DOCSLIB.ORG

From Textual Poachers to Textual Gifters: Exploring Fan Community and Celebrity in the Field of Fan Cultural Production

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
From Textual Poachers to Textual Gifters: Exploring Fan Community and Celebrity in the Field of Fan Cultural Production From Textual Poachers to Textual Gifters: Exploring Fan Community and Celebrity in the Field of Fan Cultural Production by Bertha Catherine LP Chin School of Journalism, Media & Cultural Studies Cardiff University 15 November 2010 UMI Number: U584515 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584515 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 SUMMARY Early fan studies positioned fans as ‘textual poachers’ (Jenkins, 1992), suggesting that fans poach characters and materials from texts as an act of resistance towards commercial culture to form their own readings through fan cultural production such as fan fiction. As such, fans are often presented as a unified, communal group interacting within the context of fan communities that are considered alternative social communities with ‘no established hierarchy’ (Bacon-Smith, 1992, p. 41). However, Milly Williamson argued that fans do not all operate from a position of cultural marginality. Fans not only go on to collaborate with the media producers they allegedly poach from, they also “engage in elitist distinctions between themselves and other...fans” (Williamson, 2005, p. 103). In this dissertation, I look at fan cultural production (specifically fan fiction) by appropriating Bourdieu’s (1993) theory on the field of cultural production. I also suggest that the field of fan cultural production manifests the principles of a gift economy (Mauss, 1954). In circulating fan cultural production as gifts, fans are entering into a social relationship of reciprocity, where fan reputation, or fan symbolic capital, becomes tied to the gifts presented to the fan community and the social network of the fan author. The accumulation of fan social, fan cultural and fan symbolic capitals creates a subgroup of fans who are often treated like celebrities by their peers, and these fan subcultural celebrities often go on to determine the social and cultural norms of a fan community. This often results in conflict within fandom as fan status is frequently contested and challenged. By employing an ethnographic study on the fandoms of The X-Files, Angel and the re­ imagined Battlestar Galactica, I argue that fan culture is not as homogenous as early fan studies proposed as the boundaries of community and fan celebrity status are frequently challenged. Acknowledgements This has been a long and arduous journey, the end of which would not have been possible without the support and care of many friends and family members along the years. Heartfelt thanks and appreciation go to my tireless supervisor. Matt Hills, for his patience and dedication (and constant reassurances!), without which this dissertation would not have seen the light of day. Many breakthroughs in the dissertation were only possible because of our discussions and his encouragement. I am forever grateful for his guidance, friendship and support. Many thanks also go to colleagues at London Metropolitan University - especially James Bennett, Mike Chopra-Gant, Peter Lewis, Paul Kerr, Gholam Khiabany and Sami Ramadani - who were always ready with words of wisdom and encouragement when I needed them. I would also like to extend special thanks and gratitude to Jonathan Gray, for his unfailing friendship and encouragement throughout the years, and most importantly, for convincing me not to give up on the PhD all those years ago and go to Cardiff instead! Thanks also go to friends who provided much respite, encouragement, sanity and love, especially during the stressful periods: Angelina Karpovich, Hung Hsiu Chin, Lokman Tsui, Selmin Kara, Lori Hitchcock Morimoto, Holly Dignard, Lisa Wilson- Wright, Rebecca Thomas, Inger-Lise Kalviknes Bore, and last but not least, Amy Chin. Beatrice Kuek, Raquel Peck and Donna Chong. I would also like to thank all the fans who have provided inspiration, gave their time to answer the interview questions and regaled me with wonderful tales - I hope I can continue to tell these stories. And of course, none of this would be possible without the support, constant encouragement and love of my family: my parents, Victor and Bibiana; brother, Bernard; uncle, Vincent; aunt, Annie; and Jiji the cat (for always trying to occupy any form of paper/books I lay out). For always being there to remind me not to over-stress myself, and for looking after (among others) an extremely grumpy cat in Malaysia! CONTENTS 1. Introduction: Setting the scene 1 Fan studies so far 4 Fandom as a gift economy 11 The X-Files and Fandom 2.0 16 Chapter breakdowns 21 2. Literature Review 26 Locating the fan individual 29 Fan fiction 45 De-commoditisation of the text 50 Gift exchange theory' explored 55 The fan fiction potlatch as a field of cultural production 66 Fan fiction fandom as a field of restricted production 73 Fan capitals 79 Conclusion 89 3. Methodology: The journey 92 Applying ethnography 93 A utoethnography of the researcher 99 The research process and its complications 105 4. From communities to micro-communities of fandom 119 Defining community and micro-community 121 The fan community in conflict 131 Micro-communities and fringe fandoms 144 Conclusion 156 5. The value of fan cultural production 160 Value o f a story: the act o f collecting 162 Ephemeral/Gossamer, LJ or Fanfiction.Net: the boundaries offan fiction posting 169 Contesting fan cultural status and value: fanfic_hate on LJ 187 Conclusion 198 6. The symbolic power of the media producer 202 The personal blogger 203 Media power and celebrity intimacy 206 The media producer blogs , 222 The producer's symbolic power 236 Conclusion 240 7. The semi-professional fan as fan celebrity 241 Fans as co-marketers 244 Fans as subcultural celebrities 258 Fan-tagonism: conflict within fandom 275 Conclusion 282 8. Conclusion 285 Bibliography 296 Appendix 316 Chapter 1: Introduction: Setting the scene Fan cultural production (in the form of fan fiction, meta, fan art and fan videos) is often observed within the context of the fan community, but is normally theorised around the notion that fans poach the original material to insert their own meanings into the text as a form of resistance towards commercial culture (Jenkins, 1992; Bacon-Smith, 1992). These early fan studies also portray fan communities as alternative, social communities that are considerably more democratic than real life communities, suggesting that fandom is homogenous. However, despite its frequent depiction as homogenous, fan communities are often fraught with conflict, with fans who have contributed to fandom and accumulated a certain level of reputation being treated like (subcultural) celebrities by their peers. These fans often go on to become community leaders and respected fan fiction authors, determining the accepted fan social and cultural norms within fandom, suggesting the existence of a social hierarchy that fan scholars have previously denied the existence of (Bacon-Smith, 1992, p. 41). Milly Williamson argues that, “fan scholars have either posited a homogenous ‘mainstream’ culture, or have concentrated their analysis on one set of cultural values; either on the economic influences in fandom, or on the non­ commercial but elitist influences in fandom...[Early fan studies] pose a one­ dimensional notion of dominant culture in order to stand in for a thorough discussion of that which fans are said to resist” (2005, pp. 110-111). In this dissertation, I want to propose that fans are textual gifters, their cultural production circulated and exchanged like gifts; where fandom and the field of fan cultural production represent the principles of the gift economy rather than the 1 socially subordinated position of fans as textual poachers, which places fandom as an act of resistance; that fans collaborate with the commercial culture they allegedly poach from as much as they resist commercial culture’s attempts at controlling them. In an article for the e-joumal Transformative Works and Cultures, Scott (2009) suggests that recent academic works (Hellekson, 2009; Jenkins et al., 2009) that have drawn parallels between fandom and the gift economy have “acknowledged the inability to engage with gift economies and commodity culture as disparate systems, as commodity culture begins selectively appropriating the gift economy’s ethos for its own economic gain”. These accounts explore the ways in which the media industry has courted fans. Fans are not merely considered “the most valued customer...most passionate, dedicated, and actively engaged” (Jenkins, 2006, p. 73), they are also providing free labour for media producers who harness fans’ attachment and dedication to the text for “word of mouth marketing” (Cochran, 2008, p. 246), a move that has proved financially favourable to the media industry (although often at the expense of fan cultural production, as Cochran highlighted in her study). But more than that, fan fiction, or more appropriately, fan cultural production is also considered a gift culture. De Kosnik argues that, “many scholars of fan studies claim
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • The Fan Studies Network Conference 24-25 June 2017
    THE FAN STUDIES NETWORK CONFERENCE 24-25TH JUNE 2017 CENTRE FOR PARTICIPATORY CULTURE UNIVERSITY OF HUDDERSFIELD PROGRAMME FRIDAY 23rd JUNE 17:30 PARTICIPATORY CULTURE MATTERS Roundtable discussion and launch event for the University of Huddersfield Centre for Participatory Culture (Free entry to all FSN2017 delegates) 19:30 SOCIAL EVENT: WINE RECEPTION (SPONSORED BY THE LAUNCH OF THE CENTRE FOR PARTICIPATORY CULTURE) AND FAN STUDIES QUIZ SATURDAY 24th JUNE 09:00 – 09:30 REGISTRATION 09:30 – 10:30 KEYNOTE Dr Louisa Stein: Fandom/Resistance 10:30 – 10:45 BREAK 10:45 – 12:15 PARALLEL PANELS Panel A: Rethinking Fan Studies Panel B: Genre and Fandom Panel C: Ageing Fans and Ageing Celebrities in Popular Media Culture 12:15 – 13:15 LUNCH 13:15 – 14:45 PARALLEL PANELS Panel D: Fantagonisms: Interrogating ‘Toxic’ Fandom Panel E: Mainstreaming Fandom Panel F: Transcultural Fandom 14:45 – 15:00 BREAK 15:00 – 16:30 PARALLEL PANELS Panel G: New Perspectives on Fandom and Neoliberalism Panel H: Transmedia Tourism and Participatory Cultures Panel I: Power 16:30 – 16:45 BREAK 16:45 – 18:00 SPEED GEEKING 18:00 – 19:30 THE FAN STUDIES NETWORK FIFTH BIRTHDAY PARTY (featuring a wine reception) 20:30 CONFERENCE DINNER SUNDAY 25th JUNE 09:00 – 09:30 REGISTRATION 09:30 – 11:00 PARALLEL PANELS Panel J: Performing Fandom Panel K: Fan/Producer Relationships Panel L: Memory and Long-term Fandom 11:00 – 11:15 BREAK 11:15 – 12:45 PARALLEL PANELS Panel M: Fan Practices Panel N: The CW Network: Teen Shows, Fanagement and the Organisation of the Fan Community Panel
    [Show full text]
  • Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960S and Early 1970S
    TV/Series 12 | 2017 Littérature et séries télévisées/Literature and TV series Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy Electronic version URL: http://journals.openedition.org/tvseries/2200 DOI: 10.4000/tvseries.2200 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Dennis Tredy, « Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s », TV/Series [Online], 12 | 2017, Online since 20 September 2017, connection on 01 May 2019. URL : http://journals.openedition.org/tvseries/2200 ; DOI : 10.4000/tvseries.2200 This text was automatically generated on 1 May 2019. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Light Shadows: Loose Adaptations of Gothic Literature in American TV Series o... 1 Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy 1 In the late 1960’s and early 1970’s, in a somewhat failed attempt to wrestle some high ratings away from the network leader CBS, ABC would produce a spate of supernatural sitcoms, soap operas and investigative dramas, adapting and borrowing heavily from major works of Gothic literature of the nineteenth and early twentieth century. The trend began in 1964, when ABC produced the sitcom The Addams Family (1964-66), based on works of cartoonist Charles Addams, and CBS countered with its own The Munsters (CBS, 1964-66) –both satirical inversions of the American ideal sitcom family in which various monsters and freaks from Gothic literature and classic horror films form a family of misfits that somehow thrive in middle-class, suburban America.
    [Show full text]
  • Harry Potter Fanfiction on the Internet
    POTTEROTICS: HARRY POTTER FANFICTION ON THE INTERNET By CATHERINE TOSENBERGER A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2007 1 © 2007 Catherine Tosenberger 2 To my grandparents Edward and June Hard, and Michael and Katherine Tosenberger 3 ACKNOWLEDGMENTS First and foremost, I must thank the Harry Potter fandom, and all the fans who gave so generously of their talent and expertise. I have met an enormous number of brilliant, funny, creative and wise people through my interactions with this community. The following, in no particular order, have been especially kind and helpful, and I am honored to call them friends: Amy Tenbrink, Hallie Tibbetts, Kathryn Loup, Heidi Tandy, Sarah Benoot, Anna Milton, Cassandra Claire, Pogrebin, Marvolo, Ravenchel, Katiebec, Rhoddlet, Fleur, Mireille, Kayla Gagnet Castille, Sabrina Chin, Jane Glaubman, Aja Romano, Carlie Webber, Anatsuno, Rennie Guedel, Ebony Thomas, V, Folk, Kay Taylor, Katie B, Vicki Dolenga, Ellen Fremedon, Anne Kustritz, Rene, Amatia, Sharon Goetz, Executrix, Resmiranda, Kristi Brownfield, Glockgal, Flourish, Darkrose, Calico, Metempsychosis, Cathexys, Cyg, Vali, Lolaraincoat, Chris Dickson, and Meg Milford. There are others whose names have escaped me, and I hope they won’t hold it against me. I thank the mods and denizens of Fandom Wank, for continually reminding me that fandom is, indeed, fucking funny. This project would never have begun, and would certainly not have finished, without the intellectual and emotional support of my director, Kenneth Kidd, the kindest and best of men. He has been a mentor and a dear friend.
    [Show full text]
  • Black Girl Magic: the (Re)Imagining of Hermione Granger: an Analysis and Autoethnography
    DePaul University Via Sapientiae College of Liberal Arts & Social Sciences Theses and Dissertations College of Liberal Arts and Social Sciences 6-2021 Black girl magic: the (re)imagining of Hermione Granger: an analysis and autoethnography Kandice Rose DePaul University, [email protected] Follow this and additional works at: https://via.library.depaul.edu/etd Recommended Citation Rose, Kandice, "Black girl magic: the (re)imagining of Hermione Granger: an analysis and autoethnography" (2021). College of Liberal Arts & Social Sciences Theses and Dissertations. 306. https://via.library.depaul.edu/etd/306 This Thesis is brought to you for free and open access by the College of Liberal Arts and Social Sciences at Via Sapientiae. It has been accepted for inclusion in College of Liberal Arts & Social Sciences Theses and Dissertations by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. DePaul University Black Girl Magic: The (re)Imagining of Hermione Granger An Analysis and Autoethnography Kandice Rose Critical Ethnic Studies Graduate Candidate June 2021 1 INTRODUCTION I'd very much like to say that I've always loved to read, but that would be patently false. At the age of 6, when I was in the first grade, the grade where Americans generally learn to read, I absolutely hated it. My teacher, Mrs. Johnson, would call on students to stand up and read passages to the class. I would stare in awe as other kids would read their sentences flawlessly, even as butterflies rattled in my stomach, as I waited in dread for her to call on either myself or my twin sister.
    [Show full text]
  • 12 Hours Opens Under Blue Skies and Yellow Flags
    C M Y K INSPIRING Instead of loading up on candy, fill your kids’ baskets EASTER with gifts that inspire creativity and learning B1 Devils knock off county EWS UN s rivals back to back A9 NHighlands County’s Hometown Newspaper-S Since 1927 75¢ Cammie Lester to headline benefit Plan for spray field for Champion for Children A5 at AP airport raises a bit of a stink A3 www.newssun.com Sunday, March 16, 2014 Health A PERFECT DAY Dept. in LP to FOR A RACE be open To offer services every other Friday starting March 28 BY PHIL ATTINGER Staff Writer SEBRING — After meet- ing with school and coun- ty elected officials Thurs- day, Florida Department of Health staff said the Lake Placid office at 106 N, Main Ave. will be reopen- ing, but with a reduced schedule. Tom Moran, depart- ment spokesman, said in a Katara Simmons/News-Sun press release that the Flor- The Mobil 1 62nd Annual 12 Hours of Sebring gets off to a flawless start Saturday morning at Sebring International Raceway. ida Department of Health in Highlands County is continuing services at the Lake Placid office ev- 12 Hours opens under blue ery other Friday starting March 28. “The Department con- skies and yellow flags tinues to work closely with local partners to ensure BY BARRY FOSTER Final results online at Gurney Bend area of the health services are avail- News-Sun Correspondent www.newssun.com 3.74-mile course. Emergen- able to the people of High- cy workers had a tough time lands County.
    [Show full text]
  • Fan Studies Research Evans, A
    Desperately seeking methods: new directions in fan studies research Evans, A. and Stasi, M. Published version deposited in CURVE April 2015 Original citation & hyperlink: Evans, A. and Stasi, M. (2014) Desperately seeking methods: new directions in fan studies research.. Participations, volume 11 (2): 4-23. http://www.participations.org/Volume%2011/Issue%202/contents.htm Copyright © and Moral Rights are retained by the author(s) and/ or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. CURVE is the Institutional Repository for Coventry University http://curve.coventry.ac.uk/open . Volume 11, Issue 2 November 2014 Desperately seeking methodology: New directions in fan studies research Adrienne Evans Coventry University, UK Mafalda Stasi Coventry University, UK Abstract: Fan studies has been critical and groundbreaking in a number of respects. However, in regard to methodology, discussion seems decidedly thin on the ground. Such a missing discourse has wider implications, raising questions such as: what kinds of knowledge do fan studies researchers want to produce? What are the objects being studied? How does fan studies inform a general approach to research? And how is the area going to maintain itself, if we don’t start talking about our methodology and world-view? This paper is an attempt to bring the discussion of methodology to the fore in fan studies.
    [Show full text]
  • Dragon Con Progress Report 2021 | Published by Dragon Con All Material, Unless Otherwise Noted, Is © 2021 Dragon Con, Inc
    WWW.DRAGONCON.ORG INSIDE SEPT. 2 - 6, 2021 • ATLANTA, GEORGIA • WWW.DRAGONCON.ORG Announcements .......................................................................... 2 Guests ................................................................................... 4 Featured Guests .......................................................................... 4 4 FEATURED GUESTS Places to go, things to do, and Attending Pros ......................................................................... 26 people to see! Vendors ....................................................................................... 28 Special 35th Anniversary Insert .......................................... 31 Fan Tracks .................................................................................. 36 Special Events & Contests ............................................... 46 36 FAN TRACKS Art Show ................................................................................... 46 Choose your own adventure with one (or all) of our fan-run tracks. Blood Drive ................................................................................47 Comic & Pop Artist Alley ....................................................... 47 Friday Night Costume Contest ........................................... 48 Hallway Costume Contest .................................................. 48 Puppet Slam ............................................................................ 48 46 SPECIAL EVENTS Moments you won’t want to miss Masquerade Costume Contest ........................................
    [Show full text]
  • Doctor Who and the Sea-Devils Free Encyclopedia
    FREE DOCTOR WHO AND THE SEA-DEVILS PDF Malcolm Hulke,Geoffrey Beevers | 1 pages | 01 Apr 2014 | BBC Audio, A Division Of Random House | 9781445824673 | English | London, United Kingdom The Sea Devils - Wikipedia As IMDb celebrates its 30th birthday, we have six shows to get you ready for those pivotal years of your life Get some streaming picks. The Doctor and Jo visit the Master at his island prison where the Doctor becomes curious about a number of ships sinking in the area. Review of all 6 episodes: The Master teams up with reptilian creatures who have been dormant under the ocean for millions of years to try to conquer humanity again. These creatures, which are dubbed Sea Devils by terrified humans, are relatives of the 'Silurians' or as The Doctor re-names them Eocenes. They were on Earth before humans and want to claim the planet back after eons of suspended animation in the ocean depths. The Doctor tries Doctor Who and the Sea-Devils broker peace whilst The Master whips up a war. Human leaders also have the appetite for war so trapping The Doctor Doctor Who and the Sea-Devils the middle. This adventure is not flawless but provides Doctor Who and the Sea-Devils entertainment and iconic scenes throughout. All episodes of this adventure are terrific fun, exciting, interesting, well written and acted with only very minor faults. The interest and quality levels never drop below 9. Pertwee himself is in majestic form demonstrating brilliant humour, dynamic action, warmth and intelligence. There is a tremendously fun sword fight between him and The Doctor as well as all the wonderful verbal jousting.
    [Show full text]
  • Complicated Views: Mainstream Cinema's Representation of Non
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e.
    [Show full text]
  • Hollywood Intellectual Property Opportunities for the Browser Games Industry
    Hollywood Intellectual Property Opportunities for the Browser Games Industry Philip Reisberger Chief Games Officer August 2011, GDC Europe Facts The Company Founded 2002 Number of Employees 800+ Key Titles DarkOrbit, Seafight, Farmerama Battlestar Galactica Online, The Mummy Online, Skyrama Locations Hamburg, Germany Berlin, Germany San Francisco, USA Malta Sao Paulo, Brazil 2 Figures The Figures 30 languages 70 active games More than 200 million users 250,000+ new registrations per day Winner • Mashable Best Online Game 2010 • Best Community Support 2011 • Best Gaming Portal 2010, 2011 • Best Browser Game 2010, 2011 • International Business Award 2010 • Deloitte Rising Stars 2009 • Best Gaming Website USA 2009 • MTV Games Award 2009 • … 3 250,000 …over 250,000 babies are born every day in the world. Bigpoint adds more than 250,000 new players every day too... 4 Hollywood IPs Establishing an IP 1 Success Factors Benefits of Licensing 2 Market Differences Focus: 3 Battlestar Galactica Online 4 Learnings 5 1. Establishing IP 6 BIGPOINT‘S GAME PORTFOLIO Diversity and high quality offer millions of players fun & entertainment CORE GAMES „AAA“ GAMES CASUAL GAMES More than 50 MILLION users BATTLESTAR GALACTICA In just under one year, 30 have registered for ONLINE was the MOST MILLION users moved to the DARKORBIT since it went SUCCESSFUL launch of a game country to start their own online in 2006 and has in Bigpoint history with over 1 online farms at FARMERAMA mollions of active MILLION player after 4 WEEKS monthly users SEAFIGHT. More than
    [Show full text]