The racial dynamics within Swan Queen fandom and the fault lines therein, as a case study, serve to highlight this contradiction between inclusion and everyday racial erasure that is part and parcel of fannish spaces. Certain fan practices, as we
Russ, J. (1983). How to suppress women’s writing. University of Texas Press. The cover of Russ’s book does an excellent job of summarising its main argument: that women’s writing is deliberately devalued in a range of ways. It’s on the
Call for Papers: Edited Collection on Race in Fandom
Call for Papers: Edited Collection on Race in Fandom Call for papers with deadline (technically) today. Collection editor Rukmini Pande says on Twitter: #RaceInFandom abstracts have been super exciting but still looking to fill some gaps! Latinx and Asian fans/fandoms
stitchmediamix: This is a narrated PowerPoint of the presentation I gave at the last Fan Studies panel at PCAACA 2017 April 15, 2017 since many people missed out on a chance to attend! (I’ll update this with links to relatively
Livestream TODAY at 7pm, Thursday, March 2: Black Women Defense Squads in Online Fandom
Livestream TODAY at 7pm, Thursday, March 2: Black Women Defense Squads in Online Fandom
I’ve been trying to think through this kind of canon versus fanon kind of thing, and for the longest time I was a “who needs canon” kind of person. We have our archetypes, we have our narratives, and we’ll run
Afrofuturism does not stop at merely depicting more colorful futures; another important tenet of the movement is using these depictions of the future as a strong critique of the present, working to make the world we live in better now.
[QUOTE] From Valuing queer identity in Monster High doll fandom | Sara Mariel Austin | Transformative Works and Cultures
Monster High’s recent ad campaign claims, “We are monsters. We are proud.” Race, ethnicity, and disability are coded into the dolls as selling points. The allure of Monster High is, in part, that political identity and the celebration of difference
[QUOTE] From Racebending fandoms and digital futurism | Elizabeth Gilliland | Transformative Works and Cultures
(S)he not only recasts popular fandoms with diverse characters, but also constructs a new historical and social narrative within her fan art. Her fan castings not only include a token person of color, but also often say something important about
[QUOTE] From Racebending fandoms and digital futurism | Elizabeth Gilliland | Transformative Works and Cultures
The importance of having an online space to explore identity is perhaps not as clearly defined as seeing, say, a blockbuster superhero film helmed by a black actor, or a post-apocalyptic society populated by more than one or two token