Exploring the Relationship Between the Fan Fiction Community and the Publishing Industry
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Gender and Consent in Supernatural Fanfiction's Alpha/Beta/Omega
i Just Go Find Yourself a Nice Alpha: Gender and Consent in Supernatural Fanfiction’s Alpha/Beta/Omega Universe by Tessa Barone A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Arts in English (Honors Scholar) Honors Baccalaureate of Arts in History (Honors Scholar) Presented May 28, 2019 Commencement June 2019 ii iii AN ABSTRACT OF THE THESIS OF Tessa Barone for the degree of Honors Baccalaureate of Arts in English and Honors Baccalaureate Arts in History presented on May 28, 2019. Title: Just Go Find Yourself a Nice Alpha: Gender and Consent in Supernatural Fanfiction’s Alpha/Beta/Omega Universe. Abstract approved:_____________________________________________________ Rebecca Olson Shows, books, and media are constantly negotiating power with their fans. Who decides what is canon? To whom does the story belong?? The answer has traditionally been in favor of producers. However, in the age of the internet, fans now hold considerably more power than they ever have before, and some shows, like the CW’s Supernatural, respond by participating in “fanservice.” Many fans of this show strongly support slash and incest pairings, and by allowing such interpretations to be acknowledged in the narrative Supernatural makes increasingly transgressive readings available to the audience. The trope known as “Alpha/Beta/Omega Dynamics” is extremely popular, borderline pornographic, and virtually eradicates women from the narrative—instead depicting a relationship between men that is highly heterosexual in dynamic. This trope deconstructs the gender binary by assigning gender roles based on behavior, rather than biology, and appeals to an animal code of ethics in order to indulge in problematic, sexist, and abusive sexual situations. -
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. -
Front Matter Template
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UT Digital Repository Copyright by Birch Griesse 2019 The Report Committee for Birch Griesse Certifies that this is the approved version of the following Report: Mediating Conflicting Values in a Community Archives Setting APPROVED BY SUPERVISING COMMITTEE: Amelia Acker, Supervisor Patricia K. Galloway Mediating Conflicting Values in a Community Archives Setting by Birch Griesse Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Science in Information Studies The University of Texas at Austin May 2019 Acknowledgements I would like to thank Dr. Amelia Acker for her hard work in helping me navigate the process of researching and writing this report, including helping me overcome several obstacles along the way. I would also like to thank my mother, Janet Titus, for her continuous love and support. iv Abstract Mediating Conflicting Values in a Community Archives Setting Birch Griesse, M.S. Info. St. The University of Texas at Austin, 2019 Supervisor: Amelia Acker This report examines conflicts within the user community of the online fanwork repository Archive of Our Own (AO3). The site is a nonprofit venture with the ambitious goal of serving the large heterogeneous community of fandom writ large. Tensions among subsets of the Archive’s user group have flared up at various points in its ten-year history, forcing its volunteer-based staff into the position of arbiter of community values. These conflicting values have influenced, sometimes asymmetrically, the functionality of the Archive and are now embedded in its design. -
Podcasting Fandom”
Podcasts and Convergent Digital Media, pt. 2 “Podcasting Fandom” Paul Booth, College of Communication, DePaul University What does overtly “being a fan” reflect about the contemporary fan experience? What one person considers fannish behavior might not be considered fannish by others. Indeed, fandom is both personal (in that it is something experienced within the self) and public (in that no one will know you are a fan if you don’t display it in some way). In the convergent digital media era, fandom is profoundly mutable. From armchair fan to fan fiction author, from convention-goer to podcast-maker, “being a fan” can mean many things in many different corners of the web. Not only can one be a fan in the quiet of one’s own living room, but one can be a fan—a loud fan— online and with others in a podcast. With the increasingly rapid monetization of fandom throughout the media environment, however, I want to explore the various ways that podcasting fandom can problematize contemporary discourses of fan activity. How does podcasting change our notions of fandom? And how does fandom change our notions of podcasting? For the mainstream media industries, fandom does have a particular identity—one marked with a dollar sign. Fans are big business. Media corporations have harnessed fan work for advertising, have used fans to Tweet news, have enabled online contests to sell fans’ information on mailing lists, have developed platforms for fan interaction, and have made countless millions of dollars on advertising and page views. It is the era of “broadcast yourself” on YouTube and “what’s happening” on Twitter: And while social media platforms are useful for fans’ organization and connection, fans ultimately serve a commercial agenda for these platforms. -
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. -
Escapism and the Ideological Stance in Naomi Novik's
B R U M A L Revista de Investigación sobre lo Fantástico DOI: https://doi.org/10.5565/rev/brumal.606 Research Journal on the Fantastic Vol. VII, n.º 2 (otoño/autumn 2019), pp. 111-131, ISSN: 2014-7910 «I DIDN’T OFFER TO SHAKE HANDS; NO ONE WOULD SHAKE HANDS WITH A JEW»: ESCAPISM AND THE IDEOLOGICAL STANCE IN NAOMI NOVIK’S SPINNING SILVER SARA GONZÁLEZ BERNÁRDEZ Universidade de Santiago de Compostela [email protected] Recibido: 12-06-2019 Aceptado: 11-09-2019 AbsTRACT Naomi Novik, an American writer of Lithuanian-Polish ascendency, is one of the most acclaimed voices in contemporary young-adult fantasy fiction. Her fantasies are heav- ily influenced by her cultural heritage, as well as by the fairy tale tradition, which be- comes most obvious in her two standalone novels, Uprooted and the subject of this es- say, Spinning Silver. As the quote chosen for this essay’s title demonstrates, Novik’s second standalone work constitutes one of the most obvious outward statements of an ideological stance as expressed within fantasy literature, as well as an example of what Jack Zipes (2006) called transfiguration: the rewriting and reworking of traditional tales in order to convey a different, more subversive message. This paper considers how Novik’s retelling takes advantage of traditional fairy-tale elements to create an implicit critique of gender-based oppression, while at the same time, and much more overtly, denouncing racial and religious prejudice. The ideological stance thus conveyed is shown to be intended to have consequences for the reader and the world outside of the fiction. -
The Publishing Plan
NONFICTIONTHE BOOK PUBLISHING PLAN THE PROFESSIONAL GUIDE TO PROFITABLE SELF-PUBLISHING STEPHANIE CHANDLER KARL W. PALACHUK Copyright © 2018 by Stephanie Chandler and Karl W. Palachuk. All rights reserved. No part of this publication may be reproduced, stored in a retrieval sys- tem, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, without the prior written permission of the author. Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representa- tions or warranties with respect to the accuracy or completeness of the con- tents of this book and specifically disclaim any implied warranties of mer- chantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional when appropriate. Neither the publisher nor the author shall be liable for any loss of profit or any other commer- cial damages, including but not limited to special, incidental, consequential, personal, or other damages. The Nonfiction Book Publishing Plan The Professional Guide to Profitable Self-Publishing By Stephanie Chandler and Karl W. Palachuk 1. LAN027000 2. LAN002000 3. REF026000 Print ISBN: 978-1-949642-00-1 Ebook ISBN: 978-1-949642-01-8 Printed in the United States of America Authority Publishing 11230 Gold Express Dr. #310-413 Gold River, CA 95670 800-877-1097 AuthorityPublishing.com CONTENTS Chapter 1: The Business of Self-Publishing Nonfiction Books . -
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 ............................. -
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. -
Ebook Market of The
Valitse kohde. - VALITSE KOHDE. VALITSE KOHDE. EBOOK MARKET OF THE USA Litnet case Author/s: Andrii Tytenko eSAVONIA UNIVERSITY OF APPLIED SCIENCES THESIS Abstract Field of Study Social Sciences, Business and Administration Degree Programme Degree Programme in International Business Author(s) Andrii Tytenko Title of Thesis eBook market of the USA: Litnet case Date 14.12.2019 Pages/Appendices 49 Supervisor(s) Virpi Oksanen, Ari Pitkänen Client Organisation /Partners Litnet Abstract The eBook market in the USA is the largest English-speaking eBook market. The purpose of the thesis was to do profound research on the eBook market in the USA for the case company Litnet. The importance of this research derives from the case company’s interest in the market. The research conducted for Litnet was made by utiliZing several marketing research frameworks such as PEST analysis, Porter’s Five Forces model, and SWOT analysis. Both qualitative and quantitative research methods were applied in the study. The research discovered that the overall attractiveness of the US market is high for Litnet. The research showed that the industry infrastructure is favourable. The market is characterized by a high level of rivalry and low en- trance barriers. There are different models of eBooks distribution, such as traditional per copy sales, subscription services, and pay per chapter services. The market may experience pressure from audiobooks and print books sales. Litnet may use the differentiation strategy to escape the direct competition in the market. The research gives an overview of the eBook market in the USA and analyses prerequisites for Litnet's possible market strate- gies. -
Orienting Fandom: the Discursive Production of Sports and Speculative Media Fandom in the Internet Era
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository ORIENTING FANDOM: THE DISCURSIVE PRODUCTION OF SPORTS AND SPECULATIVE MEDIA FANDOM IN THE INTERNET ERA BY MEL STANFILL DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications with minors in Gender and Women’s Studies and Queer Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Doctoral Committee: Professor CL Cole, Co-Chair Associate Professor Siobhan Somerville, Co-Chair Professor Cameron McCarthy Assistant Professor Anita Chan ABSTRACT This project inquires into the constitution and consequences of the changing relationship between media industry and audiences after the Internet. Because fans have traditionally been associated with an especially participatory relationship to the object of fandom, the shift to a norm of media interactivity would seem to position the fan as the new ideal consumer; thus, I examine the extent to which fans are actually rendered ideal and in what ways in order to assess emerging norms of media reception in the Internet era. Drawing on a large archive consisting of websites for sports and speculative media companies; interviews with industry workers who produce content for fans; and film, television, web series, and news representations from 1994-2009 in a form of qualitative big data research—drawing broadly on large bodies of data but with attention to depth and texture—I look critically at how two media industries, speculative media and sports, have understood and constructed a normative idea of audiencing.