In this sense, therefore, the informal practices of fan culture appear uniquely compatible with a free and open culture in which participation in the processes of creation is unhindered by institutional or legal means. More recent research into fan practice—particularly
[QUOTE] From Fan-Yi Lam, Comic Market: How the World’s Biggest Amateur Comic Fair Shaped Japanese Dōjinshi Culture, p243
Upon the appearance of Web 2.0 sites like YouTube or DeviantART (and especially their explicitly Japanese counterparts NicoNico Dōga and Pixiv) one might think that Comic Market as a physical and costly event would suffer from losing its monopoly on
[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 Mizuko Ito, Fandom Unbound, loc. 246-63
Even as otaku culture is recuperated by elites and the mainstream, and as the terms “anime” and “manga” have become part of a common international lexicon, otaku culture and practice have retained their subcultural credibility. In Japan, much of manga
[QUOTE] From Casey Fiesler, Everything I Need To Know I Learned from Fandom: How Existing Social Norms Can Help Shape the Next Generation of User-Generated Content, p173
The idea of fan cultures, or “fandoms,” cultivating fan fiction writers began at the earliest in the 1920s with societies dedicated to Jane Austen and Sherlock Holmes, but took off in the late 1960s with the advent of Star Trek
[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 Jonathan Gray, Show Sold Separately, location 944
Annette Kuhn’s work with “enduring fans” of 1930s films is illustrative. Kuhn interviewed numerous women in their seventies who still enjoyed watching and talking about the films and stars of their twenties, and who still found new meanings in them.
[QUOTE] From Henry Jenkins, Sam Ford, Joshua Green. Spreadable Media: Creating Value and Meaning in a Networked Culture
(…) fans who create new material or pass along existing media content ultimately want to communicate something about themselves. Fans may seek to demonstrate their own technical prowess, to gain greater standing within a niche community, to speculate about future
[QUOTE] From Fan-Yi Lam, Comic Market: How the World’s Biggest Amateur Comic Fair Shaped Japanese Dōjinshi Culture, p244-245
Though its most important function is still to provide a physical place, Comic Market has also become a symbol of the otaku and dōjinshi communities. It is not only by a wide margin the biggest dōjinshi event in Japan (and
[QUOTE] From Frank Rose, The Art of Immersion: How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories, location 2324
Far from giving the audience a role in the storytelling, the participatory aspect of Lost was actually a result of its creators’ strict control. Viewers were ambivalent about the role they wanted to take. One of the most persistent questions