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TWC 24 (2017).Pdf Transformative Works and Cultures, No. 24, special issue, Queer Female Fandom (June 15, 2017) Editorial Eve Ng & Julie Levin Russo, Envisioning queer female fandom Theory Eve Ng, Tit-Bits, New Journalism, and early Sherlock Holmes fandom Rukmini Pande & Swati Moitra, Authorship and authenticity in Sherlock Holmes pastiches Praxis Jing (Jamie) Zhao, Queerly imagining Super Girl in an alternate world: The fannish worlding in FSCN femslash romance Ria Narai, Female-centered fan fiction as homoaffection in fan communities Faithe Day & Aymar Jean Christian, Locating black queer TV: Fans, producers, and networked publics on YouTube Kelsey Cameron, Constructing queer female cyberspace: The L Word fandom and Autostraddle.com Multimedia Julie Levin Russo, Femslash goggles: Fan vids with commentary by creators Symposium Mel Stanfill, Where the femslashers are: Media on the lesbian continuum Lucy Irene Baker, The surface of women Erica Friedman, On defining yuri Elaine Han Lin, Unseen international music idol femslash Tanya D. Zuk, Coming out on Grey's Anatomy: Industry scandal, constructing a lesbian story line, and fan action Victoria Serafini, Bisexual erasure in queer sci-fi "utopias" Sandra Strauch, Once Upon a Time in queer fandom Review Allison McCracken, By any media necessary: The new youth activism, by Henry Jenkins et al. Alice Marwick, Girls' feminist blogging in a postfeminist age, by Jessalyn Keller Nicolle Lamerichs, International perspectives on shojo and shojo manga, edited by Masami Toku Transformative Works and Cultures (TWC), ISSN 1941-2258, is an online-only Gold Open Access publication of the nonprofit Organization for Transformative Works. TWC is licensed under the Creative Commons Attribution-Noncommercial 3.0 Unported License. Download date: August 15, 2017. For citation, please refer to the most recent version of articles at TWC. Transformative Works and Cultures, Vol 24 (2017) Editorial Envisioning queer female fandom Eve Ng Ohio University, Athens, Ohio, United States Julie Levin Russo The Evergreen State College, Olympia, Washington, United States [0.1] Abstract—Editorial for "Queer female fandom," edited by Julie Levin Russo and Eve Ng, special issue, Transformative Works and Cultures, no. 24 (June 15, 2017). [0.2] Keywords—Fandom history; Femslash; Lesbian representation Ng, Eve, and Julie Levin Russo. 2017. "Envisioning Queer Female Fandom" [editorial]. In "Queer Female Fandom," edited by Julie Levin Russo and Eve Ng, special issue, Transformative Works and Cultures, no. 24. http://dx.doi.org/10.3983/twc.2017.1168. 1. Origins [1.1] Imagine early March 2015. Julie was teaching science fiction and watching a lot of Miss Fisher's Murder Mysteries (ABC [Australia], 2012–15). Eve was still enjoying Person of Interest (CBS, 2011–16) and The 100 (CW, 2014–), not knowing the bloodshed that was to come. Somewhere in the ever flowing tide of social media, a fan of femslash (female­female couples) tweeted about feeling ignored and erased by the field of fan studies. Fans have had a complicated, ambivalent, often conflicted relationship to the academic study of their texts and communities. That history was part of the impetus for this very journal, as a flagship project of a fan advocacy organization. But femslashers, at least since the era of Xena: Warrior Princess (Renaissance Pictures, 1995–2001) fandom on the Web, have been perhaps uniquely attentive to the public face of their activities. [1.2] [1997] A member of the newsgroup alt.tv.xena compiled answers to frequently asked questions (FAQ) about lesbian subtext on Xena: Warrior Princess and put it up at the new fan site Xenite.org. In response to frequent harassment by homophobic skeptics, Xena/Gabrielle 'shippers offered "proof" in the form of "interviews with the cast and crew" of the program wherein they "flatly stated…that they put subtextual scenes and dialogue in the shows intentionally" (https://web.archive.org/web/20051031202026/http://www.xenite.org/faqs/subtext.html). [1.3] In defining the topic of this issue as "queer female fandom," we acknowledge that femslash has been paradigmatically tied to a broader concern with the representation of gender and sexuality and its social impact. It may be this general tendency among online communities around queer female media (however textual or subtextual) that can inspire tracking of academic research as a particular form of representation. This special issue, coming to fruition more than 2 years later, is for the author of that 2015 tweet—for femslashers and those passionate about fictional female­female couples who have felt that their identities and practices are marginalized. There's a certain ambiguity to the term "queer female fandom," which is sometimes used in reference to predominantly female communities engaged in queer activities such as male slash. Here, we recenter queer women as the object of fannish cathexis. [1.4] Certainly there are exclusions embedded in the terms "queer," "female," and even "fandom" that risk flattening the discourses and demographics at hand. We don't wish to reinforce gender binaries, identity politics, tacit whiteness, Western dominance, or audience hierarchies. These limitations are addressed to some degree by the range of essays in this special issue, and the credit for that goes to the authors who have entrusted their work to this collection. In offering "queer female fandom" as an aspirational frame for new scholarship, we aimed to give form and cohesion to an underpopulated gap in the matrix spanning fan studies, LGBT media studies, online community studies, and production or industry studies (insofar as it is concerned with LGBT markets and creators). [1.5] While there is substantial research encompassing lesbians and queer women in many of these areas—including queer representation and spectatorship, queer community formations and erotic networks in the digital era, market forces directed at LGBT consumers and corollary opportunities for independent media producers—fan communities around queer female characters and relationships, and their creative practices, have gotten comparatively little attention. If femslash anchors this topic for us, it is a genre that can have fluid boundaries, and we hope to define a field of inquiry without being overly prescriptive of its contours. [1.6] [2015] "As mainstream representation and online platforms have evolved, fan practices around female­female couples are becoming increasingly vibrant and visible, and a proliferation of explicitly lesbian or bisexual characters in film and television has captivated fans and researchers alike. This work points the way to a productive investigation of the turbulent boundaries between canon and subtext, between femslash and slash communities, between erotic and political interventions, and between different methodological approaches to queer female audiences (broadly conceived)—boundaries that femslash itself troubles" (TWC, "Queer Female Fandom" call for papers). [1.7] In terms of origins—when invited to collectively generate a historical lineage of queer female fandom at the second TGIFemslash convention (April 2017), literary reference points went back over 100 years (finally landing at Sappho) and media to Hollywood film from the 1930s onward. In a chapter in the 1998 volume Theorizing Fandom, Green, Jenkins, and Jenkins chronicle discussions about "female slash" that predates the Web. Writers in their apas (amateur press associations, a collaborative postal zine exchange) wrestled with the queer politics of male slash and with its exclusion of women: [1.8] [1992] "As an experiment last week, I gathered all of the female slash I had into one pile (largely Blake's 7 [BBC/BBC One, 1978–81], since it has more strong females than the rest of slash fandom's favorite shows put together…) and read it all one after another. I realized that my distance from the material is different in female slash." —Sandy Hereld (18) [1.9] [1990] "A thought occurs to me about the unfortunate lack of female slash stories. The majority of slash is based on characters who have a preexisting, strongly emotional relationship in the show where they appear: a lot of slash is expansion on something to be seen in the show (as the slash fan sees it). Female characters, even if you can find more than one in a given show, are unlikely to have an intense, highlighted friendship with each other." —Barbara Tennison (20) [1.10] These fans' diagnosis underscores the watershed embodied by the 1995 premiere of Xena, an epic fantasy series centered on the intimate relationship between two female heroines. This historical moment happened to converge with a critical mass of new online communications tools (initially Usenet groups that had transitioned to e­mail lists, complemented by static Web sites, Web rings, and chat rooms) to engender the first contemporary femslash­centric fan community. Notable femslash subcommunities also existed in major ongoing fandoms, like Star Trek (NBC, 1966–69), around this time, and other points of origin such as Buffy the Vampire Slayer (WB/UPN, 1997–2003) followed soon after. The crystallization of femslash as a unique subculture is thus intertwined with transitions in both old and new media. [1.11] Because these first­generation platforms were topically defined, however, there was limited permeability or movement across media texts. This relative autonomy is evidenced by a proliferation of terms for F/F (femslash, femmeslash, or girlslash; subtext fic, altfic [from "alternative"], or saffic
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