“While it might seem self-evident that online patterns are repeated in offline spaces, it is vital to note that these exclusions occur within spaces already marked by the language of representation and inclusion. That is, queer fans of color are
In the Japanese media system, organized around idols, the consumer is positioned as a fan. For the fan-consumer, the idol as an object of desire is a fantasy or ideal construct, a “mirror” reflection, which resonates with deep affective or
[QUOTE] From Queering the media mix: The female gaze in Japanese fan comics | Kathryn Hemmann | Transformative Works and Cultures
As this media mix has had several more decades to evolve in Japan than in the United States and Europe, the Japanese understanding of convergence culture is significantly more progressive concerning the user-generated portion of the mix (note 6). Specifically,
[QUOTE] From (Re)examining the attitudes of comic book store patrons | Stevens | Transformative Works and Cultures
Digital consumers overall read more comic texts and spend more money on comic books than those who exclusively collect and read physical formats. When the two outliers who purchase no physical material are excluded, it appears the publisher gets more
TWC Vol. 20 Published
tea-and-liminality: cathexys: transformativeworksandcultures: Table of Contents TWC Editor, Editorial: Works in Progress Theory Rebecca Wanzo, African American acafandom and other strangers: New genealogies of fan studies Kathryn Hemmann, Queering the media mix: The female gaze in Japanese fan comics Anne Gilbert, What we
NHK – The Secret World of Comiket (2015), made by Ken Burns. (Source: https://www.youtube.com/)
Follow the Fan Studies Network Conference on Twitter at #fsn2015
Follow the Fan Studies Network Conference on Twitter at #fsn2015 The Fan Studies Network Conference, one of the most important conferences in English-language academic fan studies, is being held at the University of East Anglia in Norwich today at tomorrow.
[QUOTE] From Mel Stanfill – Fandom, public, commons
Changes to fan creative practice are various and telling. Posting fiction that has not been beta read and is thus riddled with errors relating to both show canon and to writing is now routine. Leora Hadas (2009, 5.2) has described
[QUOTE] From Mel Stanfill – Fandom, public, commons
As fans create, then, they not only create for a public but also create a public; that is, in producing for such a community, they call one into existence. (…) Fan creative production like fiction and vidding is produced for
[QUOTE] From At this late date, fanfiction has become wildly more biodiverse that the canonical works that it springs from. It encompasses male pregnancy, centaurification, body swapping, apocalypses, reincarnation, and every sexual fetish, kink, combination, position, and inversion you can imagine and probably a lot more that you could but would probably prefer not to. It breaks down walls between genders and genres and races and canons and bodies and species and past and future and conscious and unconscious and fiction and reality. Culturally speaking, this work used to be the job of the avant garde, but in many ways fanfiction has stepped in to take that role. If the mainstream has been slow to honor it, well, that’s usually the fate of aesthetic revolutions. Fanfiction is the madwoman in mainstream culture’s attic, but the attic won’t contain it forever. Anne Jamison. Fic: Why Fanfiction is Taking Over the World. 2013 (via agentotter)
Writing and reading fanfiction isn’t just something you do; it’s a way of thinking critically about the media you consume, of being aware of all the implicit assumptions that a canonical work carries with it, and of considering the possibility