Greater competition (between dōjinshi creators in the 1980s) gradually fostered rising standards of quality, which in turn attracted more circles and buyers. Higher sales shrank production costs and boosted profits, which could then be reinvested in the dōjinshi themselves. Small
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 Rebecca Tushnet, Economies of Desire: Fair Use and Marketplace Assumptions
On a more doctrinal level, respecting creativity as a human force should lead us to think differently about fair use, among other things, by encouraging us to take account of noncommercial motivations even in contexts current doctrine sees as commercial.
Storify of conference panel: Industry Studies and/as Audience Studies #scms14
Storify of conference panel: Industry Studies and/as Audience Studies #scms14 Panel presentation at the 2014 Society for Cinema and Media Studies conference, Seattle WA, March 21, 2014 featuring @melstanfill, @derekjohnsonUW, @iheartfatapollo, and @mkackman
[QUOTE] From Lawrence Lessig, Remix: Making Art and Commerce Thrive in the Hybrid Economy
Yet, it’s easy for us to miss the active in the mere watching. It’s rude to turn around and watch people watch a movie. It’s a crime to try to film them singing in the shower. We live in a
[QUOTE] From Mel Stanfill, Fandom, public, commons
Of course, fandom has never been isolated from market values, not least because it tends to respond to capitalist-produced media. But normatively, the counterpublic hailed by fan texts was a noncommercial one. This has given rise to contentions that Kindle
[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