THE UNIVERSITY OF HULL Craptacular Science and the Worst Audience Ever: Memetic Proliferation and Fan Participation in The Simpsons being a Thesis submitted for the Degree of PhD Film Studies in the University of Hull by Jemma Diane Gilboy, BFA, BA (Hons) (University of Regina), MScRes (University of Edinburgh) April 2016 Craptacular Science and the Worst Audience Ever: Memetic Proliferation and Fan Participation in The Simpsons by Jemma D. Gilboy University of Hull 201108684 Abstract (Thesis Summary) The objective of this thesis is to establish meme theory as an analytical paradigm within the fields of screen and fan studies. Meme theory is an emerging framework founded upon the broad concept of a “meme”, a unit of culture that, if successful, proliferates among a given group of people. Created as a cultural analogue to genetics, memetics has developed into a cultural theory and, as the concept of memes is increasingly applied to online behaviours and activities, its relevance to the area of media studies materialises. The landscapes of media production and spectatorship are in constant fluctuation in response to rapid technological progress. The internet provides global citizens with unprecedented access to media texts (and their producers), information, and other individuals and collectives who share similar knowledge and interests. The unprecedented speed with (and extent to) which information and media content spread among individuals and communities warrants the consideration of a modern analytical paradigm that can accommodate and keep up with developments. Meme theory fills this gap as it is compatible with existing frameworks and offers researchers a new perspective on the factors driving the popularity and spread (or lack of popular engagement with) a given media text and its audience. Following overviews of meme theory and fan studies, this thesis synthesises methods from both fields to analyse one of this generation’s most notable televisual fan-texts, The Simpsons, and its fandom. The memetic analysis thereof, integrated with the works of fan theorists including John Fiske and Henry Jenkins, reveals the implications of the fan-text’s memetic content in the economic, cultural and social capital interests of its creators, distributors, and fans. The revelations credited to the memetic aspect of the analysis support the conjecture that it is a suitable analytical framework for the fields of fan and screen studies. 2 Acknowledgments I owe an immense debt of gratitude to a great many people who helped me to see this endeavour through, and chief among them are my supervisors, Dr Amy Davis and Dr James Zborowski. Amy, your thoughtful guidance, openness to new ideas, friendship, patience, sense of humour, unwavering faith in me, and tireless encouragement are but a few of the contributions you have made to this thesis, and to me personally. Had you not decided to take a chance on me, I could not have had this amazing opportunity; your confidence in me altered the very course of my life. James, you brought such crucial elements of clarity and insight to this work that it simply could not have been completed without your input. The impact you’ve both had on this work and on me will resonate throughout my career; I am so profoundly grateful to you both, and am filled with eager anticipation of our future collaborations. I also extend my sincerest thanks to Dr Jo Metcalf and Dr Ewan Kirkland, internal and external examiners of my thesis, respectively. Dr Metcalf, you have always been so encouraging and insightful throughout my time at the University of Hull, and have freely given intellectual support on my varied research pursuits. Your detailed engagement with my work has been such a gift. Dr Kirkland, I am so grateful to have made your acquaintance through your consideration of and keen insights into my thesis. The encouragement and helpful direction you both gave me at and following the viva will shape the beginning of my career as a researcher, and for this I am so thankful. Thank you to Dr Iris Kleinecke both for chairing my viva and for being such a beacon of inspiration, encouragement and kindness during my time at the University of Hull. I’m grateful for all of the insight you shared with me both before and following the exam. Thank you to the amazing faculty and administrative staff in the Department of Drama, Music and Screen and American Studies; Dr Janel Virden, Dr David Eldridge, Dr Simon Wilmetts, and Dr James Aston, each of you has contributed inspiration, fortitude, reassurance, camaraderie, wisdom, hope, and celebration to this endeavour. Thank you to Professor Valerie Sanders, Dr Nigel Shaw, Dr Jenny Campbell, Dr Robert Costello, and, of course, Suzie O’Connor at the Graduate School; your efforts from the beginning of my time at the University of Hull right through to graduation have been indispensable. Regardless of the state of panic or confusion in which I appeared in your offices from 2011 through 2016, you were always willing and able to resolve any issue that arose. I am profoundly grateful both for the financial support you administered through the International Fees Bursary, and for the moral and academic support you administered throughout my time as a student. Many amazing lecturers played fundamental roles in my journey to Hull. My undergraduate education was shaped by the unparalleled faculty in the Department of Film at the University of Regina. Dr Christine Ramsay, thank you for believing in 3 me, for challenging me and for encouraging me to pursue graduate studies; you instilled in me the confidence to take the leap. Thank you also for supporting my every endeavour in and outside of the department in every way that you could; as a committed, knowledgeable and generous educator, you continue to be such an inspiration. Gordon Pepper, first the enthusiastic professor who inspired me to switch faculties and explore my passion for film, then the boss everyone dreams of having: thank you for everything. Charlie Fox and Mark Wihak, you always administered keen insights and helpful criticism with such kindness, humour and encouragement; because of you I became accustomed to pushing myself both technically and artistically, and to settling for nothing less than my best efforts. Dr Christina Stoyanova and Dr Philippe Mather, you are so gifted at making challenging material both accessible and enticing. Through your inspiring topics and your trenchant insights, you have shaped my and honed my academic approaches. Sarah Abbott, though the timetabling fates prevented me from being able to take one of your classes, I nevertheless learned so much from you during and following my time at the University of Regina. When I deliver lessons to future students, I will do my utmost to channel each and every one of you. I owe a great debt to Dr Jane Sillars, who accepted my request for supervision months before my Master’s thesis submission to the University of Edinburgh. You helped so much in giving my paper direction, and in helping me to uncover and channel the themes that ran throughout my work, and you were instrumental in my quest for doctoral opportunities. Dr Susan Kemp, you inspired in me the courage to reach out to my subjects, even when they are famous; I’ve been successful in that task (nearly) every time since. My time in Edinburgh was also shaped by friends and colleagues; Kathleen Ward, from the moment I arrived in Edinburgh, you offered me safe harbour—literally and figuratively. Nona Siyaka, the humour, kindness, endless generosity, fresh perspectives, academic insights, crazy experiences, and amazing food you and Kathleen shared with me throughout and after our time in Edinburgh together transformed those challenging first days into a profoundly positive experience that just kept getting better. Enormous thanks go to my incredible colleagues and friends at the University of Hull, alongside whom I worked, studied and lived. Zhaleh Boyd, Lisa Gelbhardt, Damien Gleadall-Siddall, Elisa Serafinelli: thank you for the soul-restoring support, the Thai curries, the Netflix binges, the commiseration, and the much-needed fits of laughter you shared with me. It is as much a gift to watch you flourish with your studies and careers as it is to cherish the roles you have each played in mine. Fiona de Hoog, you came into my life and into this process at a time so crucial it is difficult to articulate. I have drawn so much inspiration and so much generosity from you as a friend and as a colleague; you have improved my life immeasurably. I extend my immense gratitude to Professor Kevin Bales, who saw a potential in me, who was so patient and encouraging, and who made space for me as I navigated the challenging task of balancing a job I truly loved with my studies. Thank you for giving me the tremendous opportunity to be a Research Fellow on your team; you opened my eyes to one of the most urgent challenges that humanity is facing today, and it is a fight in which I will remain immersed. Thank you to the faculty at WISE 4 for welcoming me so warmly and being so encouraging throughout my time there. Professor John Oldfield, thank you for your insights into and enthusiasm for our research, and for steadfastly illuminating our work outside of the institute. Dr Nicholas Evans, I am so grateful for your valuable advice and willingness to talk about and read my work despite having so many other commitments. Cristina Talens, thank you for giving me the opportunity to explore and to participate with you in social responsibility and risk assessments; the work you do is crucial to the fight against modern slavery.