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1 Copyright Statement This Copy of the Thesis Has Been Supplied On University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2020 POOR COPY: FAN PRACTICES AND PRODUCERLY ART MAKING Richards, Beth Emily http://hdl.handle.net/10026.1/16634 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Copyright statement This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author's prior consent. 1 POOR COPY: FAN PRACTICES AND PRODUCERLY ART MAKING by BETH EMILY RICHARDS A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities and Performing Arts March 2020 2 In memory of my Grandad, Ken Maxwell. “History is just like every other yarn, sometimes the storyteller changes it to suit himself”. For Obi, constant friend and patient witness to my work. 3 Acknowledgements First I would like to thank my brilliant supervisors Roberta Mock and Anya Lewin for their continuous support, feedback, and generosity. With thanks to the University of Plymouth for awarding me the Histories, Memory Work and Memorialisation PhD Studentship, for enabling me to undertake this research. Thanks to the School of Humanities and Performing Arts for the Postgraduate Funding which allowed me to attend the Doctoral Summer School at the Universite de Grenobles Artes, and to the University of Plymouth Student Union Postgraduate Award which funded me to present at the International Federation of Theatre Researchers Conference at Shanghai Theatre Academy. Without a number of grants and residencies I would not have been able to develop the practice-research outcomes: thank you to a-n for the Professional Development Bursary which funded a collaborative project on fan cultures with Owen G Parry which informed this work; thanks to Visual Arts South West for the Artist Travel Bursary which funded me to attend several relevant exhibitions, performances, and symposia; thanks to the Standpoint Futures Prize team which funded residencies at Chisenhale Art Space and Plymouth Arts Centre to develop the practice; and thank you to Arts Council England for the Grants for the Arts Award to develop and tour Like A Pantomime. There have been many collaborators and participants in the Poor Copy project without whom the work would be very different. Thank you to the participants in Vaseline and Rose Oil, and to Nicki Hobday for documenting. A really big thank you to the archivists at Devon Heritage Centre and the North Devon Athenaeum for their support in allowing me to behave fannishly in the archives. Thanks to Richard Lappas, Joel Cooper, and to the many staff and audience members at the Barnstaple ‘Jackson’ gig that I spoke with. Thank you to Natalie Raven for 4 being such an inspired ‘hand model’ in Yes, It Really Did Happen, and to Siobhan Bauer for editing assistance with this work. Thank you to Sally Burne, George Lovesmith, Matt Reeves, Brantley Rogers, Sara Versi for all their brilliant ideas and energy when devising and performing Like A Pantomime. Thank you to all the Exeter City Football Club staff and fans who were involved with the development of the Like A Pantomime script, and a very special thank you to digital archivist of Exeter City Football Club, Will Barrett, for all his support with the wider project. Thank you to Stuart Billinghurst for his work lighting Like A Pantomime at Exeter Phoenix. Thank you to Hydar Dewachi for documenting Poor Copy at Jerwood Visual Arts so beautifully. Thank you to Owen G Parry for so generously sharing his knowledge on fan scholarship, for his essay 8 Poor Copies, commissioned for The Northern Charter show, and later for being such a fun collaborator at our two-person exhibition at Transition Two. Thank you also to Johanna Linsley for her essay Poor, Poor Copy, commissioned by Jerwood Visual Arts. I have been lucky enough to have support and feedback from many artists and curators where elements of Poor Copy were exhibited or supported. Thank you to Nigel Barratt and Louise Mari, Garry Foley, and the Probing Elvis artists for beginning my investigations into tribute. Thank you to Matt Burrows and Andy Cluer for your support at Exeter Phoenix. Thank you to Lucy Rollins, Ben Borthwick, and the Mount Florida Screenings team for your feedback on the development of raremjvideos1. Thank you to Fiona Macdonald and Louise Ashcroft for your support during the Standpoint Futures residency. Thanks to Tess Denman-Cleaver for the help and guidance with The Northern Charter exhibition. Thanks to Shy Bairns for your brilliant curation and installation of works in Fanspeak. A huge thank you to Lauren Houlton, 5 Sarah Williams, and to the Jerwood Visual Arts team for their support with Poor Copy at Staging Series. Thank you to the academics who gave me useful feedback at symposia and conferences, and specifically to Mark Duffett on tribute scholarship, and to Alicia Stark on virtual pop and musical holograms. Thanks to CarrieLynn Reinhard and Kirsty Sedgman for their invaluable feedback on my writing for the Journal of Popular Culture Studies and the Theatre and Fandom book respectively. Thank you to my husband Dan for sharing the article on the Jackson Barnstaple gig which set me off on this journey. Thank you to Natalie Raven, Chris Green, Katheryn Owen, Helen Billinghurst, Steven Paige, and the Performance. Experience. Presence research group for your support and feedback with my research in progress. Thank you to my family and friends for your encouragement and love. Finally, and most importantly, thank you to the Michael Jackson and Exeter City Football Club fans who shared their stories with me. 6 Author's Declaration At no time during the registration for the degree of Doctor of Philosophy has the author been registered for any other University award without prior agreement of the Doctoral College Quality Sub-Committee. Work submitted for this research degree at the University of Plymouth has not formed part of any other degree either at the University of Plymouth or at another establishment. This study was financed with the aid of a studentship form the University of Plymouth. The following people collaborated with some elements of the practice-research: - Nicki Hobday, photographic documentation of Vaseline and Rose Oil - Natalie Raven, ‘Hand model’/performer in Yes, It Really Did Happen - Siobhan Bauer, co-edited Yes, It Really Did Happen - Like A Pantomime devised with and performed by Sally Burne, George Lovesmith, Matt Reeves, Brantley Rogers, Sara Versi. - Script development support for Like A Pantomime by Exeter City Football Club fans. - Lighting for Exeter Phoenix version of Like A Pantomime by Stuart Billinghurst. - Hydar Dewachi for photographic documentation of works exhibited at Jerwood Visual Arts. Public presentations of creative research outputs: 2019 Fanspeak, Castlefield Gallery, Manchester 2018 PooR Life by dog people, Transition Two, London (duo with Owen G Parry) 2018 Mount Florida Screenings & Plymouth Arts Centre Exchange, Plymouth Arts Centre, as part of Plymouth Art Weekender 7 2018 Poor Copy, Jerwood Visual Arts, London (solo) 2018 Poor Copy, Exeter Phoenix (solo) 2018 Poor Copy, The Northern Charter, Newcastle (solo) 2018 Mount Florida Screenings & Plymouth Arts Centre Exchange, CCA Glasgow, as part of Glasgow International 2017 EMERGENCY, Aspex Gallery, Portsmouth 2017 DataAche, Digital Research in the Humanities and Arts Conference, Radiant Gallery, Plymouth 2016 Yes, It Really Happened, Gallery 333, Exeter Phoenix (solo) 2013 Experimentica, Chapter, Cardiff Presentations at conferences and symposia: 2019 Popular Entertainments, International Federation of Theatre Researchers, Shanghai Theatre Academy 2018 Standpoint lecture, Castlefield Gallery, Manchester 2017 Gestures of Here and There, Doctoral Summer School, Universite de Grenobles Artes 2017 Fan Studies Network Conference, University of Huddersfield 2017 Troubling Time: An Exploration of Temporality in the Arts, University of Manchester 2017 Nordic Summer University Winter Symposium: Legacy, Ricklundgården, Sweden 2017 Conditions for Creative Communities, Kettle’s Yard, Cambridge and Tate Modern, London 2016 Archiving Subcultures, Arnolfini, Bristol 2016 Out Of Time: Temporal Slippage in Performance and Visual Arts, University of Manchester 8 Written publications: Extract of Chapter One: “Between Mimicry and Difference: Performing Elvis(es)” in The Popular Culture Studies Journal, Vol. 7. No. 2, Popular Culture Association: Minneapolis Extract of Chapter Five: “Fan Historiographies as Verbatim Performance: When Michael Jackson visited Exeter City Football Club” in ed. Sedgman, K. Theatre and Fandom. University of Iowa Press: Iowa (forthcoming, in press). Funding and awards: 2019 Michael T. Marsden Award for outstanding original contribution to the field of Popular Culture studies, The Popular Culture Studies Journal 2019 University of Plymouth Student Union Postgraduate Award 2018 a-n Professional Development Bursary 2018 Grants for the Arts Award, Arts Council England 2017 Standpoint Futures Prize, Chisenhale Art Space 2017 School of Humanities and Performing Arts Postgraduate Funding 2016 Artist Travel Bursary, Visual Arts South West 2015 Histories, Memory Work and Memorialisation PhD Studentship, Plymouth University Word count of main body of thesis: 58,085 words Signed Date 9th March 2020 9 Beth Emily Richards Poor Copy: fan practices and producerly art making Abstract This thesis includes a body of artworks including performance, video, photography and audio installation, a zine, and textile artwork, documentation of which is presented via a YouTube channel, also titled Poor Copy.
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