Let the Fanfic In!

Total Page:16

File Type:pdf, Size:1020Kb

Let the Fanfic In! Let The Fanfic In! The value and contribution of fanfiction to the transmedia network MA Thesis Television and Cross Media Cultures Loetje de Voogt 6058558 First reader: Anne Kustritz Second reader: Stephen Amico June 27, 2014 University of Amsterdam UNIVERSITEIT VAN AMSTERDAM June, 2014 This MA thesis is presented by Loetje de Voogt 6058558 Amsterdam This thesis is original, unpublished, independent work by the author. 2 | P a g i n a Abstract: This research examines the possible contribution of fanfiction to the transmedia network and its position within the contemporary media landscape. By examining the course of the position of fanfiction throughout the years, a new position of fanfiction can be established, as it has now shifted to a more accessible and accepted position. The analysis of the TV show Arrow shows how fanfiction can contribute to the overall transmedia experience, as the online stories expand the existing storyworld, offer alternative plotlines, and deepen and enrich the experience of the viewer. The narrative structures of Arrow’s fanfiction provide more space and time than any other transmedia platform to take the viewer into a more in-depth journey of the Arrow storyworld. This research thus shows how fanfiction can be a valuable contribution to transmedia networks for producers as it ensures persuasion, audience connection and financial impact. The analysis of Arrow also shows a shift of fanfiction into the mainstream as it is striking that the main genre is heterosexual, – “Olicity” fiction, the pairing of characters Oliver Queen and Felicity Smoak – while in most cases slash (same sex) fiction is the largest fanfiction genre. Keywords: fanfiction, fans, transmedia, transmedia network, transmedia storytelling, Arrow, slash, media, fan works. 3 | P a g i n a Table of Contents Abstract: .................................................................................................................................................. 3 Acknowledgements ................................................................................................................................. 5 1. Introduction ..................................................................................................................................... 6 1.1. The show Arrow ....................................................................................................................... 8 2. Transmedia ...................................................................................................................................... 9 2.1. Transmedia and fanfiction ....................................................................................................... 9 3. A Definition and History of Fandom and Fanfiction ...................................................................... 12 3.1. Fans and fandom ................................................................................................................... 12 3.2. Fanfiction ............................................................................................................................... 13 4. Fanfiction in Academic and Social Cultural Context ...................................................................... 16 4.1. Weirdo’s with no life(?): Fans in social cultural context ....................................................... 16 4.2. Why study fanfiction? ........................................................................................................... 18 5. Fanfiction and the Industry ........................................................................................................... 21 5.1. The industry’s perspective on fanfiction ............................................................................... 21 5.2. The fan-author relationship .................................................................................................. 25 5.3. Fans and Felicity Smoak ........................................................................................................ 26 6. Transmedia Fanfiction in Arrow .................................................................................................... 29 6.1. Fanfiction platforms, narrative structures and intertextuality ............................................. 29 6.2. Transmedia platforms of Arrow ............................................................................................ 29 6.2.1. Fanfiction archives: Fanfiction.net and Archive of Our Own ........................................ 31 6.3. Narrative structures .............................................................................................................. 34 6.3.1. Arrow and narrative structures ..................................................................................... 38 6.3.2. Arrow and slash fiction? ................................................................................................ 42 6.4. Intertextuality ........................................................................................................................ 44 7. Conclusion ..................................................................................................................................... 47 8. Bibliography ................................................................................................................................... 51 4 | P a g i n a Acknowledgements I am indebted to several people for their support of this thesis. First of all, I would like to thank my parents, Emmy van Houten and Pim de Voogt, who have made it possible for me to study at the university, and who have supported me all these years. If it was not for them, I would not have been able to finish my education. Many thanks for all your love and support. I would also like to thank my friend and fellow student Hugo, who was always there to help me out with any obstacle I would encounter, and who I could always turn to whenever I needed advice. Naturally, I would also like to thank my supervisor Anne Kustritz, who has helped me to gain new insights and to make interesting observations. If it was not for her and her feedback, I would not have been able to write this thesis I am now so proud of. Many thanks to all. Loetje de Voogt. 5 | P a g i n a 1. Introduction Within humanities, as the name evidently describes, the human is the central object of studies. We examine human interactions and learn what the motivations for particular actions are. By studying fanfiction, one can get close to what it is that drives fans in their activities. Fanfiction is the writing of stories by fans, based on already existing characters and worlds written by another author. Fan authors ‘borrow’ these existing characters and worlds and often write alternative storylines in which the characters lives and adventures take new and alternative turns. Fans literally put their thoughts and desires on paper in fanfiction. They write down what they would like to see happen and how they imagine a story would develop. A very import aspect of reading and writing fanfiction is commenting on one another’s work. By doing so, a web of interactions evolves. This web is very interesting for scholars, as it tells something about how the interactions between fans work, how ‘fan authors’ see themselves, and how they relate to the narrative transmedia world of an existing text. Thus far, little research has been done to the relation between fan works and transmedia, and in particular on fanfiction. This research will contribute to and help to expand this upcoming research genre. In this research I will examine how fandom and in particular fanfiction has developed over the years, and how it has established itself within the contemporary media culture. Fanfiction was, for a long time, a fairly underground activity and still is a subject rather unknown to many people. That said, it so happens to be the case that the fanfiction culture is rapidly evolving and getting more awareness. With this research I aim to explore that evolution and explore the position of fanfiction in the contemporary transmedia landscape. I will examine how fanfiction is valued in social/academic perspective and what this is like from the industry’s perspective. Questions that arise with that are; How did fanfiction start out? What was its (cultural) value initially and how did the industry react to this phenomenon? And most importantly, how has the position and the value it started out with developed over the years? By providing a short history of (media) fandom and fanfiction one can better understand how fanfiction is positioned within these contexts, and this will provide answers to these questions. By examining these different perspectives on fanfiction, a more important question can eventually be answered; how fanfiction is positioned within and how it can contribute to the transmedia network; a storytelling strategy most media corporations use these days. The incorporation of fanfiction into the transmedia network is related to the attitude of both the industry’s and the academic world towards it. In an era of digitalization and technology all types of media tend to blur together. New ways of storytelling evolve in which the consumer participates more than ever. When the viewer turns on the television he or she is constantly invited to search for 6 | P a g i n a other media to continue the experience of the show he or she is watching. According to scholars like Henry Jenkins, the audience wants to have the opportunity to not be a couch potato,
Recommended publications
  • Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
    Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved.
    [Show full text]
  • The Flash Going Rogue Trailer
    The flash going rogue trailer The Flash 1x04 "Going Rogue" - The Flash (Grant Gustin) stops a robbery but the culprits get away after. More Celebrity News ▻▻ TUESDAY, OCTOBER 28 - THE FLASH “Going Rogue” — (8. The Flash - Season 3 (3x12) "Barry and Wally Race" - Duration: Soboz 15,, views · · The Flash 1x16 | Rogue Time | Trailer Legendado - Duration: The Flash Brasil views · 0. The Flash - Extended Promo 'Going Rogue' (HD) Season 1 Episode 4 The Flash 4x01 Season 4 Episode. Одноклассники: ◅ ВКонтакте: ◅ YouTube: This is a photo teaser for Season 1 Episode 4 of 'The Flash'. The Flash, Season 1 Episode 4 "Going. Action · To steal a priceless diamond, Captain Cold acquires a specialized gun that can slay the . Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet! For more news on CW's The Flash visit Twitter: Facebook. DC's Legends of Tomorrow | First Look Trailer | The CW THERE IS JUST TO MUCH AWESOMENESS!! I DON'T EVEN KNOW WHERE TO START. GAHHHHH. "Going Rogue" is the fourth episode of the first season of The Flash. It aired on October Plus d'infos: s'amuseAprès avoir The Flash - Going Rogue Trailer. Canadian trailer for the Flash episode titled Going Rogue with new footage. Preview trailer for the Flash episode Going Rogue. Emily Bett Rickards is Felicity Smoak in “Going Rogue,” and both have their own levels of. "The Flash" Season 1, Episode 4 "Going Rogue": Preview Trailer der dritten Episode von The Flash, die gestern erstmals ausgestrahlt wurde. This week's Flash was very eventful, as Captain Cold made his debut Cold was a focus from the early moments of “Going Rogue,” as he and.
    [Show full text]
  • The Love That Refuses to Speak Its Name : Examining Queerbaiting and Fan-Producer Interactions in Fan Cultures
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2015 The love that refuses to speak its name : examining queerbaiting and fan-producer interactions in fan cultures. Cassandra M. Collier, University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Collier,, Cassandra M., "The love that refuses to speak its name : examining queerbaiting and fan-producer interactions in fan cultures." (2015). Electronic Theses and Dissertations. Paper 2204. https://doi.org/10.18297/etd/2204 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE LOVE THAT REFUSES TO SPEAK ITS NAME: EXAMINING QUEERBAITING AND FAN-PRODUCER INTERACTIONS IN FAN CULTURES By Cassandra M Collier B.A., Bowling Green State University, 2012 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Women’s and Gender Studies Department of Women’s and Gender Studies University of Louisville Louisville, Kentucky August 2015 THE LOVE THAT REFUSES TO SPEAK ITS NAME: EXAMINING QUEERBAITING AND FAN-PRODUCER INTERACTIONS IN FAN CULTURES By Cassandra M Collier B.A., Bowling Green State University, 2012 A Thesis Approved on May 27, 2015 by the following Thesis Committee: ____________________________________________________ Dr, Dawn Heinecken ____________________________________________________ Dr, Diane Pecknold ____________________________________________________ Dr.
    [Show full text]
  • Green Arrow and Black Canary Movie Written By: Sean Andersen Based on Characters By: Mort Weisinger, George Papp, Robert Kanigher, and Carmine Infantino
    1 Green Arrow and Black Canary Movie Written by: Sean Andersen Based on characters by: Mort Weisinger, George Papp, Robert Kanigher, and Carmine Infantino [email protected] Copyright (c) 2014 This screenplay may not be used or reproduced without the express permission of the author. 2 Green Arrow and Black Canary Movie FADE IN: EXT: BUILDING ENTITLED WILD CAT’S GYM- NIGHT. Ted Grant, age 68, and Black Canary, age 25, stand on mat and spar. Woman fighting well but is over powered by man. TED GRANT: Nice try Dinah. But you need to keep your guard up on the left. BLACK CANARY: I know Ted. You know I could have won if I… TED GRANT: Used your little birdcall. I really find that unlikely. Both get up and get drink of water. Black Canary goes to table and sees note. BLACK CANARY: What is this, an overdue bill? TED GRANT: Nah, that’s just a threat from Tobias Whale. BLACK CANARY: Another threat? Is this because you didn’t throw last week’s fight to his boxer? TED GRANT: Of course it is. You know me. I couldn’t lose to someone that just couldn’t even land a descent punch. BLACK CANARY: Maybe these threats should tell you it’s time to retire. TED GRANT: 3 And what die as a quitter? No way. I can handle anybody. I mean I’m Wild Cat. BLACK CANARY: You were Wild Cat and now your Ted Grant and you are sixty-eight years old. You have to stop someday. TED GRANT: Well that day is not today.
    [Show full text]
  • Archives - Search
    Current Auctions Navigation All Archives - Search Category: ALL Archive: BIDDING CLOSED! Over 150 Silver Age Comic Books by DC, Marvel, Gold Key, Dell, More! North (167 records) Lima, OH - WEDNESDAY, November 25th, 2020 Begins closing at 6:30pm at 2 items per minute Item Description Price ITEM Description 500 1966 DC Batman #183 Aug. "Holy Emergency" 10.00 501 1966 DC Batman #186 Nov. "The Jokers Original Robberies" 13.00 502 1966 DC Batman #188 Dec. "The Ten Best Dressed Corpses in Gotham City" 7.50 503 1966 DC Batman #190 Mar. "The Penguin and his Weapon-Umbrella Army against Batman and Robin" 10.00 504 1967 DC Batman #192 June. "The Crystal Ball that Betrayed Batman" 4.50 505 1967 DC Batman #195 Sept. "The Spark-Spangled See-Through Man" 4.50 506 1967 DC Batman #197 Dec. "Catwoman sets her Claws for Batman" 37.00 507 1967 DC Batman #193 Aug. 80pg Giant G37 "6 Suspense Filled Thrillers" 8.00 508 1967 DC Batman #198 Feb. 80pg Giant G43 "Remember? This is the Moment that Changed My Life!" 8.50 509 1967 Marvel Comics Group Fantastic Four #69 Dec. "By Ben Betrayed!" 6.50 510 1967 Marvel Comics Group Fantastic Four #66 Dec. "What Lurks Behind the Beehive?" 41.50 511 1967 Marvel Comics Group The Mighty Thor #143 Aug. "Balder the Brave!" 6.50 512 1967 Marvel Comics Group The Mighty Thor #144 Sept. "This Battleground Earth!" 5.50 513 1967 Marvel Comics Group The Mighty Thor #146 Nov. "...If the Thunder Be Gone!" 5.50 514 1969 Marvel Comics Group The Mighty Thor #166 July.
    [Show full text]
  • Meeting Josh Groban (Again): Fan/Celebrity Contact As Ordinary Behavior
    Meeting Josh Groban (Again): Fan/Celebrity Contact as Ordinary Behavior Gayle Stever Empire State College, Rochester, NY [email protected] Abstract In a participant-observer ethnographic study, the researcher offers evidence from 10 years of observation of the Josh Groban fandom as an example of fans becoming friendly acquaintances of celebrities. Contrary to the way much of the psychological literature depicts fans, as celebrity worshippers or stalkers, the largest percentage of the fans observed in this study showed normal social engagement with others outside of their fan activity, and a friendly acquaintanceship with Groban that is similar to other kinds of relationships happening outside of the context of mediated relationships. Fans who pursued these relationships did so within a social context and network of other fans in most cases. Connection through music, relief from various kinds of life stressors, or the desire to participate in charity efforts are offered as some of the explanations for what motivates the fan to seek out this kind of relationship with an attractive media persona. KEYWORDS: fan, celebrity, parasocial, ethnography, audience Introduction Social relationships are defined within a culture in a myriad of ways. While more traditional relationships have been the focus of much social psychological research, little has been done to try to define the face-to-face social relationships that develop between a media celebrity and his or her fans. These relationships exist, they can be significant in the lives of both celebrities and fans, and they are a normal occurrence for a media-saturated society. IASPM@Journal vol.6 no.1 (2016) Journal of the International Association for the Study of Popular Music ISSN 2079-3871 | DOI 10.5429/2079-3871(2016)v6i1.7en | www.iaspmjournal.net Meeting Josh Groban (Again) 105 This trend to overlook the ongoing relationships that fans have with celebrities is part of what has been referred to as the “marginalization of celebrity” (Duffett 2014: 163).
    [Show full text]
  • Screen Rant Supergirl Season 2 Confirmed for the CW Next: 15
    Screen Rant Share On Facebook Comments (45) Follow Us Like 658K Follow @screenrant 80.4K followers SR EXCLUSIVES MOVIE NEWS TV NEWS REVIEWS VIDEOS LISTS + TRAILERS PODCASTS TOP MOVIES Up Next Supergirl Season 2 Confirmed For The CW By Molly Freeman 10 hours ago 45 Comments 839shares 45 Developed by The CW’s DC Comics TV universe architect, Greg Berlanti, along with Ali Adlier (No Ordinary Family, Chuck), Supergirl was first thought to land at the network alongside previously established superhero dramas Arrow and The Flash. However, CBS picked up Supergirl and debuted the first season, which followed Kara Danvers a.k.a. Kara Zor-El (Melissa Benoist) as she began to take on the mantle of Supegirl and avoid the shadow of her cousin, Superman. However, recently the future CBS’s DC Comics series seemed to be in question. Although CBS CEO Les Moonves seemed to indicate Supergirl would receive a second season order, the deadline for an official announcement began to draw closer without any confirmation from the network. Now, it seems Supergirl will receive a second season, but not at CBS. The Wrap is reporting Supergirl has been renewed for season 2, but it will move to The CW – which CBS co-owns with Warner Bros. Television. The report is in line with previous rumors of Supergirl moving to The CW amidst talks of cutting the superhero drama’s budget after a costly freshman season. In addition to the network change, the production of Supergirl will move from Los Angeles, California to Vancouver, Canada where fellow CW shows Arrow, The Flash, and Legends of Tomorrow film – all of which were renewed earlier this year by The CW.
    [Show full text]
  • Leadershipontargetwitharrow.Pdf
    Leadership on Target with By: Pedro Henry & Ryan Keesee Outline ➔ What is the Student leadership Challenge? ➔ What are the Five Practices for Exemplary Leadership? ➔ How does it relate to the Arrow ➔ Activity ➔ Discussion Trivia time What is the Arrow’s secret identity? A.Bruce Wayne B. Oliver Queen C. Roy Harper D. Bubba Gump The Student Leadership Challenge ➔ Created by James M. Kouzes & Barry Z. Posner ➔ Mobilizing others to want to get extraordinary things done. ➔ The practices leaders use to transform values into actions, visions into realities, obstacles into innovations separateness into solidarity, and risks into rewards Trivia Time What is Oliver’s only one goal while on the island? Survive!! Five Practices of Exemplary Leadership ➔Model the Way ➔Inspire a Shared Vision ➔Challenge the Process ➔Enable Others to Act ➔Encourage the Heart Model the Way ➔ Titles are granted, but it’s your behavior that wins you respect ➔ Leaders must clarify their values. To earn and sustain personal credibility, you must be able to clearly articulate deeply held beliefs. Trivia Time!! Q: Oliver Queen’s club is called, “The Verdant” which is a word defined as: A. A virtuous person B. A green spector C. Green with vegetation D. The vigilante As long as one keeps searching, the answers come. -Joan Baez Inspire a Shared vision ➔ Clarifying your vision, like clarifying your values, is an intuitive, emotional process. ➔ Envisioning the future begins with passion, feeling, concern, or an inspiration that something is worth doing. ➔ Research shows that people who are self-motivated keep working toward a result even if there’s no reward for them personally ➔ Enlist others: When students in your group or organization understand how they’re truly distinctive and how they stand out in the crowd, they’re a lot more eager to voluntarily sign up and invest their energies.
    [Show full text]
  • The Cw Arrowverse and Myth-Making, Or the Commodification of Transmedia Franchising
    PRODUCTIONS / MARKETS / STRATEGIES THE CW ARROWVERSE AND MYTH-MAKING, OR THE COMMODIFICATION OF TRANSMEDIA FRANCHISING CHARLES JOSEPH Name Charles Joseph Arrowverse, a shared narrative space based on DC-inspired Academic centre University of Rennes 2 original series which provided the network with a fertile E-mail address [email protected] groundwork to build upon. The CW did not hesitate to capitalize on its not-so-newfound superhero brand to KEYWORDS induce a circulation of myth, relying on these larger-than- The CW; DC comics; Arrowverse; transmedia; convergence; life characters at the heart of American pop culture to superhero; myth. fortify its cultural and historical bedrock and earn its seat along the rest of the Big 4. This paper aims to decipher how The CW pioneered new technology-based tools ABSTRACT which ultimately changed the American media-industrial The CW’s influence over the American network television landscape of the early 2010s, putting these tools to the landscape has never ceased to grow since its creation test with the network’s superhero series. It will thus also in 2006. The network’s audience composition reflects address how the Arrowverse set of characters has triggered The CW’s strategies to improve its original content as cross-media and transmedia experimentations, how The well as diversifying it, moving away from its image as a CW stimulated rapport with its strong fan base, as well network for teenage girls. One of the key elements which as how the network has been able to capitalize on the has supported this shift was the development of the superhero genre’s evocative capacities.
    [Show full text]
  • Backup Series Issue! 0 8 Green Lantern • Green Arrow & Black Canary 2 6 7 7
    0 4 No.64 May 201 3 $ 8 . 9 5 1 82658 27762 8 METAMORPHO • GOODWIN & SIMONSON’S MANHUNTER GREEN LANTERN • GREEN ARROW & BLACK CANARY COMiCs PASKO & GIFFEN’S DR. FATE & more! , WHATEVER HAPPENED TO…? BACKUP SERIES ISSUE! bROnzE AGE AnD bEYOnD i . Volume 1, Number 64 May 2013 Celebrating the Best Comics of Comics’ Bronze Age and Beyond! the '70s, '80s, '90s, and Beyond! EDITOR-IN-CHIEF Michael Eury PUBLISHER John Morrow DESIGNER Rich Fowlks COVER ARTISTS Mike Grell and Josef Rubinstein COVER COLORIST Glenn Whitmore COVER DESIGNER Michael Kronenberg BACK SEAT DRIVER: Editorial by Michael Eury . .2 PROOFREADER Rob Smentek FLASHBACK: The Emerald Backups . .3 Green Lantern’s demotion to a Flash backup and gradual return to his own title SPECIAL THANKS Jack Abramowitz Robert Greenberger FLASHBACK: The Ballad of Ollie and Dinah . .10 Marc Andreyko Karl Heitmueller Green Arrow and Black Canary’s Bronze Age romance and adventures Roger Ash Heritage Comics Jason Bard Auctions INTERVIEW: John Calnan discusses Metamorpho in Action Comics . .22 Mike W. Barr James Kingman The Fab Freak of 1001-and-1 Changes returns! With loads of Calnan art Cary Bates Paul Levitz BEYOND CAPES: A Rose by Any Other Name … Would be Thorn . .28 Alex Boney Alan Light In the back pages of Lois Lane—of all places!—sprang the inventive Rose and the Thorn Kelly Borkert Elliot S! Maggin Rich Buckler Donna Olmstead FLASHBACK: Seven Soldiers of Victory: Lost in Time Again . .33 Cary Burkett Dennis O’Neil This Bronze Age backup serial was written during the Golden Age Mike Burkey John Ostrander John Calnan Mike Royer BEYOND CAPES: The Master Crime-File of Jason Bard .
    [Show full text]
  • Slide 2 (Titre) : “My Name Is Arthur GAUTIER, and I’M with Anh-Toan NGUYEN”
    Arrow Slide 2 (Titre) : “My name is Arthur GAUTIER, and I’m with Anh-Toan NGUYEN”. “Most of you should have recognized this opening, it’s from Arrow, season 2. But let us introduce this show to you” Slide 3 (Introduction) : “Arrow, or Green Arrow, is a hero from the DC Comics Universe. DC Comics is one of the biggest American comic book publisher. It’s the publishing unit of DC Entertainment, a company of Warner Bros. Its major, longtime competitor is Marvel Comics. More than a 100 authors have contributed to DC Comics comics, creating more than 20 superheroes such as Batman, Superman, Wonder Woman or Green Arrow. Arrow is inspired by the Green Arrow comics, started by Mort Weisinger and George Papp in 1941. Green Arrow is the DC archer, in opposition with Hawkeye, the Marvel archer.” Slide 4 (The Broadcast) : “Arrow is broadcasted since October 2012 in the USA on the “The CW” channel. In France, the show is broadcasted since December 2013 on “Canal+ Family” and since the 8th of October 2014 on “TF1”. At this moment, 53 episodes are out, and the 54th is coming tonight. The 2 first seasons contains 23 episodes, the 3rd which is currently broadcasted (once a week, on Wednesday night) contains 7 episodes. Let’s move on to the audience of the show. The most seen episode was the pilot episode, seen by 4.14 million viewers (only in the USA). The first season was viewed by 3.68 million people (USA only) and second by 3.28 million. The show is mainly shoted in Vancouver but we can also see shots of Bruxelles.
    [Show full text]
  • Collective of Heroes: Arrow's Move Toward a Posthuman Superhero Fantasy
    St. Cloud State University theRepository at St. Cloud State Culminating Projects in English Department of English 12-2016 Collective of Heroes: Arrow’s Move Toward a Posthuman Superhero Fantasy Alyssa G. Kilbourn St. Cloud State University Follow this and additional works at: https://repository.stcloudstate.edu/engl_etds Recommended Citation Kilbourn, Alyssa G., "Collective of Heroes: Arrow’s Move Toward a Posthuman Superhero Fantasy" (2016). Culminating Projects in English. 73. https://repository.stcloudstate.edu/engl_etds/73 This Thesis is brought to you for free and open access by the Department of English at theRepository at St. Cloud State. It has been accepted for inclusion in Culminating Projects in English by an authorized administrator of theRepository at St. Cloud State. For more information, please contact [email protected]. Collective of Heroes: Arrow’s Move Toward a Posthuman Superhero Fantasy by Alyssa Grace Kilbourn A Thesis Submitted to the Graduate Faculty of St. Cloud State University in Partial Fulfillment of the Requirements for the degree of Master of Arts in Rhetoric and Writing December, 2016 Thesis Committee: James Heiman, Chairperson Matthew Barton Jennifer Tuder 2 Abstract Since 9/11, superheroes have become a popular medium for storytelling, so much so that popular culture is inundated with the narratives. More recently, the superhero narrative has moved from cinema to television, which allows for the narratives to address more pressing cultural concerns in a more immediate fashion. Furthermore, millions of viewers perpetuate the televised narratives because they resonate with the values and stories in the shows. Through Fantasy Theme Analysis, this project examines the audience values within the Arrow’s superhero fantasy and the influence of posthumanism on the show’s superhero fantasy.
    [Show full text]