Thank you for all the suggestions regarding reader insert narratives! I am going through them and will post about my readings later. Two weeks ago, the new Transformative Works and Culture issue, Fandom Histories, came out. Among the many interesting
Where is the author in reader insert?
These past weeks, reading about RPF, I danced around the question of the fan fictionalizing the very fan narratives that they live in. Yet so far I haven’t touched on a genre that appears to be more popular in RPF
The fiction of stars and fans as real people
(The question at the centre of RPF is) “what if?” This question is the question asked by each one of these Hiddleston fans arguing that he should be left some space. What if a man performed six nights a week
Real Person Without the Fiction: Idol Success As Fannish Activity
In their work, describing the data manipulation tactics of fan leaders of Chinese idols’ fan clubs, Wu Xueyin describes two kinds of fandoms. Two categories of fan identities account for a large proportion of fans in Chinese fandom: only stan/solo
How the visual image of the star can contribute to the actor/character resonance?
Earlier, in this post, we have talked about Jenkins’ idea of how fans, in the process of slashing, might read the body of characters (especially in media fandoms). We also talked about in this post I quoted Cathy Yue Wang
Real People as Derivations of the played characters
Earlier, I quoted Jonathan Gray and Anna Martin on how the basis of The Lord of the Rings Real Person Fandom is their connection to The Lord of the Rings fandom. In the bonus material, (Gray) points out, the actors
Real Person Space
It might be interesting to consider the space in which RPS usually takes place: any real person can be the object of RPF in theory, yet, it is usually the same space from where our favourite fictional worlds are produced.
RPF as reading the body (of text)
The process of slashing a text is described by Jenkins as reading the body for clues of a relationship. Here and in other such moments, characters retrace the steps of the fan viewers who have searched the performers’ bodies for
RPF, once more
Over the last week, we received many responses to the question how RPF can operate without a canon text, the majority of them among the lines of much the same way non-RPF fandoms do: by constantly negotiating fanon interpretations. It
Why is RPF different?
When writing about RPF, there is one crucial question that makes it different from other parts of fandom (generally accepted as media fandoms). How does it work without a clearly-defined centralcanon text to play with? MARTIN, Anna (2014). Writing the