holders. This control extends to developing specific settings for GIF engagement. Content providers like Disney
The rise of the Internet also meant that Comike lost its monopoly as the center of otaku and dōjinshi culture. Nevertheless, Comike remained the most important event for Japanese fans, especially after companies with otaku-related products started to exploit it.
In discussing the idol system in Japan, we tend to think of the idol as a performer who is produced by a talent agency and lends his/her image to the promotion of goods and services. However, as Bruno Latour (2005)
The basic ideas behind fandom’s treatment of copyright may track to fair use and basic copyright law, but it tracks even more closely to something else. Consider three key pieces together: the freedom to create derivative works, the requirement that
The regifting economy that is emerging, I argue, is the result of the industry’s careful cultivation of a parallel fan space alongside grassroots formations of fandom. By precariously attempting to balance the communal ideals of fandom’s gift economy with their
[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