Fix-It Fanfiction and Queer Readings
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GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months. -
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. -
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. -
Bury Your Gays’
. Volume 15, Issue 1 May 2018 Toxic regulation: From TV’s code of practices to ‘#Bury Your Gays’ Kelsey Cameron, University of Pittsburgh, USA Abstract: In 2016, American television killed off many of its queer female characters. The frequency and pervasiveness of these deaths prompted outcry from fans, who took to digital platforms to protest ‘bury your gays,’ the narrative trope wherein queer death serves as a plot device. Scholars and critics have noted the positive aspects of the #BuryYourGays fan campaign, which raised awareness of damaging representational trends and money for the Trevor Project, a suicide prevention organization focused on LGBTQ youth. There has been less attention to the ties #BuryYourGays has to toxicity, however. Protests spilled over into ad hominem attacks, as fans wished violence upon the production staff responsible for queer character deaths. Using the death of The 100 character Lexa as a case study, this article argues that we should neither dismiss these toxic fan practices nor reduce them to a symptom of present-day fan entitlement. Rather, we must attend to the history that shapes contemporary antagonisms between producers and queer audiences – a history that dates back to television’s earliest efforts at content regulation. Approaching contemporary fandom through history makes clear that toxic fan practices are not simply a question of individual agency. Longstanding industry structures predispose queer fans and producers to toxic interactions. Keywords: queer fandom, The 100, television, regulation, ‘bury your gays’ Introduction In March of 2016, queer fans got angry at American television. This anger was both general and particular, grounded in long-simmering dissatisfaction with TV’s treatment of queer women and catalyzed by a wave of character deaths during the 2016 television season. -
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. -
Resistant Vulnerability in the Marvel Cinematic Universe's Captain America
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 2-15-2019 1:00 PM Resistant Vulnerability in The Marvel Cinematic Universe's Captain America Kristen Allison The University of Western Ontario Supervisor Dr. Susan Knabe The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Kristen Allison 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Feminist, Gender, and Sexuality Studies Commons, Other Film and Media Studies Commons, and the Women's Studies Commons Recommended Citation Allison, Kristen, "Resistant Vulnerability in The Marvel Cinematic Universe's Captain America" (2019). Electronic Thesis and Dissertation Repository. 6086. https://ir.lib.uwo.ca/etd/6086 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Established in 2008 with the release of Iron Man, the Marvel Cinematic Universe has become a ubiquitous transmedia sensation. Its uniquely interwoven narrative provides auspicious grounds for scholarly consideration. The franchise conscientiously presents larger-than-life superheroes as complex and incredibly emotional individuals who form profound interpersonal relationships with one another. This thesis explores Sarah Hagelin’s concept of resistant vulnerability, which she defines as a “shared human experience,” as it manifests in the substantial relationships that Steve Rogers (Captain America) cultivates throughout the Captain America narrative (11). This project focuses on Steve’s relationships with the following characters: Agent Peggy Carter, Natasha Romanoff (Black Widow), and Bucky Barnes (The Winter Soldier). -
A Portrait of Fandom Women in The
DAUGHTERS OF THE DIGITAL: A PORTRAIT OF FANDOM WOMEN IN THE CONTEMPORARY INTERNET AGE ____________________________________ A Thesis Presented to The Honors TutoriAl College Ohio University _______________________________________ In PArtiAl Fulfillment of the Requirements for Graduation from the Honors TutoriAl College with the degree of Bachelor of Science in Journalism ______________________________________ by DelAney P. Murray April 2020 Murray 1 This thesis has been approved by The Honors TutoriAl College and the Department of Journalism __________________________ Dr. Eve Ng, AssociAte Professor, MediA Arts & Studies and Women’s, Gender, and Sexuality Studies Thesis Adviser ___________________________ Dr. Bernhard Debatin Director of Studies, Journalism ___________________________ Dr. Donal Skinner DeAn, Honors TutoriAl College ___________________________ Murray 2 Abstract MediA fandom — defined here by the curation of fiction, art, “zines” (independently printed mAgazines) and other forms of mediA creAted by fans of various pop culture franchises — is a rich subculture mAinly led by women and other mArginalized groups that has attracted mAinstreAm mediA attention in the past decAde. However, journalistic coverage of mediA fandom cAn be misinformed and include condescending framing. In order to remedy negatively biAsed framing seen in journalistic reporting on fandom, I wrote my own long form feAture showing the modern stAte of FAndom based on the generation of lAte millenniAl women who engaged in fandom between the eArly age of the Internet and today. This piece is mAinly focused on the modern experiences of women in fandom spaces and how they balAnce a lifelong connection to fandom, professional and personal connections, and ongoing issues they experience within fandom. My study is also contextualized by my studies in the contemporary history of mediA fan culture in the Internet age, beginning in the 1990’s And to the present day. -
Vulnerability and Trash: Divisions Within Stucky Fandom
Vulnerability and Trash Divisions within the Stucky fandom Alen Ríos and Diego Rivera Abstract In this article we focus on the construction of the Other within the Stucky fandom. Contemporary fandoms are spaces that have been conceived as homogenous, or communities in which differences are not seen. Moreover, they are an articulation of subjectivities that encompass and allow several mechanisms of governmentality; they can be capitalized upon and exploited, but also produce their own logics of resistance. This paper analyzes how certain fanworks and fan practices on the social network Tumblr constitute an Other in relation to the general fandom of Stucky. The methodology used was a virtual ethnographic approach using participant observation and ethnographic interviews. According to our results, the Stucky fandom utilizes trigger warnings as a political rationality to construe a vulnerable Other in order to prevent and warn about activities, topics, or experiences that may heavily upset them, as well as converging in the creation of a segregation of those experiences via tags. This phenomenon also occurs in the parts (sides ad verbatim) of fandom that do not move or uphold the same values or hegemonic perspectives within the fandom, generating an Other that should be moderated. We suggest framing and understanding these practices as power relationships that are constantly changing, due to the platforms, the fans and the discourses that surround them. Therefore, divisions and othering in fandom should be understood as a contingent product of relationships both inside and outside the fandom. Keywords Otherness, fandom, slash, ethicopolitics, trigger warnings Otherness: Essays and Studies Volume 6 · Number 1 · December 2018 © The Author 2018. -
Negotiating Legal Knowledge, Community Values, and Entrepreneurship in Fan Cultural Production 2017
Repositorium für die Medienwissenschaft Sophie G. Einwächter Negotiating Legal Knowledge, Community Values, and Entrepreneurship in Fan Cultural Production 2017 https://doi.org/10.25969/mediarep/16230 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Einwächter, Sophie G.: Negotiating Legal Knowledge, Community Values, and Entrepreneurship in Fan Cultural Production. In: Media in Action. Interdisciplinary Journal on Cooperative Media. Copyright Law (2017), Nr. 2, S. 93– 112. DOI: https://doi.org/10.25969/mediarep/16230. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.25819/ubsi/8194 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Weitergabe unter gleichen Bedingungen 4.0/ Attribution - Share Alike 4.0/ License. For more information see: Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz https://creativecommons.org/licenses/by-sa/4.0/ finden Sie hier: https://creativecommons.org/licenses/by-sa/4.0/ This work is licensed under an Attribution-ShareAlike 4.0 International License (CC BY-SA 4.0). Copyright remains with the authors. https://doi.org/10.25819/ubsi/8194 Negotiating Legal Knowledge, Community Values, and Entrepreneurship in Fan Cultural Production Sophie G. Einwächter 1. Introduction Media fandom incorporates a large number of practices that are either explicitly quoting or implicitly referencing cultural objects. Observers outside fandom ofen label these practices derivative, appropriative, or transformative, each of these labels conveying a legal or ethical judg- ment respectively; many question their legitimacy. Among fans, a high level of uncertainty surrounds the legal status of these practices, which are generally assumed to border on copy right infringement. -
Between Boys: Fantasy of Male Homosexuality in Boys' Love, Mary Renault, and Marguerite Yourcenar by Jui-An Chou Graduate Pr
Between Boys: Fantasy of Male Homosexuality in Boys’ Love, Mary Renault, and Marguerite Yourcenar by Jui-an Chou Graduate Program in Literature Duke University Date:_______________________ Approved: ___________________________ Anne F. Garréta, Supervisor, Chair ___________________________ Robyn Wiegman, Co-Chair ___________________________ Rey Chow ___________________________ Anne Allison Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate Program in Literature in the Graduate School of Duke University 2018 ABSTRACT Between Boys: Fantasy of Male Homosexuality in Boys’ Love, Mary Renault, and Marguerite Yourcenar by Jui-an Chou Graduate Program in Literature Duke University Date:_______________________ Approved: ___________________________ Anne F. Garréta, Supervisor, Chair ___________________________ Robyn Wiegman, Co-Chair ___________________________ Rey Chow ___________________________ Anne Allison An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate Program in Literature in the Graduate School of Duke University 2018 Copyright by Jui-an Chou 2018 Abstract “Between Boys: Fantasy of Male Homosexuality in Boys’ Love, Mary Renault, and Marguerite Yourcenar” examines an unexpected kinship between Boys’ Love, a Japanese male-on-male romance genre, and literary works by Mary Renault and Marguerite Yourcenar, two mid-twentieth century authors who wrote about male homosexuality. Following Eve Sedgwick, who proposed that a “rich tradition of cross- gender inventions of homosexuality” should be studied separately from gay and lesbian literature, this dissertation examines male homoerotic fictions authored by women. These fictions foreground a disjunction between authorial and textual identities in gender and sexuality, and they have often been accused of inauthenticity, appropriation, and exploitation. -
QUEER LIFE IS TRAGIC: Lauren Berlant's “Cruel Optimism”
sprinkle: An Undergraduate Journal of Feminist and Queer Studies | Volume 12 – 2019 QUEER LIFE IS TRAGIC Lauren Berlant’s “Cruel Optimism” and Lee Edelman’s Negative Queerness in Life is Strange By Tara Fredenburg ABSTRACT. Life is Strange (2015), by Raoul Barbet and Michel Koch, has sparked outrage for “queerbaiting” lesbian and bisexual women in the gaming community, but criticisms pointed toward the game have failed to address its most pernicious argument. By placing the controversy within the historical context of the 1930s Hays Production Code, examining one of the game’s central lessons in conversation with philosopher Lauren Berlant’s concept of “cruel optimism” and critical theorist Lee Edelman’s anti- reproductive definition of queerness, I contend that Life is Strange (2015) reveals the inability of adherents to heteropatriarchal ideals to conceive a world beyond the current, oppressive system by which we live. The 2015 video game Life is Strange by Raoul Barbet and Michel Koch has sparked outrage for “queerbaiting” lesbian and bisexual members of the gaming community, but criticisms pointed toward the game have not yet gone far enough to dissect why its conclusion agitates queer players and what its agenda fails to do. By placing the phenomenon of contemporary queerbaiting within the historical context of the 1930s Hays Production Code, examining one of the game’s central moral takeaways in conversation with philosopher Lauren Berlant’s concept of “cruel optimism,” and then complicating that reading with critical theorist Lee Edelman’s anti-reproductive definition of queerness, I contend that Life is Strange (2015) reveals the inability and reluctance of uncritical adherents to heteropatriarchal ideals to conceive of a world not steeped in such ideology. -
Fanfiction and Imaginative Reading a Dissertation
"I Opened a Book and in I Strode": Fanfiction and Imaginative Reading A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Ashley J. Barner April 2016 © 2016 Ashley J. Barner. All Rights Reserved. 2 This dissertation titled "I Opened a Book and in I Strode": Fanfiction and Imaginative Reading by ASHLEY J. BARNER has been approved for the Department of English and the College of Arts and Sciences by Robert Miklitsch Professor of English Robert Frank Dean, College of Arts and Sciences 3 ABSTRACT BARNER, ASHLEY J., Ph.D., April 2016, English "I Opened a Book and in I Strode": Fanfiction and Imaginative Reading Director of Dissertation: Robert Miklitsch This dissertation studies imaginative reading and its relationship to fanfiction. Imaginative reading is a practice that involves engaging the imagination while reading, mentally constructing a picture of the characters and settings described in the text. Readers may imaginatively watch and listen to the narrated action, using imagination to recreate the characters’ sensations and emotions. To those who frequently read this way, imagining readers, the text can become, through the work of imagination, a play or film visualized or entered. The readers find themselves inside the world of the text, as if transported to foreign lands and foreign eras, as if they have been many different people, embodied in many different fictional characters. By engaging imaginatively and emotionally with the text, the readers can enter into the fictional world: the settings seem to them like locations they can visit, the many characters like roles they can inhabit or like real people with whom they can interact as imaginary friends and lovers.