Why Did Fans Flee LiveJournal, and Where Will They Go After Tumblr? destinationtoast: meeedeee: “What you’ll notice from the chart is that between 2007 and 2009, things were happening with LiveJournal that made people not like it anymore. From the
Volume 26 of Transformative Works and Cultures is out. This is a special issue on social TV fandom and the media industries that was edited by Myles McNutt. On the article pages, click through on the “HTML” link next to
cfiesler: Survey Results: Fan Platform Use over Time Particularly for those who were kind enough to participate in our survey last week, or to share it even after we halted data collection (because we received so many responses so quickly!),
Cosplay leans on identification with narrative content. Most importantly, cosplayers have a dynamic relationship with stories and characters. Most cosplayers do not wish to exactly duplicate the character they portray; rather, they want to bring something of their own, such
The task of archiving was once entrusted only to museums, libraries, and other institutions that acted as repositories of culture in material form. But with the rise of digital networked media, a multitude of self-designated archivists—fans, pirates, hackers—have become practitioners
Unlike larger [K-pop] groups with official Japanese fan clubs, Shin-Okubo idol groups usually operate on a point card system. Attending each concert usually equals one point (though there are double point days), and purchasing certain merchandise (such as towels or
Serialized stories encourage discussion and analysis. There is plenty of evidence of Victorian “reading groups,” where friends and families would come together to read aloud the latest installments of a favorite tale, and of book exchanges, where a single pamphlet
Fan Studies Network Australasia Inaugural Conference 2017 (with images, tweets) · bertha_c Check out this great storify of tweets from the first Fan Studies Network conference in Australia. The full program of fan studies goodness is here.
Freedom is a slippery concept, especially when it comes to digital media. When we think about questions of copyright and digital ownership through cultural theft, freedom from domination lines up with freedom from having to pay—at least on the surface.
There are many different Japanese fan cultures, of course, and some are themselves more culturally legitimated than others. Yet even in the case of otaku and fujoshi fan cultures—the former roughly equivalent to American geek culture, and the latter to