Fan Fiction and Its Sources of Inspiration in the Canon with Reference to the Harry Potter Series
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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. -
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. -
MFCO Working Paper Series: Harry Potter and the Ur-Fan
Working Paper Series SPECIAL ISSUE: REVISITING AUDIENCES: RECEPTION, IDENTITY, TECHNOLOGY The Ghost of J.K. Rowling: Harry Potter and the Ur-Fan Dion McLeod University of Wollongong Travis Holland Charles Sturt University Abstract: THis paper is a speculative engagement with the Harry Potter fan community, wHicH includes author J.K. Rowling as an active participant. We reconsider Rowling’s post-textual interventions into (re)interpretations of Her work in ligHt of Roland Barthes’ rHetorical questioning of the death of the author and suggest a conceptual framework to consider authors wHo enact this type of fannisH beHaviour. By participating in these communities, sucH authors repudiate Barthes’ supposed “death of the author”. In Rowling’s case, the authorial interventions occur primarily on Twitter, and it is the immediacy of social media cHannels that facilitates their impact. We draw on the concept of the “ur-text” to develop a description of the “ur-fan” to account for this fannisH practice, suggesting that Rowling is the arcHetypal ur-fan. Ur-fans straddle two roles that are often artificially demarcated: expert and fan. WHile fans Have immersed themselves in their respective storyworlds for decades, Rowling’s Hyper-active media presences (especially on Twitter) position Her in this role and sets the Harry Potter fandom apart from many other fan communities. ISSN2253-4423 © MFCO Working Paper Series 3 MFCO Working Paper Series 2017 Introduction In December 2015, the producers of the then-forthcoming West End play Harry Potter and the Cursed Child announced via Twitter (HPPlayLDN 2015) the three actors wHo would play the eponymous Harry Potter, and His friends Ron Weasley and Hermione Granger. -
Harry Potter: Order of the Phoenix Chair: Arjun Mathur JHUMUNC 2018
Harry Potter: Order of the Phoenix Chair: Arjun Mathur JHUMUNC 2018 Harry Potter: Order of the Phoenix Topic A: Increase security and impose stricter background checks on Ministry of Magic employees Topic B: Mobilize protection for the vulnerable Muggle population and for other creatures that are friends of the Wizarding World Committee Overview delegate motions otherwise, and most actions War has consumed the Wizarding will occur through the passing of directives. World. Since Voldemort’s return, destruction Directives and all other procedural matters and danger have run rampant throughout the will be passed with a simple majority. world and no one is safe. Voldemort’s army is a This committee is a specialized crisis threat to every person, Muggle or magic, and it committee — this gives you the freedom to is up to the Order of Phoenix to put a stop to him change how you want to run your committee. and his sinister agents, the Death Eaters. The It would be preferred if the topics were protection of both worlds rests squarely on the discussed in a moderated caucus so the shoulders of the Order of the Phoenix, a secret committee may move through them in an team of wizards and witches dedicated to orderly fashion. With that said, unmoderated safeguarding the rights of Muggles and wizards caucuses can be used fairly regularly if it will alike and fighting against dark magic. As the help the conversation move forward. Order of the Phoenix committee, you will be For those that are new to charged with making sure security measures are Crisis/Specialized, it is much more fast-paced in place such that no Death Eater can infiltrate than any of the GA committees. -
Fan Fiction, Outsider Works, and Copyright
+(,1 2 1/,1( Citation: 70 U. Pitt. L. Rev. 387 2008-2009 Provided by: Sponsored By: Thomas Jefferson School of Law Content downloaded/printed from HeinOnline Fri May 26 12:55:17 2017 -- Your use of this HeinOnline PDF indicates your acceptance of HeinOnline's Terms and Conditions of the license agreement available at http://heinonline.org/HOL/License -- The search text of this PDF is generated from uncorrected OCR text. -- To obtain permission to use this article beyond the scope of your HeinOnline license, please use: Copyright Information THE HARRY POTTER LEXICON AND THE WORLD OF FANDOM: FAN FICTION, OUTSIDER WORKS, AND COPYRIGHT Aaron Schwabach" INTRODUCTION Unlicensed fan fiction presents a dilemma for content owners: while fan fiction may infringe on the content owners' copyright and trademark rights, the fans who create and share it are the biggest and, for some genre works, very nearly the only, market for the owners' works. Active enforcement of intellectual property rights may alienate consumers-fans-and hann future revenues. On the other horn of the dilemma, non-enforcement of those rights may result in their loss. Fan fiction provides fans with an opportunity to enjoy, discuss, and, most of all, inhabit the canon texts in ways that would be impossible without it. Despite its essential role, though, fan fiction's legal status remains unclear. Many fans, including academic fans, believe that fan fiction is another type of information that just wants to be free: all or nearly all non-commercial fan fiction should be protected as fair use. In contrast to previous generations, today we live in a world of symbols and texts that are all, or nearly all, owned; fan fiction is a way of combating the inevitable alienation this produces.' Balanced against this are the interests of copyright owners. -
Harry Potter Resource Guide for Fans
Prepared by Janan Nuri May 2020 Module: INM307 Sending out owls to all fans of Harry Potter Whether you’re a die-hard Potterhead, a fan who loves the movies, or a pure-blood who sticks to the books, there’s something here for you. This resource guide is a starting point for exploring more of the Harry Potter series and J.K. Rowling’s Wizarding World, which is a vast universe in canon and in fandom. You’ll find resources listed, followed by a short description of what to expect from them, and why they’re worth checking out. Even though this guide is geared towards fans based in the UK, there are plenty of online resources to connect you with others around the world. The focus is more on the Harry Potter series, though the Fantastic Beasts series and The Cursed Child play are also included. Marauders’ Mapping the Way Don’t worry, you won’t need your wand to cast Lumos to illuminate the way, this guide has been designed to be as simple and straightforward to navigate as possible. There are hyperlinks in the Contents and in the text to jump to relevant parts of the guide. The guide has four sections, ‘Exploring the Canon’, ‘Exploring the Fandom’, ‘Places to Visit’ and a ‘Shopping Guide’ for fans who visit London UK, the location of Diagon Alley in the series. There’s also a ‘Glossary’ at the end, explaining common fan phrases (if you’re not sure what ‘canon’ and ‘fandom’ means, then have a quick peek now). -
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. -
IN FOCUS: Feminism and Fandom Revisited Fan Labor and Feminism
IN FOCUS: Feminism and Fandom Revisited Fan Labor and Feminism: Capitalizing on the Fannish Labor of Love by KRISTINA BUSSE, editor n the early 2000s, my three-year-old son wanted a Doctor Who birth- day party. He had been watching old 1980s-era PBS recordings on our VHS, and he couldn’t understand why the party stores didn’t have the Fourth Doctor next to Buzz Lightyear and Arthur para- phernalia. Now, ten years later, when I research fannish cakes, I fi nd Ientire commercial cooking programs dedicated to baking a TARDIS- shaped cake, along with Doctor Who party- and bakeware. One reason for this change is clearly the resurgence of the Doctor Who franchise (BBC, 1963–1989, 1996, 2005–) and its wider popularity than before. Clearly, this amount of fan merchandise for even marginal shows is a recent phenomenon, testifying to both the expansion of media tie- in commercialization and the increased popularity of fan and geek cultures. Twenty years ago, our Doctor Who mugs were a special PBS fund-raising gift; today, there is merchandise available not only for the most niche shows but also for specifi c fans: if you want a T-shirt, tote bag, or iPhone case dedicated to Superwholock (the slashy Doctor Who / Supernatural / Sherlock crossover of “Hunters and Doctors and Boys from Baker Street”), there are dozens of designs and options available on sites that cater directly to this audience. As an aca-fan, I am of two minds about this phenomenon. The ac- ceptance of fans, geeks, and nerds is theoretically and personally satis- fying, as is the increased popularity of geeky media, and consequently the more positive media portrayals. -
6 Harry Potter Fanfiction
Univerzita Hradec Králové Pedagogická fakulta Katedra anglického jazyka a literatury Vývoj vedlejších postav ságy Harryho Pottera ve fanfiction Development of Minor Characters from Harry Potter Saga in Fanfiction Diplomová práce Autor: Bc. Anna Fólová Studijní program: N7504 Učitelství pro střední školy Studijní obor: Učitelství pro střední školy – hudební výchova, Učitelství pro 2. stupeň ZŠ – anglický jazyk a literatura Vedoucí práce: Mgr. Jan Suk, Ph.D. Hradec Králové 2019 Prohlášení Prohlašuji, že jsem tuto bakalářskou práci vypracovala samostatně a uvedla jsem všechny použité prameny a literaturu. V Hradci Králové dne 1.4.2019 Anotace FÓLOVÁ, Anna. Vývoj vedlejších postav ságy Harryho Pottera ve fanfiction. Hradec Králové: Pedagogická fakulta Univerzity Hradec Králové, 2019. 63 s. Diplomová práce. Tato práce představuje fanfikci a fanouškovskou tvorbu obecně. Uvádí její historický vývoj, reakce spisovatelů děl, podle kterých fanfikce vzniká a problémy s legální stránkou fanfikce. Popisuje fandom Harryho Pottera a jeho specifika, fandom také porovnává s fandomy ostatních děl převážně fantasy a science-fiction literatury. V praktické části potom analyzuje dvojici vybraných postav a jejich vývoj, které popisuje nejprve z pohledu původního díla, poté z pohledu fanfikce a posléze vývoj porovnává a shrnuje. Klíčová slova: Harry Potter, Fanfiction, Fandom, Vedlejší postavy. Annotation FÓLOVÁ, Anna. Development of Minor Characters from Harry Potter Saga in Fanfiction. Hradec Králové: Pedagogical Faculty, University of Hradec Králové, 2019, 63 pp. Diploma dissertation. This thesis presents fanfiction and fanwork in general. It introduces its historical development, reaction of the original work authors´ and legal issues of fanfiction. This thesis describes fandom of Harry Potter and its particularities, compares it with other fandoms, mostly fantasy and science fiction works. -
Fluidity in Shoebox Project by Kasandra Arthur A
We Are Having All Kinds of Fun: Fluidity in Shoebox Project by Kasandra Arthur A thesis presented to the University Of Waterloo in fulfilment of the thesis requirement for the degree of Doctor of Philosophy in English Waterloo, Ontario, Canada, 2018 © Kasandra Arthur 2018 Examining Committee Membership The following served on the Examining Committee for this thesis. The decision of the Examining Committee is by majority vote. External Examiner Katherine Larsen Teaching Assistant Professor Supervisor(s) Neil Randall Associate Professor Internal Member Aimée Morrison Associate Professor Internal-external Member Nicolas Gauthier Assistant Professor Other Member(s) Beth Coleman Associate Professor ii Author’s Declaration: I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. iii Abstract: Made public on LiveJournal between 2004 and 2008, Shoebox Project (SBP) is a multimedia fanfic written by ladyjaida and dorkorific. The plot takes place before that of the Harry Potter novels, detailing the last two years of Hogwarts for the Marauders – Remus, Sirius, James, and Peter – conveying its narrative through prose, dialogue, handwritten letters, handwritten notes, pictures, and hand drawn sketches. SBP represents evidence of its authors negotiating of Remus Lupin. Specifically, through the layered processes of reading and writing, dorkorific and ladyjaida interpret and construct their understanding of authorship and their perception of the Potterverse. In so doing, they make clear the inherent fluidity of these concepts. However, despite the fluidity so central to SBP and to its fannish context, ladyjaida and dorkorific also work to actively reiterate binaries around gender, sex, and desire in their construction of Remus and Sirius’s sexuality.