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Intermediality and Affective Reception in Fan Cultures

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Intermediality and Affective Reception in Fan Cultures Productive fandom : intermediality and affective reception in fan cultures Citation for published version (APA): Lamerichs, N. A. S. (2014). Productive fandom : intermediality and affective reception in fan cultures. Maastricht University. https://doi.org/10.26481/dis.20140326nl Document status and date: Published: 01/01/2014 DOI: 10.26481/dis.20140326nl Document Version: Publisher's PDF, also known as Version of record Please check the document version of this publication: • A submitted manuscript is the version of the article upon submission and before peer-review. There can be important differences between the submitted version and the official published version of record. People interested in the research are advised to contact the author for the final version of the publication, or visit the DOI to the publisher's website. • The final author version and the galley proof are versions of the publication after peer review. • The final published version features the final layout of the paper including the volume, issue and page numbers. Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal. If the publication is distributed under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license above, please follow below link for the End User Agreement: www.umlib.nl/taverne-license Take down policy If you believe that this document breaches copyright please contact us at: [email protected] providing details and we will investigate your claim. Download date: 02 Oct. 2021 PRODUCTIVE FANDOM Intermediality and Affective Reception in Fan Cultures All images in this dissertation have been reproduced with the permission of their rightful owners. The author adhered to the standards of fair use. © Nicolle Lamerichs Cover design: Tamar Visscher Cover photograph of Louise Ogg by Liyen Siaw Print by: Datawyse The research has been made possible by the NWO program Cultural Dynamics. PRODUCTIVE FANDOM Intermediality and Affective Reception in Fan Cultures PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit Maastricht, op gezag van de Rector Magnificus, Prof. dr. L.L.G. Soete volgens het besluit van het College van Decanen, in het openbaar te verdedigen op woensdag 26 maart 2014 om 12.00 uur door Nicolle Arnold Sibilla Lamerichs Supervisor: Prof. dr. M.J.H. Meijer Co-supervisor: Dr. K. Wenz Assessment Committee Prof. dr. S. Wyatt (voorzitter) Dr. I. Kamphof Dr. L. Plate, Radboud University, Nijmegen Prof. dr. J.F.F. Raessens, Utrecht University Prof. dr. R. van de Vall TABLE OF CONTENTS 1. Shared Narratives: Intermediality in Fandom 1 Introduction 1 Fan Studies 4 Historical Perspectives 7 Productivity and Affectivity 9 Intermediality 11 Transmedia Design 15 Conceptualizing Productive Fandom 19 Outline 21 Elf Fantasy Fair 2010: Nerd Spotting 26 2. Fan Membership: Traditional and Digital Field Work 33 Introduction 33 Methods of Audience Studies 34 Insider Ethnography 35 “Aca-Fan” and “Geek Feminist” 37 Online Ethnography 40 Ethical Guidelines 42 Conclusion 43 F.A.C.T.S. 2010: Treasure Hunt 45 3. Naturalizing Sherlock Dutch Fans interpret the Famous Detective 53 Introduction 53 Sherlock 55 Reader-Response Criticism 58 Naturalization 61 Experientiality 64 Dutch Sherlock Fans 66 Online Sherlock Fandom 68 Cultural Repertoires 71 British detectives 77 Modernity 79 References and Characterization 81 Conclusion 86 FedCon 2011: Meeting the Media Stars 90 4. Queer Teen Drama Rewriting and Narrative Closure in Glee Fan Fiction 97 Introduction 97 Glee 100 Narrative Closure 103 Literary Analysis and Method 106 Pick Up Right Where We Left 109 Queer Bully 110 The Lost Nightingale 116 Darkening Glee 118 Mostverse 123 Growing Up 124 Conclusion 128 Otakon 2011: The Intimacy of Strangers 132 5. Transmedia Play: Approaching the Possible Worlds of Firefly 139 Virtual Encounters 139 Firefly 142 Transmedial Worlds 146 Game World 150 Role-Playing 153 Online Firefly Role-Playing 155 Serenity Table-Top 158 The Many Suitors of Lady Arden 161 Medium-Specificity of Serenity 164 Boarding New Carolina 167 Design of the Fan Game 168 Mediation and Embodiment of Firefly 172 Conclusion 174 WCS & Comic Markets 2012: Pilgrimage to Japan 178 6. Embodied Characters: The Affective Process of Cosplay 185 Introduction 185 Ludology of Cosplay 187 The Affective Process 191 Grounding Identity and Gender 195 The Felt and Fashioned Body 199 Engaging with Media Texts 202 Becoming the Character 206 Crafting and Preserving the Outfit 210 Conclusion 212 7. Conclusion: Prospects for Fan Studies 215 Challenges of an Emerging Field 215 Ethnographic Approaches 217 Core Concepts and Findings 218 Fan Identity 220 Future of Fandom 222 Bibliography of Fan Works 223 Bibliography 224 Summary 233 Curriculum Vitae 235 ACKNOWLEDGEMENTS I wish to thank all academics, fans and informants who have participated in this study and helped give shape to Productive Fandom. The various chapters have been presented at different sites including research networks, conferences and fan conventions. The feedback of readers and listeners was integral to advancing this project. I would like to thank my colleagues at Maastricht University at Arts, Media and Cultures. In particular, I thank our NWO team on Narrative Fan Practices, headed by Karin Wenz. Our interests amounted to the conference MASH 2013 where I profited from presenting my results to like-minded scholars. Likewise, I am indebted to the colleagues at Center of the Study of Digital Games and Play at Utrecht University where I resided as a guest lecturer for the Master in New Media and Digital Cultures. My office pals - Karlijn, Koen, Miranda and Kim – also supported me with their ethnographic expertise. Different research networks were vital to this project, in particular the Organization of Transformative Works (OTW), the Digital Games Research Association (DiGRA) and the Fan Studies Network (FSN). Their online support and conferences provided me an academic home. On a local level, the National Research School for Gender (NOG) and the Research School for Media Studies (RMeS) guided me through the research process. The annual Under the Mask conference for the study of play was another platform where I could present my work as early as 2010. I also profited from fan studies conferences held by ASCA, Interdisciplinary.net and the conference Narrative Minds and Virtual Worlds. I would like to thank the editors, reviewers and authors of the edited volumes and journals to which I contributed outcomes and selections of this book: Sherlock and Transmedia Fandom (Stein & Busse, 2013); The Companion to Fan Studies (De Zwaan, Duits, Reijnders, 2013); the special issue on fandom in Participations (2013); the “game love” anthology (MacCallum-Stewart, Enevold, forthcoming) and Everyday Feminist Research Praxis (Leurs, Olivieri, forthcoming). Working with you, and learning from you, was a joy. In addition, I thank Niki Haringsma for proofing several of the chapters. Last but not least, I thank all the participating fans, artists and informants. Without your efforts, this book would have been impossible. 1. SHARED NARRATIVES Intermediality in Fandom Introduction Whenever I wonder what being or becoming a fan means, I think about the first time that I attended a convention for Japanese popular culture. I had been a fan for years and subscribed to online forums to discuss “manga” (Japanese comics) and “anime” (Japanese cartoons). Still, I only had a handful of offline friends who understood how much this fiction actually meant to me. When I was eighteen, I travelled across the country to a weekend-long event where fans met up to enjoy Japanese popular culture. This convention, Animecon (2005), was held in a hotel, and nearly a thousand people were supposedly attending as visitors and volunteers. My best friend had sewn me an outfit belonging to Aerith, a fictional character from a game that I liked (Final Fantasy VII) and had told me that many other attendees would also be dressed up. I knew that many fans engaged in different creative hobbies, such as sewing or writing, and I showcased my own drawings of Final Fantasy characters on different Internet sites as well. Japanese popular culture inspired young fans like me to engage in arts and crafts. I heard that these practices were motivated at the convention through costume competitions, workshops and much more. Still, wearing a costume of one of my favorite characters seemed somehow odd; then again, the whole convention seemed odd. My friend described it as a type of Disneyland where fiction would be all around you. We had made a little group of Final Fantasy characters with whom we would compete in the costume competition and had practiced weeks before. I had prepared for the convention for a long time, but really, I had no idea what to expect. Upon arrival, I was dazzled by the busy, colorful atmosphere. In the lobby of the hotel, many people sat in costume and seemed to know each other. Characters that I had only seen on the screen passed me by: Mrs. Hellsing, Lulu, Rinoa. It was uncanny. Everywhere, fans discussed animation and games excitedly, admired characters and quoted their favorite lines. Many fans were so excited that I did not really know how to converse with them. This was my community, and many of the fans were undoubtedly on the same Dutch online forums that I frequented, but I did not really feel at home.
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