Fandom, Participatory Culture and Web 2.0 — A Syllabus

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As regular readers of this blog know, the syllabus for my PhD seminar on fandom studies has evolved a lot through the years. The changes I have made this round mostly center on integrating a transcultural fandom perspective across the whole, with a particular emphasis on East Asian fandoms. This shift reflects a number of things. For one thing, I have a growing number of PhD students with strong interests in K-pop and its fans as well as a growing constituency from the East Asian Language and Culture program at USC. I was recently given an honorary appointment there to reflect my involvement and commitment. Beyond that, having spent seven weeks this summer teaching, speaking, and doing research on fandom, I am really fascinated by everything I learned and brought back a ton of interesting raw materials to work through. I also see transcultural fan studies as one of the richest spaces in the subfield at the moment. This is why I ran the Global Fandom Jamboree here a year or so back. We are building contact with fandom studies faculty around the world, offering us new data on different local practices and logics. And to do this we need new theories which deal with regional, diasporic, and crosscultural connections within fandom. I am especially intrigued with the nexus between Japan, Korea, and China and the continued role of America and the UK in that region. Each of these cultures has vibrant and distinctive fan communities and a great deal of cultural exchange despite geopolitical conflicts, both historical and contemporary, which makes this to me the most compelling space to discuss. And there are open questions about how India fits into this nexus as another major pop culture-producing country or the emerging role of Thailand and Southeast Asia in relation to this nexus. I have lots to learn here, but there's a broad range of expertise amongst the students enrolled in the class and so I look forward to creating a context in the classroom where we can all learn from each other -- one of many reasons I am leaning heavily on the dialogic writing process for the assignments.

Comm 577: Fandom, Participatory Culture and Web 2.0

Fan Studies:

  • emerged from the Birmingham School's investigations of subcultures and resistance

  • became quickly entwined with debates in Third Wave Feminism and queer studies

  • has been a key space for understanding how taste and cultural discrimination operate

  • has increasingly been a site of investigation for researchers trying to understand informal learning or emergent conceptions of the citizen/consumer

  • has shaped legal discussions around appropriation, transformative work, and remix culture

  • enters discussions of racial representation, diversity, and inclusion within the entertainment industry

  • offers a useful window for understanding how globalization is reshaping our everyday lives

  • contributes to important debates about the nature of media authorship

  • and so much more

This course will be structured around an investigation of the contribution of fan studies to cultural theory, framing each class session around a key debate and mixing writing explicitly about fans with other work asking questions about cultural change and the politics of everyday life. This term, I have chosen to revise my syllabus to reflect ongoing debates in the field – in particular, a new effort to “de-colonize fandom studies,” to re-center the field around questions of race and nationality, as well as its historic focus on gender and sexuality. Together, we will work through the ways that this new work requires us to question and revise earlier formulations of the field.  I am also building on research I did this summer on fandom in Shanghai to give particular attention to the matrix of different fandoms that intersect in East Asia, including those from China, Japan, South Korea, the United States, and Great Britain.

Student Learning Outcomes

  • Distinguish among fandom, participatory culture, and Web 2.0

  • Map the roots of fandom studies in earlier theories of audiences, readers, subcultures, and publics

  • Recognize and apply methods (ethnography, autoethnography, historiography, close textual analysis) associated with fandom studies

  • Explore the links between fandom studies and earlier forms of grassroots media practice

  • Engage with debates in fandom studies around gender, sexuality, generational differences, race, and nationality

  • Apply concepts like transcultural fandom and cultural imperialism to understand fan cultures in the East Asian context.

  • Identify core fandom practices, such as fan fiction, vidding, and cosplay

  • Map the social dynamics (and tensions) that define fan communities

  • Discuss the relationship between fan activism and civic imagination

  • Define core concepts used to explain fan activity, such as resistance, participation, engagement, taste, and mastery

  • Question the conflicting assumptions about authorship and intellectual property that shape relations between fans and producers

  • Debate Moral Economy and Fan Labor as contrasting models for how value emerges from fan communities

  • Make an original contribution to the scholarship on fandom and participatory culture

Required Readings and Supplementary Materials

  • Anastasia Salter and Mel Stanfill, A Portrait of the Auteur as Fanboy: The Construction of Authorship in Transmedia Franchises (Jackson: University Press of Mississippi, 2020).

  • Mizuko Ito, Daisuke Okabe and Izumi Tsuji (eds.), Fandom Unbound: Otaku Culture in a Connected World (New Haven: Yale University Press, 2012).

  • Rukmini Pande (ed.) Fandom, Now in Color: A Collection of Voices (Iowa City: University of Iowa Press, 2020). 

I assign a lot of reading in the hopes of providing you resources for your research and writing, not to mention a broader mapping of key debates and figures in the field. My expectation is that you will scan everything to get a broad sense of goals, theories, methodologies, and subjects. You then should drill deeper into at least one reading each week that you feel will be most related to your own interests in fandom studies and be ready to speak to it in class discussion,

Optional Readings and Supplementary Materials

Elizabeth Affuso, Suzanne Scott (erf.) Sartorial Fandom: Fashion, Beauty Culture, and Identity (University of Michigan, 2023)

The opening session of this class considers fandom in the context of larger trends in cultural studies and is considered a review of fundamental texts in the field. If you have not previously read any of the following, I recommend you take a look at these readings:

  • Angela McRobbie, “Settling Accounts with Subcultures: A Feminist Account,” http://www.hu.mtu.edu/~jdslack/readings/CSReadings/McRobbie_Settling_Accounts_with_Subcultures.pdf

  • Stuart Hall, “Encoding/Decoding” in Simon During (ed.), The Cultural Studies Reader (London: Routledge, 2007), https://faculty.georgetown.edu/irvinem/theory/SH-Encoding-Decoding.pdf.

  • Raymond Williams, “Culture Is Ordinary” (1958).

  • Janice Radway, “The Readers and Their Romances,” Reading the Romance: Women, Patriarchy and Popular Literature (Durham, NC: Duke University Press, 1984).

  • Richard Dyer, “Judy Garland and Gay Men,” Heavenly Bodies: Film Stars and Society (London: McMillian, 1986).

  • bell hooks, "The Oppositional Gaze: Black Female Spectators," in Black Looks: Race and Representation (Boston: South End Press).

  • Stanley Fish, “Is There a Text in This Class?” Is There a Text in This Class? (Cambridge: Harvard University Press, 1980).

Assignments

Dialogic Writing: This semester, I want students to experiment with collaborative or dialogic forms of writing. You will be assigned a partner at the start of the term (someone who will bring a significantly different background and perspective from your own). Across the term, you will write a weekly series of conversational pieces where the two of you dig into issues which have been raised by the course materials, conversations, and experiences, but which will also draw on your own observations about fandom and participatory culture. These are not crossfire posts; your goal is to explore your differences but also to search for common ground. Each installment should be roughly 1,500 words (i.e. 750-1k words per contributor) and should include more than one round of back and forth exchanges.  Assignments are due by 9 AM on the day the class meets.

Auto-Ethnography:  You will write a short five-page auto-ethnography describing your own history as a fan of popular entertainment. You will explore whether or not you think of yourself as a fan, what kinds of fan practices you engage with, how you define yourself as a fan, how you became invested in the media franchises that have been part of your life, and how your feelings about being a fan might have adjusted over time.

Annotated Bibliography: You will develop an annotated bibliography exploring one of the theoretical debates that have been central to the field of fan studies. These might include those which we've identified for the class, or they might include other topics more relevant to the student's own research. What are the key contributions of fan studies literature to this larger field of inquiry? What models from these theoretical traditions have informed work in fan studies? This bibliography is intended to get you started with the secondary reading for your final project and should include a brief abstract of what you hope to explore through that project.

Presentation: Students will do a short 10-minute presentation of their findings for their final paper during the final week of class.

Final Paper: You will write a 15-20-page essay on a topic of your own choosing (in consultation with the instructor) which you feel grows out of the subjects and issues we've been exploring throughout the class. The paper will ideally build on the annotated bibliography created for the earlier assignment.

Some students may be asked to informally do share and tell on fandom practices or communities which surface in their dialogical writing. If you have something you want to present, please let me know. But recognize that this is not a course requirement – you can say no – and these presentations will not be graded.

 

Course Schedule

Week 1: Fandom Studies - A Prehistory

  • Jonathan Gray, Cornel Sandvoss, and C. Lee Harrington, "Why Study Fans?" in Jonathan Gray, Cornel Sandvoss, and C. Lee Harrington (eds.), Fandom: Identities and Communities in a Mediated World (New York: New York University Press, 2007).

See recommended/ supplemental readings highlighted in this syllabus for further review materials.

NOTE: The opening session considers fandom in the context of larger trends in cultural studies and is considered a review of fundamental texts in the field.

 

Week 2: Fan Studies and Cultural Resistance

  • John Fiske, "The Cultural Economy of Fandom," in Lisa A. Lewis (ed.), The Adoring Audience: Fan Culture and Popular Media (New York: Routledge, 1992).

  • Joli Jensen, “Fandom as Pathology” ," in Lisa A. Lewis (ed.), The Adoring Audience: Fan Culture and Popular Media (New York: Routledge, 1992).

  • Camille Bacon-Smith, "Identity and Risk," Enterprising Women: Television Fandom and the Creation of Popular Myth (Philadelphia: University of Pennsylvania Press, 1992). 

  • Constance Penley, "Feminism, Psychoanalysis, and the Study of Popular Culture," in Lawrence Grosberg, Cary Nelson, and Paula A. Treichler (eds.), Cultural Studies (Durham: Duke University Press, 1991).

  • Henry Jenkins, "Star Trek Rerun, Reread, Rewritten,” Fans, Bloggers and Gamers (New York: New York University Press, 2006).

  • Rebecca Wanzo, “African American Acafandom and Other Strangers: New Genealogies of Fan studies,” Transformative Works and Culture 20, 2015, http://journal.transformativeworks.org/index.php/twc/article/view/699.

  • (Rec.) Stephen Duncombe, “Resistance” in Laurie Ouellette and Jonathan Gray (eds.), Keywords For Media Studies (New York: New York University Press, 2017).

  • (Rec.)  Henry Jenkins, “Negotiating Fandom: The Politics of Race-Bending” in Melissa A. Click and Suzanne Scott (eds.), The Routledge Companion of Fandom Studies (London: Routledge, 2017).

  • (Rec.) Stephen Duncombe, “Resistance” in Laurie Ouellette and Jonathan Gray (eds.), Keywords For Media Studies (New York: New York University Press, 2017).

  • (Rec.)  Henry Jenkins, “Negotiating Fandom: The Politics of Race-Bending” in Melissa A. Click and Suzanne Scott (eds.), The Routledge Companion of Fandom Studies (London: Routledge, 2017).

 

Week 3: From Engagement to Participation

  • Rhiannon Bury, “Fans, Fan Studies and the Participatory Continuum,” in Melissa A. Click and Suzanne Scott (eds.), The Routledge Companion of Fandom Studies (London: Routledge, 2017).

  • Henry Jenkins, Sam Ford, and Joshua Green, “The Value of Media Engagement,” Spreadable Media: Creating Value and Meaning in a Networked Culture (New York: New York University Press, 2013), 113-150.

  • danah boyd, Henry Jenkins, and Mimi Ito, “Defining Participatory Culture,” Participatory Culture in a Networked Era (London: Polity, 2014), 1-31. 

  • Alfred L. Martin Jr., “Surplus Blackness,” Flow, April 27, 2021, https://www.flowjournal.org/2021/04/surplus-blackness/.

  • Nancy Baym, "Participatory Boundaries," Playing to the Crowd: Musicians, Audiences, and the Intimate Work of Connection (New York: New York University Press, 2018).

 

Week 4: Tracing the History of Participatory Culture

  • Robert Darnton, "Readers Respond to Rousseau: The Fabrication of Romantic Sensibility," The Great Cat Massacre and Other Episodes in French Cultural History (New York: Basic, 2009).

  • Daniel Cavicchi, “Foundational Discourses of Fandom” in Paul Booth (ed.), A Companion of Media Fandom and Fan Studies (New York: Wiley Blackwell, 2017).

  • Alexandra Edwards, “Literature Fandom and Literary Fans” in Paul Booth (ed.), A Companion of Media Fandom and Fan Studies (New York: Wiley Blackwell, 2017).

  • andré m. carrington, “Josh Brandon’s Blues: Inventing the Black Fan,” Speculative Blackness: The Future of Race in Science Fiction (Minneapolis: University of Minnesota Press, 2016). 

  • Helen Merrick, “FLAWOL: The Making of Fannish Feminisms,” The Secret Feminist Cabal: A Cultural History of Science Fiction Feminisms (New York: Aqueduct, 2019).

 

Week 5: Transcultural Fandom

  • Bertha Chin and Lori Hitchcock Morimoto, “Towards a Theory of Transcultural Fandom,” Participations, May 2013, http://www.participations.org/Volume%2010/Issue%201/7%20Chin%20&%20Morimoto%2010.1.pdf.

  • Bertha Chin, Aswin Punathembekar, Sangita Shresthova, “Advancing Transcultural Fandom: A Conversation,” in Melissa A. Click and Suzanne Scott (eds.), The Routledge Companion of Fandom Studies (London: Routledge, 2017).

  • Rukmini Pande, “Can’t Stop the Signal: Online Media Fandom as Postcolonial Cyberspace,” Squee From the Margins: Fandom and Race (Iowa City: University of Iowa Press, 2019).

 

Week 6: The Case of East Asia

  • Henry Jenkins, “Transcultural Fandom” (Work in Progress).

  • Hiroki Azuma, “Database Animals” in Mizuko Ito, Daisuke Okabe and Izumi Tsuji (eds.), Fandom Unbound: Otaku Culture in a Connected World (New Haven: Yale University Press, 2012).

  • Sharon Kinsella, “Japanese Subcultures in the 1990s: Otaku and the Amateur Manga Movement,” Journal of Japanese Studies, Summer 1998.

  • Teguh Wijaya Mulya, “Faith and Fandom: Young Indonesian Muslims Negotiating K-Pop and Islam,” Contemporary Islam, 2021.

  • Ingyu Oh, Hyun-hin Lim, and Wonnho Jang, “What Is Female Universalism in Hallyu?: A Theoretical and Empirical Exploration” (Work in Progress, August 2023).

  • Miranda Ruth Larsen, “‘But I’m a Foreigner Too’: Otherness, Racial Oversimplification and Historical Amnesia in K-Pop Fandom,” in Rukmini Pande (ed.), Fandom, Now in Color: A Collection of Voices (Iowa City: University of Iowa Press, 2020).

  • Mizuko Ito, “Contributors Versus Leechers: Fansubbing Ethics and a Hybrid Public Space,” in Mizuko Ito, Daisuke Okabe and Izumi Tsuji (eds.), Fandom Unbound: Otaku Culture in a Connected World (New Haven: Yale University Press, 2012).

 

Week 7: The Contested Social Dynamics of Fandom

  • Matt Hills, “From Fan Doxa to Toxic Fan Practices,” Participations, May 2018.

  • Benjamin Woo, “The Invisible Bag of Holding: Whiteness and Media Fandom,” in Melissa A. Click and Suzanne Scott (eds.), The Routledge Companion of Fandom Studies (London: Routledge, 2017).

  • Mel Stanfill, 2011, "Doing Fandom, (Mis)doing Whiteness: Heteronormativity, Racialization, and the Discursive Construction of Fandom," in Robin Anne Reid and Sarah Gatson (eds.), "Race and Ethnicity in Fandom," Transformative Works and Cultures 8 (special issue), 2011, https://journal.transformativeworks.org/index.php/twc/article/view/256.

  • Suzanne Scott, “Interrogating the Fake Geek Fan Girl: The Spreadable Misogyny of Contemporary Fan Culture,” Fake Geek Girls: Fandom, Gender and the Contemporary Culture Industry (New York: New York University Press, 2019).

  • Daisuke Okabe and Kimi Ishida, “Making FuJoshi Identity Visible and Invisible,” in Mizuko Ito, Daisuke Okabe and Izumi Tsuji (eds.), Fandom Unbound: Otaku Culture in a Connected World (New Haven: Yale University Press, 2012).

 

Week 8: Fan Activism/Fan Education

  • Henry Jenkins, “‘Art Happens not in Isolation, but in Community’: The Collective Literacies of Media Fandom,” Cultural Science, 2019.

  • Neta Kligler Vilenchik, “’Decreasing World Suck’: Harnessing Popular Culture for Fan Activism,” in Henry Jenkins et al., By Any Media Necessary: The New Youth Activism (New York: New York University Press, 2016).

  • Renee Alexander Craft, “Afrofuturism and the 2019 Wakanda Carnival,” in Kathy A. Perkins, Sandra L. Richards, Renée Alexander Craft, and Thomas F. DeFrantz (eds.), The Routledge Companion to African American Theatre and Performance (London; New York: Routledge), 385-394.

  • Elizabeth Gilliland, “Racebending Fandoms and Digital Futurism,” Transformative Works and Cultures, no. 22.

  • Dustin A. Greenwalt & James Alexander McVey. “Get Gritty with It: Memetic Icons and the Visual Ethos of Antifascism,” Communication and Critical/Cultural Studies 19:2, pp. 158-179, 2022.

  • Pratik Nyaupane, “#WeAreAllMonkeys: Eating Bananas as the Intersection of Hashtag Activism and Anti-Racist Solidarity,” in Terry L. Rentner and David P. Burns (eds.) Social Issues in Sport Communication: You Make the Call (New York: Routledge, 2023).

  • Alice E. Marwick and William Clyde Parton, “Constructing alternative facts: Populist expertise and the QAnon conspiracy,” New Media and Society, 2022.

  • (Rec.) CarrieLynn D. Reinhard, David Stanley, and Linda Howell, “Fans of Q: The Stakes of QAnon’s Functioning as Political Fandom,” American Behavioral Science, 2022.

  • (Rec.) Nico Carpentier and Henry Jenkins, “What Does God Need with a Starship?”: A Conversation about Politics, Participation, and Social Media” (Work in Progress).

 

Week 9: Performing Fan Identities

  • Ellen Kirkpatrick, "On [Dis]play: Outlier Resistance and the Matter of Racebending Superhero Cosplay," in Abigail De Kosnik and andré m. carrington (eds.), "Fans of Color, Fandoms of Color,” Transformative Works and Cultures 29 (special issue), 2019, https://journal.transformativeworks.org/index.php/twc/article/view/1483.

  • Samantha Close, “Fannish Masculinities in Transition in Anime Music Video Fandom,” Transformative Works and Cultures 22, 2016, http://journal.transformativeworks.org/index.php/twc/article/view/713.

  • Joan Miller, “Race Play: Whiteness and Erasure in Cross-Racial Cosplay,” in Rukmini Pande (ed.), Fandom, Now in Color: A Collection of Voices (Iowa City: University of Iowa Press, 2020).

  • Juli Gittinger, “Hijabi Cosplay: Performance of Culture, Religion, and Fandom,” Journal of Religion and Popular Culture, Summer 2018.

  • Daisukd Okabe, “Cosplay, Learning and Cultural Practice,” in Mizuko Ito, Daisuke Okabe, and Izumi Tsuji (eds.), Fandom Unbound: Otaku Culture in a Connected World (New Haven: Yale University Press, 2012).

  • Jacqueline E. Johnson. “From Muggle to Mrs.: The Harry Potter Bachelorette Party and “Crafting” Femininity on Etsy. “ in Elizabeth Affuso, Suzanne Scott (eds.) Sartorial Fandom: Fashion, Beauty Culture, and Identity (University of Michigan, 2023).

  • Lucy Mishou, “Retcon: Revisiting Cosplay Studies” “ in Elizabeth Affuso, Suzanne Scott (eds.) Sartorial Fandom: Fashion, Beauty Culture, and Identity (University of Michigan, 2023).

  • Rebecca Williams, “Disneybounding and Beyond: Fandom, Cosplay, and Embodiment in Theme Park Spaces,” in Elizabeth Affuso, Suzanne Scott (eds.) Sartorial Fandom: Fashion, Beauty Culture, and Identity (University of Michigan, 2023).

 

Week 10: Fan Production – Fan Fiction

  • Francesca Coppa, “Five Things Fan Fiction Is and One Thing It Isn’t,” The Fan Fiction Reader: Folk Tales for the Digital Age (Ann Arbor: University of Michigan Press. 2017).

  • Ebony Elizabeth Thomas and Amy Stornaiuolo,“Race, Storying and Restorying: What We Can Learn From Black Fans?” in Abigail De Kosnik and andré m. carrington (eds.), "Fans of Color, Fandoms of Color,” Transformative Works and Cultures 29 (special issue), 2019, https://journal.transformativeworks.org/index.php/twc/article/view/1562.

  • andré m. Carrington, “Dream in Gincolor: Racial Revisionism in Fan Fiction,” Speculative Blackness.

  • Jack Lipei Tang, “Shipping on the Edge: Negotiations of Precariousness in a Chinese Real-Person Shipping Fandom Community,” International Journal of Cultural Studies, 2023.

  • Erika Ningxin Wang & Liang Ge, “Fan Conflicts and State Power in China: Internalised Heteronormativity, Censorship Sensibilities, and Fandom Police,“ Asian Studies Review 47:2, 355-373, 2023.

  • Abigail De Kosnik, "Relationshipping Nations: Philippines/US Fan Art and Fan Fiction." In "Fans of Color, Fandoms of Color," edited by Abigail De Kosnik and andré carrington, special issue, Transformative Works and Cultures, no. 29, 2019, https://doi.org/10.3983/twc.2019.1513.

  • (Rec.) Francesca Coppa and Rebecca Tushnett, “Transformative,” in Keywords in Remix Studies (London: Routledge, 2018).

 

Week 11: Fan Production – Vidding and Fan Art

  • Francesca Coppa, Vidding: A History (Ann Arbor: University of Michigan, 2022).

  • Tisha Turk and Joshua Johnson, "Toward an Ecology of Vidding," in Francesca Coppa and Julie Levin Russo (eds.), "Fan/Remix Video," Transformative Works and Cultures 9 (special issue), 2012, https://journal.transformativeworks.org/index.php/twc/article/view/326/294.

  • Francesca Coppa, Alex Lothian, Tisha Turk, “Vidding and Identity: A Conversation” in Melissa A. Click and Suzanne Scott (eds.), The Routledge Companion of Fandom Studies (London: Routledge, 2017).

  • Bobby Schweitzer, “Playing Make-Believe with #homemadeDisney Pandemic Ride Videos,” Eludamos: Journal for Computer Game Culture 12:1, 2021, pp. 199–218.

 

Week 12: Fandom and Authorship

  • Anastasia Salter and Mel Stanfill, A Portrait of the Auteur as Fanboy: The Construction of Authorship in Transmedia Franchises (Jackson: University Press of Mississippi, 2020).

If you have not yet read it, please also read:

 

Week 13: Fan Labor, Moral Economy, and the Gift Economy

  • Henry Jenkins, Sam Ford, and Joshua Green, “What Went Wrong with Web 2.0,” Spreadable Media: Creating Value and Meaning in a Networked Culture (New York: New York University Press, 2013).

  • Kristina Busse, “Fan Labor and Feminism: Capitalizijng on the Fannish Labor of Love,” Cinema Journal, Spring 2015.

  • Abigail De Kosnik, “Fandom as Free Labor,” Digital Labor: The Internet As Playground and Factory, Trebor Scholz (ed.), Taylor & Francis Group (New York: Routledge, 2012)

  • Meicheng Sun, “K-pop fan labor and an alternative creative industry: A case study of GOT7 Chinese fans,” Global Media and China, 2020.

  • Hector Postigo, “Of Mods and Modder: Chasing Down the Value of Fan-Based Digital Game Modifications.” Games and Culture. October 2007.

  • Mark Andrejevic, "Exploiting YouTube: Contradictions of User-Generated Labor," in Pelle Snickars and Patrick Vonderau (eds.), The YouTube Reader (Stockholm: National Library of Sweden, 2009).

  • John Campbell, “Whistle While You Work: Alienation, Exploitation, and the Immaterial Labor of Disney Fans” (Work in Progress).

 

Week 14: Taste, Mastery, and Material Practice

  • John Bloom, "Cardboard Patriarchy: Adult Baseball Card Collecting and the Nostalgia for a Presexual Past," in Henry Jenkins, Tara McPherson and Jane Shattuc (eds.), Hop on Pop: The Politics and Pleasures of Popular Culture (Durham, NC: Duke UP, 2002).

  • Jonathan Gray, “How Do I Dislike Thee? Let Me Count the Ways,” in Melissa A. Click (ed.), Anti-fandom: Dislike and Hate in the Digital Age (New York: New York University Press, 2019).

  • Melissa A. Click, “Haters Gonna Hate,” in Melissa A. Click (ed.), Anti-fandom: Dislike and Hate in the Digital Age (New York: New York University Press, 2019).

  • Rebecca Williams, “Fan Tourism and Pilgrimage” in Melissa A. Click and Suzanne Scott (eds.), The Routledge Companion of Fandom Studies (London: Routledge, 2017).

  • Alan McKee, "Which is the Best Doctor Who Story? A Case Study in Value Judgment Outside the Academies," Intensities 1, 2001.