Proquest Disserststions
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Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
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. -
Gender and the Quest in British Science Fiction Television CRITICAL EXPLORATIONS in SCIENCE FICTION and FANTASY (A Series Edited by Donald E
Gender and the Quest in British Science Fiction Television CRITICAL EXPLORATIONS IN SCIENCE FICTION AND FANTASY (a series edited by Donald E. Palumbo and C.W. Sullivan III) 1 Worlds Apart? Dualism and Transgression in Contemporary Female Dystopias (Dunja M. Mohr, 2005) 2 Tolkien and Shakespeare: Essays on Shared Themes and Language (ed. Janet Brennan Croft, 2007) 3 Culture, Identities and Technology in the Star Wars Films: Essays on the Two Trilogies (ed. Carl Silvio, Tony M. Vinci, 2007) 4 The Influence of Star Trek on Television, Film and Culture (ed. Lincoln Geraghty, 2008) 5 Hugo Gernsback and the Century of Science Fiction (Gary Westfahl, 2007) 6 One Earth, One People: The Mythopoeic Fantasy Series of Ursula K. Le Guin, Lloyd Alexander, Madeleine L’Engle and Orson Scott Card (Marek Oziewicz, 2008) 7 The Evolution of Tolkien’s Mythology: A Study of the History of Middle-earth (Elizabeth A. Whittingham, 2008) 8 H. Beam Piper: A Biography (John F. Carr, 2008) 9 Dreams and Nightmares: Science and Technology in Myth and Fiction (Mordecai Roshwald, 2008) 10 Lilith in a New Light: Essays on the George MacDonald Fantasy Novel (ed. Lucas H. Harriman, 2008) 11 Feminist Narrative and the Supernatural: The Function of Fantastic Devices in Seven Recent Novels (Katherine J. Weese, 2008) 12 The Science of Fiction and the Fiction of Science: Collected Essays on SF Storytelling and the Gnostic Imagination (Frank McConnell, ed. Gary Westfahl, 2009) 13 Kim Stanley Robinson Maps the Unimaginable: Critical Essays (ed. William J. Burling, 2009) 14 The Inter-Galactic Playground: A Critical Study of Children’s and Teens’ Science Fiction (Farah Mendlesohn, 2009) 15 Science Fiction from Québec: A Postcolonial Study (Amy J. -
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. -
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 -
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. -
Copy This Class (The Art of the Remix) Professor Julie Levin Russo Voice: (775) JLRUSSO Email: [email protected] Office: M/W 4:15-5:15, ART116
Copy This Class (The Art of the Remix) Professor Julie Levin Russo voice: (775) JLRUSSO email: [email protected] office: M/W 4:15-5:15, ART116 FILMSTUD156/356 Mashups, sampling, parodies, fan video, DIY media, memes: we are in the midst of an Stanford - Spring 2011 explosion in vernacular creativity that appropriates, celebrates, critiques, and M/W 2:15-4:05 ART4 transforms commercial entertainment. New digital technologies and Internet platforms support a developing ecology of remix forms with unprecedented reach, richness, and cultural influence. At the same time, the value and legitimacy of this popular production is hotly contested on the basis of artistic merit, traditional literacies, and intellectual property. This course analyzes and engages in contemporary remix culture via precursors like appropriation art and hip hop, exploring theoretical questions about originality, capitalism, law, and digital media. this syllabus remixes: Digital Media and Participatory Culture • Melanie Kohnen • Georgia Tech http://lcc.gatech.edu/~mkohnen3/index_tp_syllabus_participatoryculture.html Remix Culture • Jill Walker Rettberg • University of Bergen http://jilltxt.net/?p=2418 Open Source Culture • Mark Tribe • Brown University https://wiki.brown.edu/confluence/display/mcm1700n Writing, Research, and Technology • Bill Wolff • Rowan University http://williamwolff.org/courses/wrt-fall-2010/wrt-syllabus-f10/ SPACES This course meets twice a week for about 2 hours to allow for flexible class time that may include discussion, screenings, presentation, critiques, and labs. Monday's meetings will typically include discussion of the assigned readings and some in-class viewing (approximately 1 hour each). Wednesday's meetings will typically include presentation/discussion of student projects and technical workshops. -
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. -
Doctor Who and the Sea-Devils Free Encyclopedia
FREE DOCTOR WHO AND THE SEA-DEVILS PDF Malcolm Hulke,Geoffrey Beevers | 1 pages | 01 Apr 2014 | BBC Audio, A Division Of Random House | 9781445824673 | English | London, United Kingdom The Sea Devils - Wikipedia As IMDb celebrates its 30th birthday, we have six shows to get you ready for those pivotal years of your life Get some streaming picks. The Doctor and Jo visit the Master at his island prison where the Doctor becomes curious about a number of ships sinking in the area. Review of all 6 episodes: The Master teams up with reptilian creatures who have been dormant under the ocean for millions of years to try to conquer humanity again. These creatures, which are dubbed Sea Devils by terrified humans, are relatives of the 'Silurians' or as The Doctor re-names them Eocenes. They were on Earth before humans and want to claim the planet back after eons of suspended animation in the ocean depths. The Doctor tries Doctor Who and the Sea-Devils broker peace whilst The Master whips up a war. Human leaders also have the appetite for war so trapping The Doctor Doctor Who and the Sea-Devils the middle. This adventure is not flawless but provides Doctor Who and the Sea-Devils entertainment and iconic scenes throughout. All episodes of this adventure are terrific fun, exciting, interesting, well written and acted with only very minor faults. The interest and quality levels never drop below 9. Pertwee himself is in majestic form demonstrating brilliant humour, dynamic action, warmth and intelligence. There is a tremendously fun sword fight between him and The Doctor as well as all the wonderful verbal jousting. -
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. -
Meeting Josh Groban (Again): Fan/Celebrity Contact As Ordinary Behavior
Meeting Josh Groban (Again): Fan/Celebrity Contact as Ordinary Behavior Gayle Stever Empire State College, Rochester, NY [email protected] Abstract In a participant-observer ethnographic study, the researcher offers evidence from 10 years of observation of the Josh Groban fandom as an example of fans becoming friendly acquaintances of celebrities. Contrary to the way much of the psychological literature depicts fans, as celebrity worshippers or stalkers, the largest percentage of the fans observed in this study showed normal social engagement with others outside of their fan activity, and a friendly acquaintanceship with Groban that is similar to other kinds of relationships happening outside of the context of mediated relationships. Fans who pursued these relationships did so within a social context and network of other fans in most cases. Connection through music, relief from various kinds of life stressors, or the desire to participate in charity efforts are offered as some of the explanations for what motivates the fan to seek out this kind of relationship with an attractive media persona. KEYWORDS: fan, celebrity, parasocial, ethnography, audience Introduction Social relationships are defined within a culture in a myriad of ways. While more traditional relationships have been the focus of much social psychological research, little has been done to try to define the face-to-face social relationships that develop between a media celebrity and his or her fans. These relationships exist, they can be significant in the lives of both celebrities and fans, and they are a normal occurrence for a media-saturated society. IASPM@Journal vol.6 no.1 (2016) Journal of the International Association for the Study of Popular Music ISSN 2079-3871 | DOI 10.5429/2079-3871(2016)v6i1.7en | www.iaspmjournal.net Meeting Josh Groban (Again) 105 This trend to overlook the ongoing relationships that fans have with celebrities is part of what has been referred to as the “marginalization of celebrity” (Duffett 2014: 163). -
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).