Fans and the Making of History Philipp Dominik Keidl a Thesis in the Mel
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Plastic Heritage: Fans and the Making of History Philipp Dominik Keidl A Thesis in The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Film and Moving Image Studies) at Concordia University Montreal, Quebec, Canada December 2018 © Philipp Dominik Keidl, 2018 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Philipp Dominik Keidl Entitled: Plastic Heritage: Fans and the Making of History and submitted in partial fulfillment of the requirements for the degree of Doctor Of Philosophy (Film and Moving Image Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. Leslie Orr External Examiner Dr. Bob Rehak External to Program Dr. Charles Acland Examiner Dr. Marc Steinberg Examiner Dr. Joshua Neves Thesis Supervisor Dr. Haidee Wasson Approved by Dr. Masha Salazkina, Graduate Program Director January 25, 2019 Dr. Rebecca Taylor Duclos, Dean Faculty of Fine Arts Abstract Plastic Heritage: Fans and the Making of History Philipp Dominik Keidl, Ph.D. Concordia University, 2018 Fan studies has a long tradition of framing fandom as active, creative, and participatory. Yet, scholarship on film and television fans has primarily investigated fandom and fan practices in relation to the consumption, production, and criticism of fictional texts. In turn, non-fiction texts and fan practices have found considerably less attention. However, as this dissertation demonstrates, fans are active and creative participants in assembling, preserving, restoring, and disseminating materials from the past and in transforming these materials into print and online publications, podcasts, video tutorials, documentaries, and museum exhibitions. Drawing from the field of public history and the idea of a “participatory historical culture,” this dissertation conceptualizes and examines fans as producers and distributors of historical knowledge through the textual analysis of a wide range of fan-made histories of the Star Wars franchise. This dissertation foregrounds practices, objects, and networks that so far have found little attention in fan studies: the distinct forms of historical media fans produce; community structures and hierarchies with historians and history-making at their centre; fan historians’ relationship to the media industries; fan contribution to cultural heritage initiatives; the impact of fan labor in specific local contexts and beyond the media industries. As such, this dissertation shows how history-making is central to the formation, maintenance, and shaping of individual and collective fan identities and memories. iii Acknowledgements Allegedly, Germans are a tad brittle, humorless, unsentimental, and over-efficient. They are also supposedly straightforward, and, even if delivered without pomp and circumstances, truly mean what they are saying. The following short but nonetheless heartfelt acknowledgments will do more to reinforce these stereotypes than to break with them. Haidee Wasson has taught me too many things to list all of them here. She has been a supervisor that I could 100% trust and rely on. I always looked forward to meeting with her, no matter what issues were on the agenda. Observing how she approaches, tackles, and ultimately solves every obstacle that comes her way was inspiring. She was always honest and direct, but nevertheless managed to send me away feeling more optimistic and better equipped for what was to come. We also had our fair share of laughs—what else could you ask for from a supervisor? Marc Steinberg has become a role model for me with his curiosity, creativity, thoroughness, and most of all, generosity for his peers and students. MJ Thompson always had my back in the last six years, and her mentorship has encouraged and empowered me to grow and mature as a teacher, colleague, and friend. Working with the three of them and having their continued belief in me—even when I struggled, stumbled and fell—means a lot to me. I have found indispensable, inspiring, and loyal friends and allies in the cohort of scholars with whom I started my doctoral studies: Desirée de Jesus, Irene Rozsa, Jordan Gowanlock, Sophie Cook, Katarina Mihailovic, and, especially, Beatriz Bartolomé Herrera who has been a crucial collaborator, careful reader, and respondent on many drafts of this dissertation. I would also like to give a shout-out to Haidee Wasson’s other doctoral students who provided critical and detailed feedback on chapters, presentations, abstracts, and applications: Mark Barber, Natalie Greenberg, William Fech, Joel Hughes, Heather Macdougall, Matthew Ogonoski, Kaia Scott, Kyla Smith, and Zach Melzer. The innumerable hours I spent working and having coffee with Zach are some of the best memories I will take with me from Concordia. Masha Salazkina has provided important guidance in the early stages of my research and was an incredibly dedicated Graduate Program Director. I would also like to thank all faculty members and peers who gave me the chance to participate in their research projects in and around Concordia: Charles Acland, Luca Caminati, Michelle Cho, Kay Dickinson, Yuriko Furuhata, Joshua Neves, Catherine Russell, and Thomas Waugh. Christian Gosvig Olesen, who I met as an MA student in Amsterdam, continues to be a loyal and reliable friend and collaborator. iv My FFAR250 colleagues and Megan Webster have greatly inspired my teaching philosophy and practice. Finally, a big “thank you” to Mel Hoppenheim School of Cinema’s administrative staff for helping me to manoeuvre all the bureaucratic hurdles that crossed my way. On a more personal note: Catherine, Brandon, Samantha, Viviane, Fulvia, Sima, Jeremy, Adam, Darien, Kester, Kasia, Ed, Julie, Anthony, Joaquin, Maria, Patrick, Lucie, Yves, Marie- Eve, Karl, Christine, Huguette, Mia, Alexie, Donnie, Toni, Rocky, Harriot, and Céline have made Montreal my home—having been your friend and family in the last six years means a lot to me. My deepest gratitude goes to my parents, who let me go wherever I needed and gave me all the freedom necessary to achieve my goals. I would not have been able to finish this project without the love and support of my partners in crime, Alex and Katharina. v Table of Contents LIST OF ILLUSTRATIONS ..................................................................................................... vii PROLOGUE: Plastic Heritage and the Making of a Dissertation ........................................... 1 CHAPTER 1 - Introducing Plastic Heritage: Fans and the Making of History ................... 11 The Place of History in Fan Studies ................................................................................. 11 Fandom in a Participatory Historical Culture .................................................................. 24 Placing Fan Histories in the Three Waves of Fan Studies ................................................ 36 Chapter Overview and Methodology ................................................................................ 51 CHAPTER 2 - Between Textuality and Materiality: Fan Historians and the Mediation of Action Figures ................................................................................................................ 57 The Mediation of Action Figures ...................................................................................... 63 Toys-Come-to-Life-As-Toys Media, Action Figure Histories, and Mainstream Media . 71 Action Figures as Objects of Fandom .............................................................................. 87 Writing Action Figure Fans into Star Wars History ........................................................ 90 Conclusion ........................................................................................................................ 99 CHAPTER 3 - Star Wars at 40: Transmedia Historiography, Fanboy Historians, and Cultural Memory Management ................................................................................... 101 From Transmedia Storytelling to Transmedia Historiography ...................................... 107 Transmedia Historiography and the Making of Cultural Memory ................................ 120 Fanboy Historians and the Modeling of the Everyfan ................................................... 132 Conclusion ...................................................................................................................... 142 CHAPTER 4 - Star Wars at the Swimming Pool: Fans and the Making of a Tourist Attraction ...................................................................................................................... 147 Fan Curating as Labour ................................................................................................... 155 Fan-Run Museums and the Cultural Impact of Fan Heritage ......................................... 161 From Film-Induced Tourism to Fan-Induced Tourism .................................................. 171 Fan-Curated Museums and Fan Geography .................................................................. 180 Conclusion ...................................................................................................................... 190 CONCLUSION ......................................................................................................................... 193 Ethnography and Fan-made Histories ...........................................................................