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Digital Fanfic in Negotiation: Livejournal, Archive of Our Own, and the Affordances of Read-Write Platforms
Digital fanfic in negotiation: LiveJournal, Archive of our Own, and the affordances of read-write platforms. Introduction Fanfiction is the unauthorized rewriting or adaptation of popular media narratives, utilizing corporately owned characters, settings and storylines to tell an individual writer’s own story (self-ref, 2017). It is often abbreviated to fanfic or even fic, and exists in a thoroughly grey legal area between copyright infringement and fair use (Tushnet 1997, McCardle 2011). Though there were a few cases of cease-and-desist letters sent to fan writers in the twentieth century, media corporations now understand it is useless to attempt to prosecute fanfic writers – for one thing, there are simply too many of us,1 and for another it would be terrible publicity. Though modern fanfic can be reliably dated to the 1960s (Jenkins 1992), it is now primarily an online practice, and the fastest growing form of writing in the world (self ref). This paper uses participant observation and online ethnography to explore how fanfiction archives utilize digital affordances. Following Murray, I will argue that a robust understanding of digital read-write platforms needs to account for the social and legal context of digital fiction as well as its technological affordances. Whilst the online platform LiveJournal in some ways channels user creativity towards a more self-evidentially ‘digital’ texts than its successor in the Archive of Our Own (A03), the Archive encourages greater reader interactivity at the level of archive and sorting. I will demonstrate that in some ways, the A03 recoups some of the cultural capital and use value of print. -
Audiences, Gender and Community in Fan Vidding Katharina M
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2011 "Veni, Vidi, Vids!" audiences, gender and community in Fan Vidding Katharina M. Freund University of Wollongong, [email protected] Recommended Citation Freund, Katharina M., "Veni, Vidi, Vids!" audiences, gender and community in Fan Vidding, Doctor of Philosophy thesis, School of Social Sciences, Media and Communications, Faculty of Arts, University of Wollongong, 2011. http://ro.uow.edu.au/theses/3447 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] “Veni, Vidi, Vids!”: Audiences, Gender and Community in Fan Vidding A thesis submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy From University of Wollongong by Katharina Freund (BA Hons) School of Social Sciences, Media and Communications 2011 CERTIFICATION I, Katharina Freund, declare that this thesis, submitted in fulfilment of the requirements for the award of Doctor of Philosophy, in the Arts Faculty, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Katharina Freund 30 September, 2011 i ABSTRACT This thesis documents and analyses the contemporary community of (mostly) female fan video editors, known as vidders, through a triangulated, ethnographic study. It provides historical and contextual background for the development of the vidding community, and explores the role of agency among this specialised audience community. Utilising semiotic theory, it offers a theoretical language for understanding the structure and function of remix videos. -
(30 January 2014) [Copyright Taylor &Am
1 This is an Author's Accepted Manuscript of an article published in Translation Studies (30 January 2014) [copyright Taylor & Francis], available online at: http://www.tandfonline.com/doi/full/10.1080/14781700.2013.877208 The version of record can be found at this address and should be used for citation purposes as pagination differs. There are also minor proofreading differences. Film remakes, the black sheep of translation Jonathan Evans* School of Languages and Area Studies, University of Portsmouth, UK *Email: [email protected] Film remakes have often been neglected by translation studies in favour of other forms of audio-visual translation such as subtitling and dubbing. Yet, as this article will argue, remakes are also a form of cinematic translation. Beginning with a survey of previous, ambivalent approaches to the status of remakes, it proposes that remakes are multimodal, adaptive translations: they translate the many modes of the film being remade and offer a reworking of that source text. The multimodal nature of remakes is explored through a reading of Breathless, Jim McBride’s 1983 remake of Jean-Luc Godard’s À bout de souffle (1959), which shows how remade films may repeat the narrative of, but differ on multiple levels from, their source films. Due to the collaborative nature of film production, remakes involve multiple agents of 2 translation. As such, remakes offer an expanded understanding of audiovisual translation. Keywords: film remakes; multimodal translation; Breathless; textual networks; corporate authorship; À bout de souffle Film remakes across languages are referred to as a form of translation by some critics, particularly in film and media studies (e.g. -
2020 ALTA Awards
43rd Annual ALTA Sept. 30 – Oct. 18, 2020 Conference THE AMERICAN LITERARY TRANSLATORS ASSOCIATION 2020 ALTA Awards THE NATIONAL CENTER FOR ONLINE TRANSLATION CERTIFICATE INTERPRETATION has been one of the premier NCI now offers an online, non-credit Spanish/ providers of high quality interpreter training since English Translation Certificate with courses its inception in 1983. focused on legal translation, medical translation, and business translation. Contact us for more information: [email protected] More about the Certificate: nci.arizona.edu/online-translation-certificate WEBINARS Throughout the year, NCI offers a variety of COURT INTERPRETER TRAINING INSTITUTE webinars focused on essential aspects of (CITI) interpreting, from ethical considerations to Each summer, NCI offers its prestigious Court skill-building to specialized content such as Interpreter Training Institute (CITI). Now in its drug and weapons terminology. NCI offers both 38th year, the CITI is NCI’s most comprehensive Spanish/English webinars and language neutral training and is renowned nationally. The CITI webinars that are open to interpreters of all begins in June with online pre-testing followed languages. NCI’s webinar schedule changes by a series of webinars and online work, followed throughout the year, so check back often. You by two intensive weeks in July with the CITI’s can also join our mailing list to receive updates exceptional, federally certified instructors. It’s a as we post new trainings. once-in-a-lifetime experience! Webinar Schedule: More information about the CITI: nci.arizona.edu/workshop-schedule nci.arizona.edu/training/citi Congratulations to the translators on the 2020 Italian Prose in Translation Award shortlist! See what judges Jeanne Bonner, Richard Dixon, and Tony Italian Prose Shugaar had to say about each of the shortlisted titles (in alphabetical in Translation order by title). -
Harry Potter Racebending
Petersen-Reed: Fanfiction as Performative Criticism Fanfiction as Performative Criticism: Harry Potter Racebending Khaliah Peterson-Reed University of Southern California [email protected] Abstract Fanfiction anatomizes a text and in this textual nakedness fanfiction writers recognize gaps in their chosen source texts and seek to supplement these deficiencies through literary disrup- tion. This essay focuses on the kind of fanfiction that critically disrupts through artistic cultural production—a practice that I am labeling performative criticism. I look at Racebending fanfiction that intervenes in the gaps of the Harry Potter series—specifically the gaps related to race. Using fanfiction produced by Harry Potter fans, I will show that by reading and writing fanfiction these writers are blurring demarcation between creative writing and literary criticism. Essay I suspect that Jo Rowling probably imagines James [Potter] and Harry [Potter] as white too, I don’t mind that, that’s her business ...In absence of a specified race I choose to imagine the one that makes the story most compelling to me. My James is black because that creates the most personally compelling racial background for my Harry. It is informed by interpretation of the canon interactions between the Potters and the Evans/Durselys , [...] It is informed by my expe- rience as the black mixed-race child ... [and] by my personal desire for a black mixed-race hero story. It’s not arbitrary and it doesn’t come from nowhere [...] All my interpretations are based squarely in canon. But if they weren’t, that would be damn well acceptable. Squeeze representa- tion out of anywhere you can feel it and fabricate the rest. -
2. Case Study: Anime Music Videos
2. CASE STUDY: ANIME MUSIC VIDEOS Dana Milstein When on 1 August 1981 at 12:01 a.m. the Buggles’ ‘Video Killed the Radio Star’ aired as MTV’s first music video, its lyrics parodied the very media pre- senting it: ‘We can’t rewind, we’ve gone too far, . put the blame on VTR.’ Influenced by J. G. Ballard’s 1960 short story ‘The Sound Sweep’, Trevor Horn’s song voiced anxiety over the dystopian, artificial world developing as a result of modern technology. Ballard’s story described a world in which natu- rally audible sound, particularly song, is considered to be noise pollution; a sound sweep removes this acoustic noise on a daily basis while radios broad- cast a silent, rescored version of music using a richer, ultrasonic orchestra that subconsciously produces positive feelings in its listeners. Ballard was particu- larly criticising technology’s attempt to manipulate the human voice, by con- tending that the voice as a natural musical instrument can only be generated by ‘non-mechanical means which the neruophonic engineer could never hope, or bother, to duplicate’ (Ballard 2006: 150). Similarly, Horn professed anxiety over a world in which VTRs (video tape recorders) replace real-time radio music with simulacra of those performances. VTRs allowed networks to replay shows, to cater to different time zones, and to rerecord over material. Indeed, the first VTR broadcast occurred on 25 October 1956, when a recording of guest singer Dorothy Collins made the previous night was broadcast ‘live’ on the Jonathan Winters Show. The business of keeping audiences hooked 24 hours a day, 7 days a week, promoted the concept of quantity over quality: yes- terday’s information was irrelevant and could be permanently erased after serving its money-making purpose. -
How Harry Potter Became the Boy Who Lived Forever
12/17/12 How Harry Potter Became the Boy Who Lived Forever ‑‑ Printout ‑‑ TIME Back to Article Click to Print Thursday, Jul. 07, 2011 The Boy Who Lived Forever By Lev Grossman J.K. Rowling probably isn't going to write any more Harry Potter books. That doesn't mean there won't be any more. It just means they won't be written by J.K. Rowling. Instead they'll be written by people like Racheline Maltese. Maltese is 38. She's an actor and a professional writer — journalism, cultural criticism, fiction, poetry. She describes herself as queer. She lives in New York City. She's a fan of Harry Potter. Sometimes she writes stories about Harry and the other characters from the Potterverse and posts them online for free. "For me, it's sort of like an acting or improvisation exercise," Maltese says. "You have known characters. You apply a set of given circumstances to them. Then you wait and see what happens." (See a Harry Potter primer.) Maltese is a writer of fan fiction: stories and novels that make use of the characters and settings from other people's professional creative work. Fan fiction is what literature might look like if it were reinvented from scratch after a nuclear apocalypse by a band of brilliant pop-culture junkies trapped in a sealed bunker. They don't do it for money. That's not what it's about. The writers write it and put it up online just for the satisfaction. They're fans, but they're not silent, couchbound consumers of media. -
How Existing Social Norms Can Help Shape the Next Generation of User-Generated Content
Everything I Need To Know I Learned from Fandom: How Existing Social Norms Can Help Shape the Next Generation of User-Generated Content ABSTRACT With the growing popularity of YouTube and other platforms for user-generated content, such as blogs and wikis, copyright holders are increasingly concerned about potential infringing uses of their content. However, when enforcing their copyrights, owners often do not distinguish between direct piracy, such as uploading an entire episode of a television show, and transformative works, such as a fan-made video that incorporates clips from a television show. The line can be a difficult one to draw. However, there is at least one source of user- generated content that has existed for decades and that clearly differentiates itself from piracy: fandom and “fan fiction” writers. This note traces the history of fan communities and the copyright issues associated with fiction that borrows characters and settings that the fan-author did not create. The author discusses established social norms within these communities that developed to deal with copyright issues, such as requirements for non-commercial use and attribution, and how these norms track to Creative Commons licenses. The author argues that widespread use of these licenses, granting copyrighted works “some rights reserved” instead of “all rights reserved,” would allow copyright holders to give their consumers some creative freedom in creating transformative works, while maintaining the control needed to combat piracy. However, the author also suggests a more immediate solution: copyright holders, in making decisions concerning copyright enforcement, should consider using the norms associated with established user-generated content communities as a framework for drawing a line between transformative work and piracy. -
Allusion As a Cinematic Device
I’VE SEEN THIS ALL BEFORE: ALLUSION AS A CINEMATIC DEVICE by BRYCE EMANUEL THOMPSON A THESIS Presented to the Department of Cinema Studies and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2019 An Abstract of the Thesis of Bryce Thompson for the degree of Bachelor of Arts in the Department of Cinema Studies to be taken June 2019 Title: I’ve Seen this All Before: Allusion as a Cinematic Device Approved: _______________________________________ Daniel Gómez Steinhart Scholarship concerning allusion as a cinematic device is practically non- existent, however, the prevalence of the device within the medium is quite abundant. In light of this, this study seeks to understand allusion on its own terms, exploring its adaptation to cinema. Through a survey of the effective qualities of allusion, a taxonomy of allusionary types, film theory, and allusion’s application in independent cinema, it is apparent that allusion excels within the cinematic form and demonstrates the great versatility and maximalist nature of the discipline. With the groundwork laid out by this study, hopefully further scholarship will develop on the topic of allusion in order to properly understand such a pervasive and complex tool. ii Acknowledgements I would like to thank my thesis committee of Professor Daniel Steinhart, Professor Casey Shoop, and Professor Allison McGuffie for their continued support, mentorship, and patience. I would also like to thank Professor Louise Bishop who has been immensely helpful in my time at university and in my research. I have only the most overwhelming gratitude towards these gracious teachers who were willing to guide me through this strenuous but rewarding process, as I explore the maddening and inexact world of allusion. -
Theory and Interpretation of Narrative) Includes Bibliographical References and Index
Theory and In T e r p r e Tati o n o f n a r r ati v e James Phelan and Peter J. rabinowitz, series editors Postclassical Narratology Approaches and Analyses edited by JaN alber aNd MoNika FluderNik T h e O h i O S T a T e U n i v e r S i T y P r e ss / C O l U m b us Copyright © 2010 by The Ohio State University. All rights reserved Library of Congress Cataloging-in-Publication Data Postclassical narratology : approaches and analyses / edited by Jan Alber and Monika Fludernik. p. cm. — (Theory and interpretation of narrative) Includes bibliographical references and index. ISBN-13: 978-0-8142-5175-1 (pbk. : alk. paper) ISBN-10: 0-8142-5175-7 (pbk. : alk. paper) ISBN-13: 978-0-8142-1142-7 (cloth : alk. paper) ISBN-10: 0-8142-1142-9 (cloth : alk. paper) [etc.] 1. Narration (Rhetoric) I. Alber, Jan, 1973– II. Fludernik, Monika. III. Series: Theory and interpretation of narrative series. PN212.P67 2010 808—dc22 2010009305 This book is available in the following editions: Cloth (ISBN 978-0-8142-1142-7) Paper (ISBN 978-0-8142-5175-1) CD-ROM (ISBN 978-0-8142-9241-9) Cover design by Laurence J. Nozik Type set in Adobe Sabon Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 Contents Acknowledgments vii Introduction Jan alber and monika Fludernik 1 Part i. -
Paratextual and Bibliographic Traces of the Other Reader in British Literature, 1760-1897
Illinois State University ISU ReD: Research and eData Theses and Dissertations 9-22-2019 Beyond The Words: Paratextual And Bibliographic Traces Of The Other Reader In British Literature, 1760-1897 Jeffrey Duane Rients Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/etd Part of the Curriculum and Instruction Commons, Educational Methods Commons, and the English Language and Literature Commons Recommended Citation Rients, Jeffrey Duane, "Beyond The Words: Paratextual And Bibliographic Traces Of The Other Reader In British Literature, 1760-1897" (2019). Theses and Dissertations. 1174. https://ir.library.illinoisstate.edu/etd/1174 This Dissertation is brought to you for free and open access by ISU ReD: Research and eData. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. BEYOND THE WORDS: PARATEXTUAL AND BIBLIOGRAPHIC TRACES OF THE OTHER READER IN BRITISH LITERATURE, 1760-1897 JEFFREY DUANE RIENTS 292 Pages Over the course of the late eighteenth and early nineteenth centuries, compounding technological improvements and expanding education result in unprecedented growth of the reading audience in Britain. This expansion creates a new relationship with the author, opening the horizon of the authorial imagination beyond the discourse community from which the author and the text originate. The relational gap between the author and this new audience manifests as the Other Reader, an anxiety formation that the author reacts to and attempts to preempt. This dissertation tracks these reactions via several authorial strategies that address the alienation of the Other Reader, including the use of prefaces, footnotes, margin notes, asterisks, and poioumena. -
A Study and Survey of Fan Fiction Writers
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work Spring 5-2004 The Hidden Authors: A Study and Survey of Fan Fiction Writers William Lewis Bolt University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Bolt, William Lewis, "The Hidden Authors: A Study and Survey of Fan Fiction Writers" (2004). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/715 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. UNIVERSITY HONORS PROGR-\J.'I SENIOR PROJECT - APPROVAL Name: _-L.w,:....!.-;\-!..1\i.::.:l~M~---!B~o \--!.f ________ _ College: Art5 ~ 5v,<e,ttL?S Department: PSI uk£> lo.j '1 FaculryMentor: Dr. no~j &II PROJECT TITLE: 1ht-- H:UeJ/\ Avt'&QCS ~ A 5.fuJ..7 (1\/\ J. LJc,'it.f5 I have revIewed this comoleted. senior honors thesis with thIS srudent and certify. that it is a projec~ commensur:lte with honors level undergraduate rese:1rch in chis tield. V RI'l. " I Signed: _~=.L.L..I.L~.L.L.4~~:w.:;...;.L~~~:....=.....,;;......-~~~ _________• Faculty Mentor Date: 5/5IoQ ) Comments (Optional): The Hidden Authors: A Study and Survey of Fan Fiction Writers William Bolt Senior Honors Project 5/6/04 2 What is Fan fiction? Despite being a modern literary form for almost forty years, fan fiction is still mainly unknown and unrecognized by the majority of Americans.