The Ethics of Digital Real-Person Fan Fiction
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Expressions in Fan Culture
Háskóli Íslands Hugvísindasvið Japanskt mál og menning Expressions in Fan Culture Cosplay, Fan Art, Fan Fiction Ritgerð til BA-prófs í japönsku máli og menningu Ragnhildur Björk Jóhannsdóttir Kt.: 210393-2189 Leiðbeinandi: Gunnella Þorgeirsdóttir Maí 2017 Expressions in Fan Culture Abstract This composition is a BA thesis for Japanese Language and Culture at the University of Iceland. In this essay, I will give the reader a little insight into the world of fan culture and will be focusing on how fans express themselves. Fans get inspired by books, movies and television programmes to create all kinds of fan work; whether it is fan fiction, fan art, doujinshi, cosplay, or any other creations. Furthermore, the thesis will explore fan culture as it presents itself in Japan and compare it to fan culture in Europe and the USA. I will discuss the effect these creations, although mainly fan fiction, has on authors of popular media and on social media and how the Internet has made it easier for fans all over the world to connect, as well as for fans and creators to connect. 2 Expressions in Fan Culture Contents Abstract ..................................................................................................................... 2 Contents .................................................................................................................... 3 Introduction ............................................................................................................... 4 What is Fan Culture .................................................................................................. -
For Fans by Fans: Early Science Fiction Fandom and the Fanzines
FOR FANS BY FANS: EARLY SCIENCE FICTION FANDOM AND THE FANZINES by Rachel Anne Johnson B.A., The University of West Florida, 2012 B.A., Auburn University, 2009 A thesis submitted to the Department of English and World Languages College of Arts, Social Sciences, and Humanities The University of West Florida In partial fulfillment of the requirements for the degree of Master of Arts 2015 © 2015 Rachel Anne Johnson The thesis of Rachel Anne Johnson is approved: ____________________________________________ _________________ David M. Baulch, Ph.D., Committee Member Date ____________________________________________ _________________ David M. Earle, Ph.D., Committee Chair Date Accepted for the Department/Division: ____________________________________________ _________________ Gregory Tomso, Ph.D., Chair Date Accepted for the University: ____________________________________________ _________________ Richard S. Podemski, Ph.D., Dean, Graduate School Date ACKNOWLEDGMENTS First, I would like to thank Dr. David Earle for all of his help and guidance during this process. Without his feedback on countless revisions, this thesis would never have been possible. I would also like to thank Dr. David Baulch for his revisions and suggestions. His support helped keep the overwhelming process in perspective. Without the support of my family, I would never have been able to return to school. I thank you all for your unwavering assistance. Thank you for putting up with the stressful weeks when working near deadlines and thank you for understanding when delays -
Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation
Intellectual Property Brief Volume 8 Issue 2 Article 1 2016 Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation Mynda Rae Krato George Washington University Follow this and additional works at: https://digitalcommons.wcl.american.edu/ipbrief Part of the Intellectual Property Law Commons Recommended Citation Krato, Mynda Rae (2016) "Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation," Intellectual Property Brief: Vol. 8 : Iss. 2 , Article 1. Available at: https://digitalcommons.wcl.american.edu/ipbrief/vol8/iss2/1 This Article is brought to you for free and open access by the Washington College of Law Journals & Law Reviews at Digital Commons @ American University Washington College of Law. It has been accepted for inclusion in Intellectual Property Brief by an authorized editor of Digital Commons @ American University Washington College of Law. For more information, please contact [email protected]. Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation This article is available in Intellectual Property Brief: https://digitalcommons.wcl.american.edu/ipbrief/vol8/iss2/1 FICTITIOUS FLATTERY: FAIR USE, FANFICTION, AND THE BUSINESS OF IMITATION Mynda Rae Krato INTRODUCTION ............. 92 L Background............................................................. 94 A. Foundational Statutory and Case Law..................................94 B. Fanfiction Case Law..............................................96 C. Popular Culture and the Power of Fandoms ............................. -
Book Review: Only at Comic-Con: Hollywood, Fans, and the Limits of Exclusivity Hanna, Erin NEWARK: RUTGERS UNIVERSITY PRESS, 2020
Media Industries 7.2 (2020) Book Review: Only at Comic-Con: Hollywood, Fans, and the Limits of Exclusivity Hanna, Erin NEWARK: RUTGERS UNIVERSITY PRESS, 2020. Tanya D. Zuk1 GEORGIA STATE UNIVERSITY tzuk1 [AT] gsu.edu Comic-Con International: San Diego, known colloquially as Comic-Con, is one of the largest and most influential fan conventions in the world. Comic-Con as an event and as a brand has impacted fandom, popular culture, and, more importantly, for Erin Hanna, the media industries in Hollywood. Since its inception, Comic-Con has been intertwined with the media industries: comic creators and industry professionals attended the very first conven- tion. Comic-Con has, however, expanded beyond comic books to include all popular media and has opened its doors to industry creatives, synergistic promotion, and audience testing, making Comic-Con a useful event for Hollywood’s buzz machine.2 Comic-Con, as both an exclusive event and a franchise, has made fan conventions widely popular (and lucrative) with both audiences and global pop- ular culture industries. In this book, Hanna explores how Hollywood studios and related industries foster the appeal of exclusivity as a means of promotion that exploits fan labor. Media Industries 7.2 (2020) In Only at Comic-Con, Erin Hanna uses a framework of exclusivity to dismantle the power structures embedded in fan conventions generally and Comic-Con specifically. According to Hanna, “exclusivity is not defined by presences at all, but by the power to produce absences.”3 Hanna outlines the power dynamics between media industry representatives and conven- tion organizers (and fans), between fans and convention staff, and between fans themselves. -
Alternate Universe Fan Videos and the Reinterpretation of the Media
Alternate Universe Fan Videos and the Reinterpretation of the Media Source Introduction According to the Francesca Coppa, American scholar and co-founder of the Organization for Transformative Works1, fan videos are “a form of grassroots filmmaking in which clips from television shows and movies are set to music.”2 Fan videos are commonly referred to as: fanvid, songvid, vid, AMV (for Anime Music Video); their process of creation is called vidding and their editors (fan)vidders. While the “media tradition” described above in Francesca Coppa‟s definition is a crucial part of the fan video production, many other fan videos are created for anime, especially Asian ones (AMV), for video games (some of them called Machinima), or even for other subjects, from band tributes to other types of remix. The vidding tradition – in its current “shape” – goes back to the era of the first VCR; but the very first fan videos may be traced back to the seventies in a slideshow format. When channel mixers and numerous machines available to a large group of consumers emerged, this fan activity easily became an expanding one amongst the fan communities, who were often interested in new technology, whatever era it is. Vidding has now become a digital process, thanks to the expansion of computer and related technical means, including at least semiprofessional editing software. It seems relevant to point out how rare it is that a vidder goes through editing training when they begin to create fan videos, or even become a professional editor later on. Of course, exceptions exist, but vidding generally remains a hobby. -
The Writing and Reading of Fan Fiction and Transformation Theory
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 13 (2011) Issue 4 Article 4 The Writing and Reading of Fan Fiction and Transformation Theory Veerle Van Steenhuyse Ghent University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Van Steenhuyse, Veerle. "The Writing and Reading of Fan Fiction and Transformation Theory." CLCWeb: Comparative Literature and Culture 13.4 (2011): <https://doi.org/10.7771/1481-4374.1691> This text has been double-blind peer reviewed by 2+1 experts in the field. -
Watching, Creating, and Archiving
Article Convergence: The International Journal of Research into Watching, creating, and New Media Technologies 2015, Vol. 21(1) 145–164 ª The Author(s) 2015 archiving: Observations on the Reprints and permission: sagepub.co.uk/journalsPermissions.nav quantity and temporality of DOI: 10.1177/1354856514560313 fannish productivity in online con.sagepub.com fan fiction archives Abigail De Kosnik University of California, Berkeley, USA Laurent El Ghaoui University of California, Berkeley, USA Vera Cuntz-Leng Philipps University of Marburg, Germany Andrew Godbehere University of California, Berkeley, USA Andrea Horbinski University of California, Berkeley, USA Adam Hutz University of California, Berkeley, USA Rene´e Pastel University of California, Berkeley, USA Vu Pham University of California, Berkeley, USA Abstract In the Fan Data project, we collected data from online databases that archive media fan production (specifically, fictional fan texts). We developed software and visualization tools to analyze these archives. Digital analysis focused on counting and graphing the rate of the fan fiction production Corresponding author: Abigail De Kosnik, University of California, Berkeley, 412 Capp St, San Francisco, CA 94110, USA. Email: [email protected] Downloaded from con.sagepub.com at UNIV CALIFORNIA BERKELEY LIB on May 22, 2015 146 Convergence: The International Journal of Research into New Media Technologies 21(1) over time in three Hollywood blockbuster movie fandoms: The Avengers,theBatman trilogy, and Inception. We found that audiences grant a great deal of ‘mindshare’ to media texts and create fan works in response to those texts immediately after viewing a film but that what sustains fan productivity are the attractiveness of specific online archiving platforms and the liveliness of activity in a given fandom. -
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. -
Fanzines: Their Production, Culture and Future
Fanzines: Their Production, Culture and Future Phil Stoneman 0021697 Submitted in part fulfilment of the requirements for the degree of Master of Philosophy in Publishing Studies University of Stirling May 2001 1 Acknowledgements I would like to thank Andrew Wheatcroft for his help during the writing of this dissertation and all the fanzine publishers who assisted me in my research, particularly Ruth Stowell who gave me numerous places to start looking within the world of fanzines. 2 Contents Acknowledgements ii Chapter 1 - Introduction 4 Chapter 2 - Literature Review 9 Chapter 3 - Methodology 21 Chapter 4 - Fanzine history and the establishment of a fanzine culture 24 Chapter 5 - Fanzine Production and Distribution 44 Chapter 6 - From Zine to E-Zine 62 Chapter 7 - Conclusion 79 Bibliography 82 Appendix A – Fanzine Questionnaire 83 Appendix B – List of Fanzines researched 84 3 Chapter 1 - Introduction In this dissertation I wish to look at the production, distribution and social aspects involved in fanzine publishing. I have been interested in fanzines for a number of years. When I was about 15, I had an article published in Bamber's Right Foot, a fanzine dedicated to Torquay United Football Club. Since then I have bought copies of various types of zines and worked on the publication of a horror film fanzine, Firelight Shocks, and its related web site. What I slowly became aware of was the volume of fanzines being published regularly and the wide breadth of subjects that these cover, despite very few shops stocking them (and even then it is generally only music zines that can persuade independent record shops to take a few copies). -
Fandom, Fan Fiction and the Creative Mind ~Masterthesis Human Aspects of Information Technology~ Tilburg University
Fandom, fan fiction and the creative mind ~Masterthesis Human Aspects of Information Technology~ Tilburg University Peter Güldenpfennig ANR: 438352 Supervisors: dr. A.M. Backus Prof. dr. O.M. Heynders Fandom, fan fiction and the creative mind Peter Güldenpfennig ANR: 438352 HAIT Master Thesis series nr. 11-010 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN COMMUNICATION AND INFORMATION SCIENCES, MASTER TRACK HUMAN ASPECTS OF INFORMATION TECHNOLOGY, AT THE FACULTY OF HUMANITIES OF TILBURG UNIVERSITY Thesis committee: [Dr. A.M. Backus] [Prof. dr. O.M. Heynders] Tilburg University Faculty of Humanities Department of Communication and Information Sciences Tilburg center for Cognition and Communication (TiCC) Tilburg, The Netherlands September 2011 Table of contents Introduction..........................................................................................................................................2 1. From fanzine to online-fiction, a short history of modern fandom..................................................5 1.1 Early fandom, the 1930's...........................................................................................................5 1.2 The start of media fandom, the 1960's and 1970's.....................................................................6 1.3 Spreading of media fandom and crossover, the 1980's..............................................................7 1.4 Fandom and the rise of the internet, online in the 1990's towards the new millennium............9 -
Embodying Cosplay: Fandom Communities in the Usa Natasha L
Georgia State University ScholarWorks @ Georgia State University Anthropology Theses Department of Anthropology 5-3-2017 EMBODYING COSPLAY: FANDOM COMMUNITIES IN THE USA NATASHA L. HILL Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/anthro_theses Recommended Citation HILL, NATASHA L., "EMBODYING COSPLAY: FANDOM COMMUNITIES IN THE USA." Thesis, Georgia State University, 2017. https://scholarworks.gsu.edu/anthro_theses/119 This Thesis is brought to you for free and open access by the Department of Anthropology at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Anthropology Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EMBODYING COSPLAY: FANDOM COMMUNITIES IN THE USA by NATASHA LOREN HILL Under the Direction of Emanuela Guano ABSTRACT Cosplay is a portmanteau of costume and play, referring specifically to role-play. Cosplay consists of various costumed role-playing, such as anime, manga, video games, science-fiction, fantasy, horror, mythology, etc. In the 1990s, cosplay emerged as a popular street fashion subculture in Japan that has become a worldwide phenomenon. Cosplay was already present in North American popular culture in association with comic and science-fiction conventions. These events at the time were considered masquerades, not cosplay. Cosplay communities rely primarily on maintaining social relationships via internet communication and word of mouth. The standards for what constitutes cosplay are upheld by individuals, the community, and organizations. These organizations are made of security personnel, cosplay contest judges, local police, and convention staff. Through this ethnography on cosplayers, I will identify the hidden power structures, agency, and resistance or replication of hegemony in the community; by using a combination of interviews, participant observation, and auto-ethnography. -
Transportation Trips, Excursions, Special Journeys, Outings, Tours, and Milestones In, To, from Or Through New Jersey
TRANSPORTATION TRIPS, EXCURSIONS, SPECIAL JOURNEYS, OUTINGS, TOURS, AND MILESTONES IN, TO, FROM OR THROUGH NEW JERSEY Bill McKelvey, Editor, Updated to Mon., Mar. 8, 2021 INTRODUCTION This is a reference work which we hope will be useful to historians and researchers. For those researchers wanting to do a deeper dive into the history of a particular event or series of events, copious resources are given for most of the fantrips, excursions, special moves, etc. in this compilation. You may find it much easier to search for the RR, event, city, etc. you are interested in than to read the entire document. We also think it will provide interesting, educational, and sometimes entertaining reading. Perhaps it will give ideas to future fantrip or excursion leaders for trips which may still be possible. In any such work like this there is always the question of what to include or exclude or where to draw the line. Our first thought was to limit this work to railfan excursions, but that soon got broadened to include rail specials for the general public and officials, special moves, trolley trips, bus outings, waterway and canal journeys, etc. The focus has been on such trips which operated within NJ; from NJ; into NJ from other states; or, passed through NJ. We have excluded regularly scheduled tourist type rides, automobile journeys, air trips, amusement park rides, etc. NOTE: Since many of the following items were taken from promotional literature we can not guarantee that each and every trip was actually operated. Early on the railways explored and promoted special journeys for the public as a way to improve their bottom line.