Where Fandom Studies Came From: An Interview with Kristina Busse and Karen Helleckson (Part Two)

With your new book, your focus is looking backwards, tracing some of the earliest works to address fan fiction, as well as their impact on today’s scholars. What led you to this focus on forming a canon of sorts around the study of fan fiction? Why the focus on fan fiction as opposed to a more inclusive notion of fan cultural production? After all, you have also been involved in promoting more scholarship around fan vids, for example.

KB: Both of us are really traditionalists. We were both trained in English literature. Karen is now a copyeditor and I teach in a philosophy department. All of these fields relate to sources, quotations, terms, and ideas. We are heavily diachronic in an age where both culture itself (and with it fandom) and academia (and with it fan studies) often focus on the synchronic. It seemed important to us to share where we are all started. Really, we’d have loved to include Leslie Fiedler’s “Come Back to the Rat Ag’in, Huck Honey!” (1948) in our slash section, but clearly we had to pick and choose. The fascinating thing about going back to the original texts is how very different they are from how they get represented now in hindsight.

We had made a few decisions early on: (1) We would stay with fan fiction, because even though other fan works were discussed here and there early on, the nexus of different approaches and disciplines and the majority of academic work was on fan fiction. (2) We would stay with “media fandom,” because, again, that was where a lot of the early work was focused on and that was our own background. We felt that we would do better to strive for comprehensiveness rather than inclusion where one essay or two would stick out and not be representative of anything. (3) We would keep it in the early years and represent more recent essays with a very inclusive bibliography. That last one was basically a numbers game. For every current essay, we’d have to drop one of the more foundational texts, but those were the ones we wanted to share. Moreover, as we said above, fan studies exploded in the mid-2000s, and deciding on one particular text out of the many on a given topic with a given approach would have become even more impossible.

KH: Part of the impetus was to create a single text that would collect the things that we wish people had read. As editors of TWC, we see essays that don’t engage with the literature—that don’t seem aware that they are in dialogue with something, or that cite your Textual Poachers but don’t seem aware of the stuff that came after that critiqued and expanded those ideas (including your own work!). In addition, we’d heard from college-level teachers that they would like such a book. When we ran the draft table of contents by scholars in the field for their feedback, we got several “I would assign this right now!” comments. I am hopeful that master’s and PhD students coming up in the field will find it a good resource. I’m actually not uncomfortable with being in on some canon formation: I figure I have invested a lot of time learning about the field, and what I have to say is perfectly valid. Plus the good thing about canon is that someone will come along and bust it. (Yes!)

The Fan Fiction Studies Reader brings together foundational essays while also pointing to trending ideas. We worked hard on the headnote contextualizing essays that precede each of the reader’s sections, but of course the essays could be swapped around and reconfigured at will to form new topic blocks. Our choices were forced on us because of the difficulty in getting reprints; some were shockingly expensive, others too long. As editors of reprint anthologies everywhere know, “best of” doesn’t mean “best of.” It means “what we could get that we could afford and that was the right length, with certain key authors represented.” It’s not the ideal table of contents that we pitched to the press! However, that may be a feature, not a bug. We had to think outside our “best of” box. The press insisted on the Fan Fiction part of the title, in part because we couldn’t fit in everything we wanted to for it to be truly representative of the field in its broadest sense. However, although the words fan fiction are in the title, it could easily be used as a more general reader. Fan fiction is one kind of text and vids are another, yet the strategies for reading/assessing them are the same. I encourage teachers who assign the book to broaden “fan fiction” to mean “fan-created texts in general,” and to mess with the blocks we created to find new connections.

You reproduce in the introduction an increasingly widespread distinction between affirmative and transformative fans: “Affirmative fans tend to collect, view, and play, to discuss, analyze, and critique. Transformative fans, however, take a creative step to make the words and characters their own, be it by telling stories, cosplaying the characters, creating artworks, or engaging in any of the many other forms active fan participation can take.” I’ve also used this distinction—in Spreadable Media for example—but I am becoming more and more uncomfortable with it, going back to an earlier formulation which talked about all fandom as born of a mixture of fascination and frustration, and suggesting we look case by case at the different ways any kind of fan cultural production moves between these two polls. There are no forms of fan production by definition that are purely resistant, but they may also be none that reflect uncritical fascination without other factors entering the picture. You can make an argument that many forms of fan speculation and critique are also already transformational in that they encourage new ways of thinking about the fictional world and in the case, say, of a mystery series, they often construct quite elaborate explanations for why something is occurring which may, in their own right, be deeply transformational. Thoughts?

KB: The spread of this terminology is actually a perfect example as to why we should always read the original source. Obsession_inc, the person whose blog post pointed out this dichotomy, actually prefaces the definitions with the following: “I see both sections as celebrational fandom, first and foremost, and that there is a lot of joy and effort and creativity put into both, and that there is a certain amount of crossover.” It is useful to acknowledge the motivations as much as the results—that is, a critical, resistant, frustrated affirmational response is possible, just as a noncritical, fascinated, loving, transformational one is. (Let’s say, the first one is reblogging from the official Tumblr pics of a neglected character, the second one writing a missing scene that completely supports and expands the accepted/intended/TPTB-supported canon interpretation.) The two spectrums are maybe less in competition with one another and more perpendicular, creating a two-dimensional space.

For us, the dichotomy was useful because we wanted to look at resistant/critical/creative transformative fan works, and the essays we included all addressed this. Clearly, other approaches may need different distinctions. Yes, the term has been used a lot recently, but we are already beginning to complicate it—not just you, but also Matt Hills’s recent essay in TWC on “Mimetic Fandom and the Crafting of Replicas“, in which he studies fan works whose very “value” more or less rely on their mimetic accuracy.

The original articulation remains useful, especially when considering when and why Obsessive_inc coined it. The essay is a belated response to Racefail ’09 and other creator/fan conflicts: “in all of my fandoms, there have been battles between creators (backed up by their affirmational fanbase) and their transformational fanbase.” When looked at it from that perspective, the term transformative takes on yet another meaning that is neither fully about being oppositional readers nor about the “purportedly feminine cultural spaces of many media fandoms and fan studies,” as Matt Hills describes it. Instead, it is more closely linked to the notion of transformational works that are implied in the names of OTW and TWC—transformation in the legal sense. For better or worse, we are stuck with US copyright law and fair use exemptions.

You are of course correct that we shouldn’t fall into false binaries, and the sexier a shorthand is, the easier it is to fall into it. I love my “Man Collect; Women Connect,” but I certainly know that fan cultures are much more complicated—as are genders! Likewise, we are increasingly realizing that even generalizations, such as “straight middle-aged women” about the writers and readers of fan fiction zines, may not be as accurate as we used to think. But this is why it is useful to actually go back and reread the early texts—to know our intellectual antecedents, and maybe to realize that their arguments were already more complex and differentiated than we remember.

KH: I find the dichotomy useful, as it handily categorizes two perfectly valid forms of fan activity. More scholars are problematizing it than not, which is all to the good, but we also have to acknowledge how true Obsession_inc’s point feels. The gender issues inherent in her critique show that all the scholarly work in the world may not help the fan on the ground. Her essay is interesting not only for what she says and the impetus that caused her to write (as Kristina describes so well), but for what it reveals about fannish engagement, not to mention the terms of engagement she chooses. Power, appropriation, award, context—all these are inherent in her argument, and it may be useful to spend less time figuring out why the point is wrong and more time about why she made it.

Fifty Shades of Grey gets referenced often in your introduction as a text which has helped to change the public’s perception of fan fiction. Now that the dust has settled a little, what are your thoughts on Fifty Shades of Grey? Has its impact been largely positive, negative, or mixed? (As they say in the news, “Good thing or bad thing?”) And has its impact been short-lived or lasting?

KB: If nothing else, Fifty Shades‘s success now allows any fan scholar anywhere to point to it to explain what we do. Even my 90-year-old German grandmother has heard of it. Seriously, though, it feels like the publication was both the culmination of a general mainstreaming and mainstream acceptance of fans and fan fiction, and by its sheer overwhelming success, it is a watershed in ultimately settling whether fan fiction can become a commercial success.

Of course, given this specific text, I take its “success” with some ambivalence when we look at fan fiction communities and at erotic women’s writing in general. The fact that it so clearly is removed from its contextual cultural community ties (as Anne Jamison argues in her great essay in Fifty Writers on Fifty Shades of Grey, 2012) makes it ultimately less interesting as a work of fan fiction. (The seeming rejection of the fan community, unlike other fan fiction-turned-pro writers, doesn’t help much either.) Its mere existence as an explicit erotic work, as “pornography by women for women, with love” is crucial, but enough ink has been spilled about its problematic feminism and contentious portrayal of BDSM culture.

As for how lasting it will be: Let’s hope a generation from now, the “inner Goddess” will go the way of the “zipless fuck”, an interesting historical footnote rather than a perennial classic.

KH: The whole Fifty Shades thing fills me with weariness that is quickly becoming annoyance. Nonfan friends now have this whole idea about what I read and think and do that doesn’t reflect my lived reality. Something about the “nonnormality” (scare quotes intended!) of BDSM makes fans seem even more fanatic. Many books written by fans have had the serial numbers filed off and then were published professionally; it’s not like she did anything new, and she really did throw her fannish community under the bus, as Bethan Jones argues in an essay in TWC . However, the book has definitely highlighted fan fiction as a literary form and as a cultural phenomenon.

I have no idea if the impact will be lasting. It’s too soon to tell. Certainly many best sellers of yesterday are not remembered today. If Fifty Shades is remembered, I predict it will be cited (by people who do not go back to read any of the books in the series!) as the text that changed the publishing landscape for fan-written texts.

 


Kristina
 Busse
 has been an active media fan for more than a decade. She has published a variety of essays on fan fiction and fan culture and is, with Karen Hellekson, founding coeditor of the academic journal <em>Transformative Works and Cultures</em>.

Karen Hellekson (karenhellekson.com) is, with Kristina Busse, founding coeditor of the academic journal <em>Transformative Works and Cultures.</em> She has published in the fields of alternate history, science fiction literature, and fan studies.

Where Fandom Studies Came From: An Interview with Kristina Busse and Karen Hellekson (Part One)

Much has been written in recent years about 1991-92 as a kind of moment of birth for Fan Studies, a year in which key texts by Constance Penley, Camille Bacon-Smith, Lisa A. Lewis, and myself, helped to establish the study of fandom as a distinctive research project, emerging from the study of subcultures, readers, or audiences, all paradigms with a longer history in British Cultural Studies and elsewhere. I was flattered that the Journal of Fandom Studies published a special issue recently considering the impact of my book, Textual Poachers, on the field, and you can read my own reflections about the origins and potential futures of fandom studies in the current issue of that same journal.

But today’s post is intended to challenge this framework in two different ways. First, I would make the case that 2006-2007 was an equally important period for the development of the field, marked by the publication of two key anthologies — Karen Helleckson and Kristina Busse’s Fan Fiction and Fan Communities in the Age of the Internet: New Essays and Jonathan Gray, Cornel Sandvoss and C. Lee Herrington’s Fandom: Identities and Communities in a Mediated World. For there to be a field of Fan/Fandom Studies, there must in fact be not simply a few singular contributions but a large group of people doing original work in that space. While there were certainly new writers (Nancy Baym and Rhianon Bury being key figures) emerging in the decade plus between these two historic moments, there had also been a tendency for many other writers to fill in the broad outlines which had been mapped by the 1991-92 wave of publications. Often, there was still a cycling through of various justifications for studying fans and then a few quotes from our writings coupled with a new set of examples, arriving at more or less the same conclusions.  These 2006-2007 collections represented the arrival of a new generation of scholars who were coloring outside those lines, who represented important new voices and new perspectives, who pushed the field forward, and who established it as an ongoing academic pursuit.

I remember my excitement reading through these two books, my head spinning, and feeling like I was learning something new on every page. The works represented distinctive visions of what this field would look like — one doubling-down on the female-centered fan writing community as the locus of study even as it dealt comparatively with other communities from which transformative works were emerging, and the other expanding the scope of what kinds of fans we studied to bring together global and historical perspectives as well as a conversation between those who studied fans of cult media, popular music, sports, and even news and politics. There’s been some tension between these two approaches ever since. Almost a decade later, Gray, Sandvoss and Herrington are in the process of updating their collection while Helleckson and Busse have released their own second edited anthology, The Fan Fiction Studies Reader, which seeks to map key influences on the field of fan fiction studies.

And that brings us to the second thing that the focus on 1991-92 as the birth of fan studies may get wrong. The Fan Fiction Studies Reader is focused in expanding this time line in important ways, calling attention to the kinds of writing on fan fiction that existed prior to Enterprising Women or Textual Poachers, work that often came out of the second wave of feminism and was also embedded in the fan community itself. Many of these essays have been out of print or scattered across obscure journals so there is an enormous contribution in bringing them together again, reframing them for contemporary readers, and reappraising their contributions to the early development of this field.

There’s been an unfortunate tendency, which I have probably contributed to in some later interviews, to dismiss the work of earlier scholars as patronizing and pathologizing. There is certainly much such work to be found. But there was also work that was celebratory, seeking to understand fan fiction as forms of women’s writing, seeking to debate the ways fans were remixing pornography or erotica to reflect female tastes and interests. If you look closely at Textual Poachers, NASA/Trek and Enterprising Women, we cited and engaged with this work, but it has since been largely neglected by later generations of researchers. And this collection shows us that there is much to be regained by reconnecting with this past.

This week, I am interviewing Kristina Busse and Karen Helleckson about the two books, their contributions to the field of fan/fandom studies, and their perspective on some of the key issues being debated by fans and fan scholars in 2014. Busse and I have not always agreed about the directions that fan studies should be taking and some of our exchanges have been heated and public but I have always had deep admiration and respect for the leadership that Busse and Helleckson have brought to this field, not only through these two collections, but also through the publication of Transformative Works and Cultures, a scrupulously peer-reviewed and highly influential online journal which has kept alive the project of their first anthology in terms of identifying new authors, new topics, and new approaches to the study of fandom.

Fan Fiction and Fan Communities in the Age of the Internet came out almost a decade ago and looking back on it, it has turned out to be a watershed book in many ways. For one, you helped to bring together a generation of newer writers who represented the next wave of fandom research and we are now starting to see full-length books emerge from many of these scholars. Can you share with us how that book came to be and what brought this particular group of writers together?

KH: I initially pitched the original-essay book myself, without Kristina, to a press that had published a previous book of mine. However, just putting a call for papers out there does absolutely nothing. You have to solicit. I did some of that, but I quickly realized that the book as I had envisioned it wouldn’t come to be unless I brought in a coeditor. Kristina has a wide network, and I have the knowledge and contacts for book production. We’d met at International Conference of the Fantastic in the Arts in 2003 and had chatted, and once I asked Kristina to come on board, the project finally took off. That division of work is one we have maintained since: Kristina does front-end stuff, like solicitation, and I do all the scheduling, paperwork, copyediting/proofreading, and back-end stuff related to actually getting it into print.

I wanted the book to reflect my wishes for scholarship in the field: something timely, something that reflected changes in consumption of fan-written texts (i.e., the Internet), and particularly something where the writer didn’t have to justify herself. Fan studies was like the field of science fiction literature studies (my original field) all over again: writers were expected to spend time explaining why they were bothering with a low-culture trash genre, and they also had to position themselves in relation to the field—in particular, if they were fans, this needed to be disclosed and scholars had to distance themselves. SF had discarded these conventions, in part because writing about it became more mainstream and in part because SF scholars created venues dedicated to the field, such as academic journals, where background and justification could be dispensed with. I wanted the edited volume to reflect this. It seemed to me that fan studies scholars kept having to have the same conversation over and over again: justification, distance, and then lit review. We needed to create a space where we could dispense with that and use the words to have an actual conversation.

However, we did think that we needed to create a common vocabulary and a common—well, I guess the word would be canon: texts we’d all read and agreed were relevant. Our introduction provided these elements, which were common to all the papers we collected. This allowed us to create a good bibliography, which the press agreed to let me put up on my Web site. The contributors were thus able to use their words for their ideas, not for context or lit review. At the time, this was a major win. I think we moved the field forward in this regard: we just assumed this was all important, and by framing the book as we did, we made it so.

KB: We were at the International Conference of the Fantastic in the Arts in 2005, and we were having these amazing discussions there and on LiveJournal and people were writing amazing essays, and we weren’t seeing any of those folks getting published or any of those ideas explored. I don’t think there was a single essay out yet that had dealt with the change in fannish infrastructures, like the switch from Usenet to mailing lists and archives to blogs and LiveJournal. Most of us—me and Karen and the contributors—had met or knew one another through mailing lists or through LiveJournal.

We were very clear early on that we were tired of essays starting with definition of fan fiction and basically looking at a given text and saying, “Look, there, homoerotic subtext and SLASH!!!!” We agreed that we needed a framing introduction with all the terms and the history so that the essays could start within the discourse rather than spending half the time getting to their argument. But we also wanted the history and a shared resource so that everyone else could look at what had come before and where we were heading now and be on the same page. We were standing in a hotel hallway with Francesca Coppa, debating whether we should do it as two volumes, one with new essays and one a reprint anthology. It took us eight more years to finally get the second half out.

We got the majority of the essays via direct solicitation. Most—nine of the 13—were people I was friends with on LiveJournal. A few essays didn’t work out, which is par for the course; the RPF popslash essay wasn’t supposed to have been mine but we needed to fill a hole. We decided that these were all topical essays, and given that production would take a year, we imposed a deadline of less than a year for essay delivery. From having the idea to having the book in our hands took about two years, which is very fast for academic publishing. But all these acafans were giving papers that they couldn’t find a venue to publish. The ideas were just there to be caught. We had a lot of grad students and unaffiliated folks among the contributors—I think only four of the 13 were tenure-track scholars. But that’s where there often are the most interesting and novel ideas.

The other thing that made this collection different and that we thought was really important was the fact that we all self-identified as fans. You had already brought in the fact in Textual Poachers (1992) that a central part of your identity was being a fan as well as an academic, and Matt Hills did his long autoethnography in Fan Cultures (2002). We decided to take that for granted. A lot of us had been fans and active in media fandom long before we were academics, and many of us came to fan studies through fandom rather than through media studies. We wrote our love into these essays and displayed our fandom affiliation in every sentence. That seemed to be different to a lot of the research that was happening at the time.

Beyond the individuals involved, the book also helped to reframe fan studies, opening up some important new paradigms—such as Francesca Coppa’s focus on fan fiction as performance or Gail De Kosnik’s focus on fan fiction and “the archive”, some reconfiguration of how this research related to gender and sexuality studies, a new focus on the literary dimensions of fan fiction, but also an engagement with the conditions of cultural production within fandom. I still find great value in your reminder that fan fiction is by its nature always a “work in progress” and that it is hard to understand fan fiction outside of the social relationships it helps to facilitate. Looking back, what do you see as the lasting conceptual impact of the book on our field?

KB: One (of the many) things that fandom and academia share is the ability to have many things be true at the same time. Collectively, we write hundreds different versions of what goes through our characters’ minds during a given crucial scene, and we give ever new interpretations of Hamlet during his major soliloquy. We (well, many of us :) can simultaneously ship Tony/Steve, Steve/Bucky, and Bucky/Natasha, and there’s this great Bedford St. Martin’s series that presents a given literary text with about a dozen different theoretical approaches (like Marxist, feminist, psychoanalytic, postcolonial, queer readings of Heart of Darkness). And even as they are sometimes mutually exclusive, they are also ALL VALID. If our collection has had any conceptual impact, we hope it is that understanding of WIP not only for fandom and academia, but also for fan studies in particular. We are realizing that there are huge gaps in areas we have not paid enough attention to, such as Critical Race Studies, Transculturalism/Transnationalism, and Marxist Labor Theory, to name just a few, and if the collection was ever supposed to be anything, it was a snapshot of that moment.

Maybe the most lasting impact of the book ended up being more logistic than conceptual: we were asked to found and edit the OTW’s academic journal, Transformative Works and Culture, which publishes its 17th issue in September for a collective of around 300 essays. Doing Fan Fiction and Fan Communities together gave us experience, credibility, and an acafannish community. You can see most of the contributors to the collection pop up again as contributors, editors, and peer reviewers. In a way, it is TWC that should be seen as the ever-expanding archive of the book itself. It’s a snapshot on so many levels: in terms of the fandoms that are used, such as Harry Potter, LOTRips, poplash, or even just in terms of interfaces, such as two essays focusing specifically on LiveJournal.

Moreover, as we already said, part of the intention of the collection was to create a text where everyone started from the same fannish and academic point to a degree. Our introduction is quite different from Gray, Sandvoss, and Harringon’s “Why Study Fans?” (2007), but that makes sense, because we start from such a different point and have a slightly different focus. We never really question why we should study fans, because we think we are important :) But also, our focus is somewhat narrower, for better or worse. We clearly don’t subscribe to the large “everyone is a fan” definition, and we are primarily focused on what Coppa has termed in her overview in the book “media fandom,” i.e., creative fan works for Western live-action shows and connected fandoms. That means that we purposefully limited ourselves, but it also means that we can focus on a given field and explore it in all its facet and with all these different approaches. And we can go deep and far, because we don’t need to explain what beta readers are or why Mary Sues are a highly contested genre.

KH: I’m glad the book helped reframe fan studies. I knew the book filled a hole in scholarship, if only for its acknowledgment of new modes of fannish consumption. However, what we did was simply let scholars be free to work in their field, combined with fan studies. Its lasting conceptual impact is merely that fan studies is not an offshoot of media studies. Rather, fan studies is a multidisciplinary field that can easily integrate other -isms and other disciplines: feminism, Marxism, sociology, anthropology, close analysis of a fan-created text, reader-response theory, affect, performativity, deconstruction, posthumanism, queer theory… Further, it’s an interesting site for application of theory, be it Schechner or Derrida.

Another important conceptual impact is that we are unapologetically fans ourselves. I write fan fiction and maintain a fic archive; I have helped create content for a fan-created informational wiki; I ran few multiauthored virtual seasons after my show was canceled. I don’t just read about this stuff; I live this stuff. The connection with the fan community has led us to do certain things, like (as for TWC) not hotlinking directly to spaces that fans perceive as private, or checking with a fan before we publish a link to a story in case the author wants us to hotlink to some other space, or not hotlink at all.

I am not interested in expanding the notion of the fan to include all aspects of what may be termed fannish behavior. Fans of stamp collecting or sports may engage in a sort of fandom, but they don’t tend to call it that. They may also configure their engagement and their passion differently. The word fandom may properly be applied to these activities, but to my ear, the connotation isn’t right. Broadening fan studies to all aspects of “fanatic” behavior merely because the activities match what the term denotes is certainly a valid point of view, but it’s not my point of view because I am interested in what it connotes and how fans work to build that connotation. The term also comes out of SF literature fandom, which I have studied, and in some ways I want to acknowledge fan studies’ outgrowth from SF fandom. Media fans adopted fanzines, apas, and other modes of dissemination from SF fans.

 

Kristina Busse has been an active media fan for more than a decade. She has published a variety of essays on fan fiction and fan culture and is, with Karen Hellekson, founding coeditor of the academic journal <em>Transformative Works and Cultures</em>.

Karen Hellekson (karenhellekson.com) is, with Kristina Busse, founding coeditor of the academic journal <em>Transformative Works and Cultures.</em> She has published in the fields of alternate history, science fiction literature, and fan studies.

Citizen Fan: An Interview with Filmmaker Emmanuelle Wielezynski-Debats (Part Three)

Many of the texts cited by the fans here are from the Anglo-American media realm or from the world of Japanese manga. Are there popular texts from France that has generated a fan-like response and if so, what can you tell us about them?

From what I observed,  99% of the fans I met,  are in American or Japanese fandom. Only one or two mentioned working on French literature or French films. Natacha Guyot, for instance, is one of these exceptions. She worked at AO3 (for the Diversity showcase) and so she is very aware of this question. She practices vidding with French Canons such as“Angelique, Marquise des anges” or more recent French TV series. She uses French music, as well.

French canons do exist. Sometimes, we do not know the French origin of the canon : it is the case with Code Lyoko, or Dofus video games. In the past, there were always sequels to Alexandre Dumas’ works, but the thing is that nowadays, Fanfiction are often written in English, when it comes to canons such as Les Misérables, Le fantôme de l’opéra, Mademoiselle de Maupin, Les 3 mousquetaires, etc… I had the impression that there are more American fans writing fanfiction around Les Misérables or Dumas’ books, than French fans.

French fanfic writers probably want to have a large community of readers, they probably feel that would not be possible around French canons. They want their readers or their audience to know well the characters, the universe.

It is also possible that French culture would impress them too much to dare to write fanfic around it. Most of the fans I met told me they didn’t like our literature. They disliked reading at school. They have the feeling that classical books are boring. One of Citizen Fan‘s characters told me “Clearly in France,  we have the feeling that there is one culture that is worth it and another one that is worth nothing.”

In my opinion, our French authors have been sacralized, by our culture and by our laws as well,  meaning nobody is allowed to touch them. This might be the best way to kill them. Several fans told me “I would certainly never read Proust ! ” This struck me because these people read a lot and have a very large culture, including Japanese mythology for instance, but, from what I‘ve seen, they do not seem concerned with the French classics.

Now, Lionel Maurel reminded me that if you take the example of “Tintin”,  the society Moulinsart, which owns its rights,  defend them in a caricatural way: they attacked systematically fan sites. I wonder if , under the circumstances, Fandom can emerge or would survive. It is the same with “Le petit Prince”… And   “Arsene Lupin” is not as famous as “Sherlock Holmes”. Or should I write “Herlock Sholmes”, like Maurice Leblanc, father of Lupin, used to name a British detective involved in several Lupin’s adventures, providing us with some great crossovers! But Maurice Leblanc’s family would have blocked any Fandom’s crossovers. That’s for sure. Probably some fans know about that and do not want to take risk.

I have to put forward three recent French canons that have gathered around them,  very large fans communities, involved in fanarts, cosplays and fanfilms,  but yet not really in fanfiction writing. They are either TV or Web series. Their names are “Hero Corp”, “Le visiteur du futur” and “Noob”.

To what extent are these French fans engaging with fans from other parts of the world via the web?

From what I observed: a lot! Fans read and write in English. It is one of this things they seem to all share: English.

They engage with other parts of the world very easily. I met some who make collaborative vidding with Russians. Others challenge cosplayers from all Europe. Cosplayers send their pictures to American Video games editors via Facebook and intend to initiate conversations. They make digital fanzines with Canadians. They publish American fanart. They participate in conventions all over Europe.

Fandom is helping to erase difficulties. Some who had never left France, took the plane to join a convention or a festival, to get an interview of an actress. MLP fans organize conventions, thanks to crowd funding,  where MLP authors come from Los Angeles.

Manga fans learn Japanese, they travel over there. They have an expertise about anything Japan. Did you know that the main French fans convention is called “Japan expo”? Japanese video games producers usually send 50 of their top-management to attend this unbelievable event. France is the second largest market for Manga, after Japan. Some fanzine associations are big enough to invite Japanese authors to make a tour in Paris.

And also, very recently, NOOB team received an award in Los Angeles, as one of the best web-series. Funny thing is that French media gave this information but had never mentioned NOOB during the last years.

You talked to both male and female fans on the project and you often asked them about the gendered dimensions of fandom. Can you say something about what constitutes masculine or feminine modes of fan engagement in the French context?

A : Female fans are more numerous. In TV series, like Castle, there was 3 boys out of 70 contacts I made. I wanted to have boys in Citizen Fan, and so I clearly made efforts to have them.

Boys are gathered in My Little Pony fandom, where apart from one woman in the convention staff and maybe a few cosplayers, I’ve met only boys. I’ve seen a lot in the Video Games fandom, some in mangas and a lot in Star Wars.

When it comes to fanfiction, boys literally vanish, except for MLP, some video games and manga. During the Multi-fandom IRL fanfiction challenges, I attended, there was not any boy. Maybe one or two were online. When it comes to becoming a professional writer, only one person told me that was what he wanted and he is a boy. Girls never said so, they told me the opposite: they said they would never be a professional writer.

Fanart (drawings) seems more genre-balanced. For what I observed, maybe boys are a bit more numerous.

Cosplay is apparently also mostly feminine, except for Star Wars where 80% are male according to Arnaud Miralles, (the president of French 501st).

Fanfilms are totally different from boys to girls : for what I observed, boys gather 100 friends, with proper equipment and 4 cameras. Shooting looks like pro. Girls I have observed, gather 10 persons and 1 camera and the result seems less important than having a good time.

According to what I saw, Boys seemed engaging with a high degree of organization with clear objectives, they speak in public, they show themselves more, on Youtube or during convention panels. I observed that Girls have a high degree of personal engagement, they give more of their time and somehow are less concerned with what people think. They remain also more anonymous, they mentor and beta-read a lot.

But all this is very subjective and I must add that making documentaries, women are always more numerous and volunteer. So it might be that male fans avoided me.


American fans are increasingly struggling with the ways they are being entangled in the operations of the American media industry, as logics of engagement start to impact the way Hollywood interacts with its audiences. To what degree has this focus on engagement impacted the French media industries, which come from a very different tradition, one more grounded in public service and artistic enrichment than commercial success?

Manga:

A few years ago, one of the main French book publishers asked one of Citizen Fan‘s character belonging in the manga fandom, to give them some advice in choosing and publishing a manga. This fan helped them as much as he could. He helped them choosing the manga, having it translated but then the publisher didn’t listen to what the fan said about the drawings, the jacket and several other “details”. This manga did not do well on the market. The fan came out of this experience thinking there was no dialogue possible, because his expertise was not taken seriously.

Fanzine production in Manga is huge and very good and more and more numerous. People access printing technologies and produce faster. And yet they have not really a distribution circuit. The industry is probably keeping an eye on what fans produce.

Books:
1 – Publishers like Bragelonne are really well aware of fanfiction and they keep in touch with fandom. They released “Fangirl” here, in French, and for what I heard when I met one of their staff, Isabelle Varange, she had been a fanfic reader for a long time. This publisher is going to release Captive Prince in France.

2- There was once a fanfiction challenge, launched by Gallimard Jeunesse , following a book released : “A comme Association” ( P. Bottero & Erik L’Homme).

3 – Here is another example of an editor, Hachette, trying to catch the fanfiction practices. According to Fanfic writers, this s not truly fanfiction writing. In fact, they ask for original stories and they intent to control the texts.

Video Games :
The Industry organizes a commercial event in Paris, (Paris Games Week) gathering 300 000 people during 2 days. The Image of this gathering is a very aggressive one.
The video games are sold with Ferrari cars parked next to the desk, with scantly dressed women standing next to them… However, one of the organizers told me how much he would like cosplayers to come to this event. One of his reasons would be to please Japanese designers and producers, because they like cosplay and like to have Fans not to far from their games. For what I heard from fans, Paris Games week is very far from being the place to be. Are they going to manage a cosplay challenge ? We’ll see.

TV :
I’ve heard of some transmedia experiment related to Plus belle la vie (France Televisions’ Hit ). This approach didn’t focus on fandom creativity. It was more like an online game to enhance the universe. There were not any fans contents produced. Fans were just involved as an audience. France Televisions, thanks to its channel “France 4” has done a great job around two French Canons Hero Corp and  Le visiteur du futur. They met the fans in conventions and there was a dialogue with the fandom. This might be the first example of French canons really active fandom, communicating with a Broadcaster.

Emilie Flament who has this fan culture and was part of Citizen Fan‘s team as well was in the staff that broadcasted both. Here is what she told me about Hero Corp :

“I have the impression that with the arrival of new media, industry realized that public participation was at stake. Passive audience was a disappearing specie. In front of the multitude of contents, in order to keep the audience, they had to really catch them. Traditional media are starting to understand it and they have engagement strategies more or less written and editorialized. The example of Hero Corp is a bit of a an UFO in French television. This comedy around super heroes universe gathered a large community of active fans during the first two seasons (2008-2010) It was aired on TV in a quite confidential way. When they realized there would not be a third season, fans mobilized online and IRL, going to see the producers and broadcasters, exactly the same way as Veronica Mars or Roswell fans did in the US. In 2012, France 4 ordered a season (and now they are in the 4th one). Fan mobilization clearly influenced this decision but it also provoked the launching of a totally new transmedia process for new seasons : the show runner, Alexandre Astier imagined a multi-supports narration, giving exclusive elements to fans, such as web series, bonuses, etc… through a dedicated application.”

 

The example of NOOB (the web-series)
Noob is a French amateur web-series that is something like 9 years old. Video games characters inspire it. It has its own fans. These fans supported the crowd funding initiative launched one year ago that broke European records ( more than 500 000 euros in a few days) . They are now shooting a feature film. They became “Canon” or mainstream and yet the traditional media never talked about them.

To conclude on this, I would say that given the little knowledge our industries have of fans activities, their strategies are not yet having a strong impact on Fandom’s life, and are not “disturbing”. I agree on the fact that France has a strong tradition of public service ( Citizen Fan belongs to this), however, there is also the law issue, and the fundamentally elitist culture issue. All that stops the audience and tells them : stay quiet ! What kind of engagement will develop when the audience is expected to remain passive ?

In the end, what happens is that French fans engage mostly with American industries, naturally, since they are fans of American canons. They get to know about Amazon kindle worlds, they are Youtubers…

You’ve produced portraits of a number of fans which show us something of the world they inhabit — their homes, their cultural practices, etc. What did you hope for people to see as you situated these fans in their social settings?

I asked what was the easiest for them. We chose the setting accordingly. They had to feel at ease and so I often let the choice to them. I also wanted the audience to identify with my characters, to have a genuine idea of who was talking. They are not “pirates” or “hysterical idiots” or whatever : they are everybody. They live ordinary lives.
Yet, they are not filmed always in their home. Sometimes it was not possible, so I filmed them at my place or during conventions. It is a film about people. I hope the phenomenon of transformative works, in France, will have their faces, so it can be known, understood , and hopefully authorized by the French law.

You directly reproduced a number of examples of fan art and fan media within the project. Did you encounter any push-back over making some of this work as public as you do?

In the part called EXPLORER, I had 5 persons out of 400 who said NO ! To tell the truth, I made a deal that was : you authorize me to show your work and I link to your account on Deviantart, Facebook etc… The webdoc probably was more easy to accept , for them, than a movie screened in theaters. They are used to share their arts online. In Le PHENOMENE, I had no problem, because the fact to show their work was always, from the beginning, something I wanted and they agreed. France Televisions is well respected, as a public service. They never doubted me or France Televisions.

Tell us more about the choice to make this a nonlinear documentary via the web as opposed to a more traditional kind of linear documentary feature? Why was this approach appropriate for this subject?

This approach allowed me to be where they all were and where their creations were. This is a segment of population that is no longer in front of TV. I would have liked to have a linear version on TV as well, for the larger audience, but it was never accepted. The webdoc allows me to put more information without really making a longer film : each character’s video last about 10 minutes and I hope it brings enough information so the audience can think about it as representing fandom. If someone wants to come back and watch another character, it is possible 24/7, from every where in the world. This is a gift for the documentary maker. Usually, we meet the audience during screenings in festival. It happens once a month. Here, anyone can send me a message, and for instance the fan artists already gave me extremely valuable and gentle feedback.

I would add two more reasons to choose the webdoc :
1- The audience can enhance Citizen Fan by uploading new works. This is the least we can do dealing with fandom creativity !
2- The illustrations surrounding the interviews, are the ones I also used in the videos.
In the linear format, I could only thank them in the end credits. Nobody would ever remember them and where it comes from. They are like a dead illustrations.
Unless you recognize the work immediately, which means it is something as famous as “la Joconde”, anything unknown remains unknown. Here, illustrations are “alive” : if you like that Pony, just click on it and see more of the same fanartist. Then, if doing so, you forget about Citizen Fan, never mind ! The aim of this documentary was to send you there…

 

Emmanuelle Wielezynski Debats was born in 1970 , she is married and mother of  one. Emmanuelle grew up in Algeria, Ivory Coast and France. She was always interested in films and originally wanted to be a scenario writer. She graduated from a Business School in France and attended Film Studies, aside from an MBA program, in Montreal. In 1993, she registered in Anthropology, in Paris VII (Jussieu) with a major in Visual Anthropology. In 1995, she directed a short film, La Voie Blanche. For 12 years, Emmanuelle has worked at various film production companies, as an assistant to directors and to an editor as well. She now lives in Normandy with her husband, Michel Debats, a film director ( Oscar nominated  Winged Migration). In 2007, together they launched their own production company, La Gaptière Production, focused on documentaries. (www.lagaptiere.com)

La Gaptière Production has produced 5 films, starting with School on the Move, in 2008, a feature film released in theaters, that was selected by 50 festivals around the World and won 14 awards, as anthropological documentary, in several countries such as China, Russia, as well as the US (Columbus, Ohio and in Missoula, Montana).  Then came out  three TV films, Femmes en campagne (about women in rural world), Une jeunesse en jachère (about being young in rural world) and Qu’allez-vous faire de vos vingt ans ? (about Jean Jaurès’ s legacy). Emmanuelle has worked during 3 years on a more personal project : Citizen Fan, just released as a webdoc.

Citizen Fan: An Interview with Filmmaker Emmanuelle Wielezynski-Debats (Part Two)

What surprised you the most about fandom? 

What surprised me the most about fandom is the fact that it is so big and yet so unknown, here in France. It is a bit like no one would notice the Eiffel tower! This is why I like Lev Grossman’s definition of fanfiction, as “dark matter of culture”. But I like also the resemblance with what I suppose was a folk culture. This liberty, this carnival atmosphere. It is so surprising.

When people write fanfiction , they don’t do it as part of the “culture”, they do it as part of their own every day life, as they drink and eat, they write or read, or draw etc… I thought I was part of the creative class of our society but I was wrong : they create more than I do, more than most people, do.

What do you think other media-makers get wrong when they try to capture the experience of being a fan?

For what I ‘ve seen,  and there are not so many examples, I think that some media-makers, here in France, have an aggressive point of view. Some of them are very nasty. I was sad for some kids that were mocked badly. There was one video made by a famous newspaper, about bronys, that was really terrible. I observe that journalist often talk about fans’ sexuality but never about their creativity.

Here,  there is a link to the French brony’s community’s reaction when some private French TV channel tried to interviewed them. The bronys refused to have anything to do with this channel, but there was a debate inside the fandom.

http://perso.silouatien.fr/explications_silou/

 

A part of my work has probably been to let those kids express themselves and have some sort of revenge. Why is it that creativity is not a bonus ?

More generally, the media makers just don’t think about the fans as the interesting element, but rather remain focused upon the Canon. This ends up in something very cliché. We do not need people in journalism or documentaries to tell us what is going on in Castle or Harry Potter, or in any series or manga…They are easily available on the net, so we can make our opinion ourselves. I find more depth and more beauty in searching and discussing fandom’s creativity. There, you might find new interpretations, new development for the story. There you might see the real use of this canon, in people’s life.

To capture what it is to be a fan, I think, is to capture an intimate part of the individual. This private part expresses itself through fanfiction or vidding or cosplay but it is not easy to read, when you are not a fan yourself. If you stand outside the fandom, most of the creativity is hidden and when it is visible, it is not always understood.

For those of us in the Anglo-American world, one of the things you film provides is a glimpse into French speaking fan cultures. What can you tell us about the status of fandom in France?

The status of fandom in France?  Well, I guess there is not yet any status.

We discussed this question with Sebastien François,  Lionel Maurel, Alixe and several fans. We all agreed : Transformative works are as numerous as anywhere else in the world, and technology has developed as much as anywhere else, but, because these practices take place on the web and also because the canons belong to the industrial culture, or Mass culture, the landlords of culture, those who vouch for culture, here in France, totally ignore them. This is a pity because such practices involve so many people in this country and so many young people.

I asked Emilie Flament, what she thinks about this Fan status. She is a specialist of fandom in France and belonged to  France Televisions’ team that produced Citizen Fan.  Here is what she answered :

Fanish spirit is very much stereotyped in France. Most of people think fans are at best a bit “illuminated people” but they do not even realize that they are themselves fans in a way. Beyond legal issues, fans creations are not even considered, either by the public, (who ignores their existence) or the professional (who when they know them, tend to denigrate them). This is a French cultural problem that doesn’t affect only fans communities : we judge by the title, the diploma, and hardly by the skills.

The same limitations apply to fans creations : they are not screenwriters, artists, directors, so what they do is necessarily bad. I think that in order to avoid these stereotypes, fans communities tend to hide. Media has, until now, never helped. They’d rather contribute in the stereotypes.

Citizen Fan is, in that sense, a real premiere and it is because of its friendly approach that fans certainly accepted to reveal themselves and their works in order to change the ideas people might have about them, including people the closest to them.”

When I started pitching Call Me Kate!, (Citizen Fan’s WIP title), I had to go over the whole story, every time. I had to say that fanfiction really existed. When 50 Shades of Gray came out, very, very few French journalist investigated fanfiction through this shining example. I was hoping the book would inspire real debates about money, about genre,  but nothing happened. One magazine, specialized in literature, which had the honesty to say something about fanfiction, said that there was none in France, because we had no sense of storytelling ! When at that moment, 35 000 fanfiction in French, were on FFNET, in Harry Potter fandom only !

But, things are changing thanks to academics,  who initiate research on series or video games, including their fan communities. They organize seminars, conferences. There are many fans conventions too. Fans themselves do “come out” as fans of both industrial and classical culture. That’s what I did. The next generation will not ignore anything anymore.

Lionel Maurel explained the limitation of French law in Citizen Fan : “in France, we do not have the Fair Use  tradition.  Fair use might not be perfect but at least it offers a shelter. From a legal angle, we can tell that Transformative Fan’s status doesn’t exist, here in France.  It can hardly be covered by our two very tiny legal “exceptions to the right of the author” :  « Parody » or « Quotation »  exceptions that is. These two particular cases do not apply to digital use  ! And even if they did,  they do not fit with most transformative works that are not either funny or simply quoting. French people have  to handle the weight of what is called the Author’s  “moral  right”. This “moral right” forbids any action modifying « the integrity of the work ». That means the shape of the work is supposed to be fixed by its author, forever. That means it is forbidden to add sequels, prequels, new chapters… Even if the transformative work is not a commercial one !

There was an experts’ Mission launched by the Ministry of Culture, a year ago. This Mission is supposed  to address these transformative works and to ask our deputies to change that part of our law. I am not sure it is going to happen. The Mission didn’t even published any report at all! This is not a very good sign. For the moment, everything is still forbidden here, and a very large number of French citizens are conducting illegal activities.

You are a country which takes its artistic heritage and the concept of the moral rights of artists very seriously, so I can imagine that fans are seen as a bit heretical in their relationship to culture. So, how much resistance has emerged around your efforts to get French audiences to rethink the status of the fan?

Silence is the main resistance. Access to French media is really difficult. It might take several years.

Another resistance is to denigrate.  I just read some recent articles about how “fanfiction writers do not have any sexual life”…
I wonder where we are going. In which world do these French journalists live?

I’ve been told that Citizen Fan is doing well online for now. It has 3 good partners, such as France Televisions –nouvelles écritures, Rue89, which is a well known digital newspaper, and Culture Box, an online journal focused on cultural events. I sincerely hope this might be the beginning for the change. However, no “traditional” press has written anything about Citizen Fan. No TV channel has shown any sequences. I am sad to say not even on France Television.

Personally, I encountered a lot of resistance, from friends or colleagues. I was told : “why are they doing that ? they don’t have anything else to do ? ” or “They do not have the right to do what they do”.  And also things like “When my nephew read Harry Potter, he was 9 years old. He didn’t open it since. Those people have a problem.” I often encountered people full of spite and digust. As if it was not tolerate to interfere with culture.

But, again, here in France, the main resistance to this subject is to ignore that the subject is the audience’s creation and not the canon by itself.

Being a fan is a journey, it is a way of life but it is not an objective per se. The objective is to share with others and enlarge the original universe.  This I always found difficult to get understood. Some people think culture is something they already know, it goes from here to there and anything outside this box doesn’t exist. It is not part of our culture.

On the other side, inside fandom, I was slowed down as well. There was some resistance there too. Some people closed their doors on me, because they were afraid I would make a fool of them or because their activity is a secret.

Emmanuelle Wielezynski Debats was born in 1970 , she is married and mother of  one. Emmanuelle grew up in Algeria, Ivory Coast and France. She was always interested in films and originally wanted to be a scenario writer. She graduated from a Business School in France and attended Film Studies, aside from an MBA program, in Montreal. In 1993, she registered in Anthropology, in Paris VII (Jussieu) with a major in Visual Anthropology. In 1995, she directed a short film, La Voie Blanche. For 12 years, Emmanuelle has worked at various film production companies, as an assistant to directors and to an editor as well. She now lives in Normandy with her husband, Michel Debats, a film director ( Oscar nominated  Winged Migration). In 2007, together they launched their own production company, La Gaptière Production, focused on documentaries. (www.lagaptiere.com)

La Gaptière Production has produced 5 films, starting with School on the Move, in 2008, a feature film released in theaters, that was selected by 50 festivals around the World and won 14 awards, as anthropological documentary, in several countries such as China, Russia, as well as the US (Columbus, Ohio and in Missoula, Montana).  Then came out  three TV films, Femmes en campagne (about women in rural world), Une jeunesse en jachère (about being young in rural world) and Qu’allez-vous faire de vos vingt ans ? (about Jean Jaurès’ s legacy). Emmanuelle has worked during 3 years on a more personal project : Citizen Fan, just released as a webdoc.

Citizen Fan: An Interview with Filmmaker Emmanuelle Wielezynski-Debats (Part One)

Once upon a time, there was a group of french fan boys, with names like Francois, Jean-Luc, Claude, Louis and Alan, who showed up day after day at the same movie theater, sat on the front row, and watched mostly American genre films. Sometimes they wrote about they saw, engaging in intense debates in their own publications. Soon, they began to make transformative works — films that borrowed elements from their favorite genres, paid homage to their favorite directors, repurposed clips and remixed posters and book covers from works that had inspired them. These works were transformative in another sense — they changed world cinema. These fan boys created the French New Wave, which has been a source of pride in French national culture ever since.

I am telling this story because I want to challenge readers to think about what it means to a fan — a creator of transformative works — in the context of contemporary French culture. I’ve been pondering this question lately because of a recently released web documentary, Citizen Fan, which may just be the best documentary about fan culture that I have seen. The videos are in French (with the option of English subtitles) and they take us deep into the world of contemporary fans of everything from Castle to Harry Potter, from My Little Pony to anime, manga, and video games. Each segment focuses on a different fan, tells their story, introduces their world, and through this process, we get a glimpse into the cultural context in which they work. The site is amply illustrated with examples of fan art. All of this was created as a labor of love by a French documentary filmmaker,  Emmanuelle Wielezynski-Debats.

The filmmaker had reached out to me as she was beginning her work on this film, which was originally intended to deal with French fans of the American series, Castle, but as she describes below, expanded outward and shifted its focus along the way. She had shared with me her own sense of discovery as she fell hard for Castle and from there, fell into the world of French fandom (a community, as she notes, that has strong connections with fan cultures elsewhere around the world.) When I visited Paris a few summers ago, she asked me to do an interview, which we shot in a screening room at the Pompidou Center.

What I recall most vividly about the interview was being surrounded by French fan artists and writers who had shown up to hear my perspectives and provide potential links to the vignettes in her documentary.

I was delighted to learn that this material was now available on-line and could be accessed by those of us whose French would not be strong enough to keep up with what is being said. Unlike other documentaries about fandom, which always feel the need at some point to distance themselves and often fall into various traps of exoticizing, eroticizing and otherizing fandom, this film starts from a place of total respect for the value of what fans create. There have been other documentary projects from within fandom itself, often produced on very low budgets, often with limited production skills, but this is the first one I have seen made by a self-proclaimed fan, growing out of the fan world, and made with professional competency.

I had known France had produced some of the most intense cineastes in the world, who had helped to identify and name, for example, film noir, in the post-war period and I also knew that France has one of the most intense comics culture to be found anywhere, again suggesting a people often intensely invested in its high culture and literary traditions, but also popular culture. But I also knew that it was a country which provided very little protection for fair use and transformative works. So, I had questions about how a culture built on transformative cultural production would thrive in this particular national context. At a time when many of us in fandom studies have been calling for more work in the global and transnational dimensions of fan culture, it’s exciting to have access to this rich database of how fandom operates in France.

In the three part interview which follows, Wielezynski-Debats shares with us her experiences in making the film and her observations about how French fandom navigates a culture that seems especially hostile to their identities and cultural practices.

She has been nice enough to share with us some clips from the documentary, but to have the full experience, you need to visit and explore the Citizen Fan website.

You’ve shared with me that part of what inspired this film was your own relationship to Castle. How did those experiences change the way you thought about what it meant to be a fan and what did you want to share about those experiences with the people beyond fandom who might be watching your film?

I didn’t know what a FAN was. The word was not part of my vocabulary. What happened is that I started watching Castle. I started watching it beyond reason. I was under the spell of Castle. Yet, I didn’t think to use the word FAN, which is so familiar now.

The term FAN could have been at that moment, in my opinion,  only related to the pop singers’ groupies. Obviously, I had no idea of transformative fans.

The internet had never played a central part in my life before that fannish time. I discovered internet because of my addiction. It probably made it stronger. I was surprised by this invasion of my privacy.  I knew Castle‘s intrusion had something to do with my 20′s, when I used to see two screwball comedies per day, in Paris theaters.

There was quite a long moment where I felt weak, because of the addiction, a bit ashamed. At that moment, if I had to call myself a fan, I would have said something like “being a fan is a self introspection through the image of an imaginary character”. I didn’t think that might be a pattern shared by others. I had not found a way to be creative. I didn’t even know that creativity was the key. When I first discovered fanfiction, it was a shock. These people dared to do by themselves what I thought had to be made by the author.

I always had a strong respect for authors. When I read a book, I like to imagine the author behind the story. But I had to admit that reading fanfiction was more than pleasant. I could tell it was healing something. I liked it. Later,  I discovered there was an audience reading those fanfiction, making comments. These people were providing themselves and others with what they needed, they were entering into the storyworld and sitting at the author’s table. I thought something in the society was changing and I started to admire this phenomenon.

So yes, my encounter with French fans has changed a lot of things.  They claim being a fan is an identity, they gather in a community and they create things. I suspected none of this when I was on my own. When I started, I was excited with what I had just discovered. I felt very necessary to share with people beyond fandom the different steps:  being a fan, being addict, sharing, creating, feeling better.

You, Henry Jenkins, said in Citizen Fan,  “the fan doesn’t only raise questions, he provides answers”. This is something important. The answers are not only about the Canon but also about ourselves.

I had the impression there was another French society , other than the one I used to know. Another creativity. Another relation to media, therefore to culture…and especially to American culture. I wanted to share this insight  through a documentary.

Tell us more about your journey in creating this project.

I was able to meet about a hundred transformative fans, thanks to two people: BlackNight, founder of the Castle French Boardhttp://castle.frenchboard.com/;  and Alixe, who writes fanfiction in Harry Potter. She created www.ffnetmodedemploi.fr”>a guideline in French in order to help people post upon Fanfiction.net. I think most of French fanfiction writers know this website. These two women are highly creative. They have made several websites, written fanfiction, and fanzines and they have great skills. They are leaders. These two women are also quite different. One of them lives in the rural world and is unemployed, and she is in her mid 20′s;  the other one made long studies, has a full time job in Paris and is in her 40′s.  Their networks are very different. Both impacted Citizen Fan a lot.

In January 2012, I started meeting Castlefans all around France. I traveled by train. Fans would come to the railroad station to pick me up and we would spend the day together, discussing the documentary itself, how much it was needed and also obviously sharing views about Beckett and Castle. I enjoyed the fan-”brotherhood” or fan-”sisterhood”. I was for the first time feeling the warmth of the fandom.

As I met them IRL, they became the faces of what a fan is. This word went along with people. Very nice people, easy to become friends with, especially since they were welcoming me as a fan too. They were never foreigners not one second. From the first minute, we knew each others. This close relationship was always an asset for the film and remains the same now. I interrogated them about their creations. I was not filming. We were talking for hours. I took notes about how we were going to show these creations to a larger audience. In France, as in many places in the world, writing is a noble art, so fans who write would be considered. So I thought.

In November 2011, I had contacted France Televisions online services. Boris Razon, who was the head of this department, was interested in the project. I worked with Christophe Cluzel who is really fond of the fandom activities, and Emilie Flament, who had been a Buffy the Vampire Slayer fan and had written Fanfiction. However, it took almost two years to convince the rest of the staff and to have the definite “Go”.  We tried to have a linear version of Call me Kate! (Citizen Fan‘s working title)  on TV. Unfortunately,  France 2, the channel that airs Castle, didn’t want anything about Castle fans. They didn’t see this phenomenon as a legitimate subject.

The Web-doc is a new genre. I had to understand new techniques and new priorities, that were totally different from traditional documentaries. France Televisions organized several development seminars, where Sébastien François (@sebastien_fr)  a French Sociologist who made his PhD on Harry Potter Fanfiction in French, Lionel Maurel (@calimaq) a whistle blower as well as an expert of our law and Natacha Guyot (@natchaguyot) a former AO3 staff, involved in vidding as well as in academic research on Video games,  took part. We tried several ideas. Nineteen groupe, the web agency that put Citizen Fan online, was here from the start, including during these development seminars.

It was decided that Citizen Fan had to be ready to upload what fans would send us. It had to meet all the requirements of France Televisions’ complex digital network.

When everything was settled with France Televisions, after two years work, I learnt that the CNC (French Ministry of Culture) would not fund us, at all. Half of the budget was gone. They stated that this subject was not “sound” enough. After meeting French fans, I wanted to meet some French academics working on Fandom or Folk culture, or Fanfiction. I had very few names, and received very few answers. The first ones I contacted didn’t give me the names of any colleagues. There were several dead ends.

Until I met Sébastien François, who was finishing his PhD at TELECOM Paris Tech and who is now assistant researcher at Universités Paris 13 and Paris Descartes. He is a specialist of French Fanfiction. He accepted right away and helped me during all the process of making Citizen Fan.

During all that time, I had been reading your books, as well as Hellekson and Busse‘s and Michel de Certeau’s. I watched documentaries such as Remix manifesto, IRL the Bronze, Trekkers etc… It seemed to me obvious that I had to interview you. You had the kindness to accept. Your  interview was the first one I conducted, but I had already met with all my characters and I knew them well. So, I questioned you with the idea that your answers might enlighten what fans would tell me, describing their life and creative process. I constructed your interview accordingly.

I had chosen 22 fans which I found were representing, the different issues in Fandom. I always kept your answers in mind, while I was interviewing them. It helped me leading the interviews. Because of the budget cut, we ended up editing in my flat, totally out of the traditional circuit of the audiovisual production in Paris.

The editing was the longest part. I had to ask 400 people, one by one,  for the authorization to use their artworks. I wanted to illustrate Citizen Fan 99% with fanarts. This was my choice. Yet, I was and remain in the uncertainty, as far as French law is concerned. Do I have the right to show transformative works, in a country where transformative – even for free – is forbidden ? I kept worrying about that, all along. And no lawyer could give me any piece of advice.

Emmanuelle Wielezynski Debats was born in 1970 , she is married and mother of  one. Emmanuelle grew up in Algeria, Ivory Coast and France. She was always interested in films and originally wanted to be a scenario writer. She graduated from a Business School in France and attended Film Studies, aside from an MBA program, in Montreal. In 1993, she registered in Anthropology, in Paris VII (Jussieu) with a major in Visual Anthropology. In 1995, she directed a short film, La Voie Blanche. For 12 years, Emmanuelle has worked at various film production companies, as an assistant to directors and to an editor as well. She now lives in Normandy with her husband, Michel Debats, a film director ( Oscar nominated  Winged Migration). In 2007, together they launched their own production company, La Gaptière Production, focused on documentaries. (www.lagaptiere.com)

La Gaptière Production has produced 5 films, starting with School on the Move, in 2008, a feature film released in theaters, that was selected by 50 festivals around the World and won 14 awards, as anthropological documentary, in several countries such as China, Russia, as well as the US (Columbus, Ohio and in Missoula, Montana).  Then came out  three TV films, Femmes en campagne (about women in rural world), Une jeunesse en jachère (about being young in rural world) and Qu’allez-vous faire de vos vingt ans ? (about Jean Jaurès’ s legacy). Emmanuelle has worked during 3 years on a more personal project : Citizen Fan, just released as a webdoc.

 

The Steampunk Scene in Brazil: Strategies of Sociality

One of the pleasures of running this blog is the chance to engage with readers all over the world, who are able to share with me  what’s happening in their countries. The phenomenon I discuss here — from participatory culture and politics to new media literacies to transmedia entertainment — are playing out right now on a global scale. Thanks to these contacts, I have been able to share with my readers new developments in Russia, China, India, Poland,  among many other examples, and I look forward to sharing other such cases in the future. Recently, I have corresponded with Éverly Pegoraro who has been researching the Steampunk scene in Brazil. And after some back and forth, I am happy to be able to share with you today some of her findings — in words and images.

By the way, readers in Brazil may be interested to know that there is now a Portuguese edition of our most recent book — Spreadable Media: Creating Meaning and Value in a Networked Culture (with Sam Ford and Joshua Green)– which is published there as Cultura  da Conexão: Criando Valor e Significado por Meio da Mídia Propagável. You can learn more at the Aleph website. Thanks so much to our friend, Maurico Mota, for his hard work to make this book approachable to our friends down in Brazil.

 

Steampunk scene in Brazil: strategies of sociality by Éverly Pegoraro  

What motivates steampunks? For some, just nostalgia. For others, daydreams. Amid fans and critics, the fact is that steampunk and other retrofuturistic movements extrapolate elements from the literary imagination as the basis for generating creative urban experiences. A meaningful example of this process may be perceived in Brazil. The steampunk “scene” in Brazil has already a substantial number of participants, spread across 13 states. Steamers, as they are known here amongst fans, participate in many activities.

Each Brazilian state holds a different group of steamers. For the past three years, I’ve had the opportunity to follow one of the most active steamer . groups in Paraná state in southern Brazil, Steampunk Council of Paraná Lodge. In this space, generously provided by Professor Jenkins, I will share some impressions about the research, which is part of my doctorate thesis.

Unlike other countries, Brazilian steamers are organized in lodges (a Masonry inspiration) in each State, which are administered by local councils. All are supported by Steampunk Council. The Steampunk Council’s mission is summarized on their official web site:

The Steampunk Council was conceived with the central idea of ​​democratization, flexibility and sustainability of steampunk movement. It is less an organization and more a concept, on which representatives of steampunk community can create their lodges, as the cells are called from the concept of the Council. [ ... ] The Steampunk Council‘s mission is to provide mechanisms for the dissemination of steampunk culture, provide reference material, promote all sorts of related events, encouraging cultural production of this sort of subjectivity and paying tribute to all those who create and produce material of Steampunk culture in all possible forms. (Available at http://www.steampunk.com.br/conselho-steampunk/)

Each regional group is autonomous to develop their own activities. The Steampunk Council of Paraná Lodge has existed for about four years and is managed by a group of the most active founding members. Besides them, there are many participants, some more regular and active (about 25 people), others only occasional visitors. Adopting the fluid, ephemeral and diversified characteristics of neotribes characterized by Maffesoli (1987), they form a heterogeneous group, across genders, ethnicities and ages (ranging from 14 to 50 years). Members are from different social classes, studying and/or working in many areas, such as writers, musicians, housewives, professors, and service providers.

As organized groups, they have the opportunity to create more permanent social ties than the relative ephemerality of the neotribos. This is a strong characteristic of Paraná’s group. The several proposed activities during the year encourage face to face interaction amongst the participants and create spaces where each discovers and develops artistic, literary, media production skills.

The Steamers’ creations blend the imagery of the nineteenth century, the individual preferences of media culture and the creativity of each participant. The Victorian aesthetic is strongly present in this urban culture, especially in the costumes and in the context of the stories. But steampunk enables a wide dimension of contextualization that are not directly inserted in Victorian Era.

Therefore, the selection of this period is not exclusively due to the visual. Steamers say they seek values ​​from the Victorian imaginary. They want more romanticism, sensibility and personal investment — in other words, less mechanical and utilitarian relationships.

[Steampunk] refers to a time when people cared more about delicacy, gentleness, there had been a different culture, a more educated one. I find it interesting to extrapolate the technology of this period and advance it as if it had been nothing after, to increase the capacity of a technology that actually has not developed much. I find it interesting to explore more things that sometimes were not explored in the past. (Brazilian steamer)   What fascinates me is the Victorian aesthetic, the well done style, with the smallest details, it has the seriousness of the men, the femininity of the women, the clothes […] the court society, the social rules. And there is also the convenience of the technology how we have today, the clothes are not made ​​by hand, not everything is very expensive, we have the benefits of communication, medicine, entertainment, movie theaters. (Brazilian steamer)

 

We see the old aesthetic is beautiful, more farfetched. A time when people had more free time to take care of themselves, but the values ​​were different. It’s interesting you deal with an older aesthetic, but with current values​​, especially for women. The corset is nice, but nobody wants to live as it was before. So, it’s cool to have that aesthetic, an aesthetic that people will look strange, for it’s old, but with values […] the female steampunk characters are not housewives, all professions in steampunk can be applied for men or for women.(Brazilian steamer)

The interviewees’ statements above indicate an attempt to retrieve the values ​​and behaviors of an idealized past. Such desires suggest the search for a less rationalist and mechanical subjectivity and the need to invest more deeply in relationships.

Homi K. Bhabha (2011) offers some interesting clues to consider the social articulations that occur in these inter-spaces of difference and minorities, in which there are complex processes of negotiation and cultural hybridisms. He conceives such cultural hybridism as a third space that enables new positions of meaning and representation. The negotiations that take place in these spaces allow hybrid agencies that do not seek cultural supremacy. Such movements are articulated in the “arts of the present”, defined by the author as the performances by which different minority group elaborates strategies of survival, identity formation, political contestation, social relations, and aesthetic manifestations. The steamers below talk about why they participate in this urban culture:

We’re putting a question to rethink who we are, it’s not to think who we may be in the future, it’s to rethink who we are today. Which were our real choices in the past that brought us here, and based on which choices we could have made. That’s what draws me into steampunk. (Brazilian steamer)

 

I think it’s a fascination for a time that is chronologically so close, but so radically different from our reality. (Brazilian steamer writer)

 

I do not think the nineteenth century so far, not so different. […] Over the past 200 years, more things happened than between 1400 and 1600. […] The planet got smaller because of communication technology, for better and for worse. […] The nineteenth century, for being so close, is a rich context to be described and to criticize the current moment. What is science fiction? It’s to put into perspective our reality through the accentuation of problems and defects from that historical moment. (Brazilian steamer writer)

Freedom of expression […] It’s a hobby to get away a little bit of our ordinary everyday, encouraging people to do something different. It’s for the pleasure [...] to meet different people, search new experiences. (Brazilian steamer)

Brazillian steamers’ strategies of visuality and sociality are acts of resistance to contemporary spatiotemporal compressions, providing an inter-space of temporality and hybrid culture, which combines different historical periods. However, steampunk hasn’t derived from a pure and simple import of Europeanised customs, which, in turn, would result in similar actions to the Brazilian Belle Époque. Neither has it intended to celebrate a tradition originated from English distant past of ladies and gentlemen.

Besides the fascination with the Victorian imaginary, what unites Brazilian steamers, no doubt, is the science fiction in its various products, questioning the inventions that marked the transition to the modern world, especially in science and technology. This identification is made clear in the narratives constructed individually and collectively by the steamers. Some seek to insert elements of  history and Brazilian literature, as in the following example:

I tried to imagine how it would be a world in which the Baron [Mauá – Brazilian historical character] was even more influent, decisive to the directions of our country. So, I thought that the Abolitionist Campaign would be more successful with, let’s say, not only the prohibition of the slave trade in the 1850’s, but with the release of all slaves and with the attraction of foreign and specialized labor and, most importantly, a world in which there had not been the Paraguayan War, what would’ve stopped the waste of lives and money we had in reality. (Brazilian steamer writer)

The events that promote steampunk and encourage sociality among the participants are the main feature of the Brazilian group. Aiming to give visibility to their initiatives, steamers often attend events of other youth cultures, such as Victorian picnics (an event that has become a reference there). Each activity promoted by Steampunk Council of Paraná Lodge has a specific theme, in honor of historical characters and events, often from a specifically Brazilian context. They do not have a fixed schedule, but each event usually involves music, dance, literature and individual performances. The three major events promoted by Paraná steamers are named as the Steampunk Picnics, Steam Coffee (In Portuguese, Cafés a Vapor) and the workshops to learn how to customize clothing and objects.

The Steampunk Picnics are annual events held at parks in Curitiba, capital of Paraná state. The steamers enjoy the sunny Saturday or Sunday afternoons to do the “steampunk scene”, where they go dressed in their costumes, play games and participate on sweepstakes, gymkhanas and photographic sessions.

Convescote Steampunk, março de 2012. Curitiba, Paraná, BrazilConvescote Steampunk, março de 2012. Curitiba, Paraná, Brazil  

 

Convescote Steampunk, março de 2012. Curitiba, Paraná, Brazil_2 The customization workshops occur every two or three months (there is no strict regularity) in Curitiba. They are also used as a shop window for steamers to exhibit their artistic abilities. They are artisans, designers, stylists and photographers who take the opportunity to promote their work and, in some cases, sell them.

After posting on their blog (http://pr.steampunk.com.br/) and on the group’s profile on Facebook (in Portuguese: Loja Paraná do Conselho Steampunk), the interested ones meet on a Saturday afternoon to learn basic techniques of steampunk styling. The workshops are taught by the older group members or by some guest who has a specific skill that can be useful in customizing clothing and accessories. During an afternoon, someone is highly unlikely to finish the process. But the steamers themselves make clear that the workshop will explain the basic technique. It is up to each person to develop (and even enhance) what was taught.

During workshops, Brazilian ......During workshops, Brazilian steamers discuss alternatives to materialize their imaginative ability

The workshops are characterized as a meaningful moment of sociality among the steamers, because there is sharing, exchange of ideas and interaction among them, while they discuss alternatives to materialize what they imagine. Tutors seek to encourage creativity by presenting a variety of objects made at home. The “students” identify themselves with these possibilities and discuss alternatives to adapt them to their purposes. Tutors share the difficulties to develop the techniques, aiming to ease the situation for those who are beginners.

Workshop to Make Mini and Top HatsWorkshop to make mini and top hats

Customizations are used in the practice of steamplay (adaptation of the term cosplay to the steampunk universe), when steamers perform their steampunk character, constructing their identities and embodying their clothing and accessories as well as their historical and social context. Public performances happen in the events that Steampunk Council of Paraná Lodge promotes or participates. Several factors influence the character creation, such as preferences and hobbies of each participant or their ability to afford the steamplay.

Steam Coffees are evening events. As an example, the night of Steam Coffee: The steampunk evolution (Tribute to Charles Darwin) began with the performance of a traditional tribal dance, created by two dancers for the event. According to one of them, the ethnic tribal dance joins elements and techniques of folk dances from around the world. The steampunk concept appears on the mix of industrial music and the aesthetic of the costumes.

 

Musical performance at Brazilian steampunk eventMusical performance at Brazilian steampunk event

Steampunk Event in CuritibaSteampunk event in Curitiba, Paraná, Brazil

Performance of a a Traditional Tribal DancePerformance of a traditional tribal dance, created to a Brazilian steampunk event  

Participants of a Brazilian Steampunk EventParticipants of a Brazilian steampunk event    

During the event, the participants had fun with a steampunk musical repertoire of a steamer DJ who shared music videos. Some steamers shared a steampunk tale written by one of the participants of Curitiba’s group, who is also a writer. Indeed, the practice of writing tales, editing magazines and creating all kind of steampunk media products (even if they’re not mainstream, but only released on the internet) is common among steamers. As pointed out by Jenkins (2010), these informal learning communities encourage participants to develop writing skills and styles as well as to build confidence in their own abilities before entering in the professional market.

Members of Steampunk Council of Paraná Lodge share a wide range of cultural interests drawn from the content of media culture products over which they claim a sense of ownership and mastery. Practices similar to those discussed by de Certeau (1998) and Jenkins (2010) in terms of bricolage or “poaching.” Steamers appropriate different science fiction books, movies, comics and RPG games, but giving them new meanings, expanding the stories, deepening their interpretations of the characters and reimagining the story world. The creations may even suggest impossible mixtures through the insertion of fictional or historical characters from different periods in the same narrative.

Similarly to what Jenkins (2010) describes, such practices involve a form of aesthetic perversion of the traditional limits imposed by the dominant cultural hierarchies which outline the desirable and undesirable cultures. Thus, they build a cultural and social identity through appropriation and modification of cultural products.

The first Brazilian steampunk photo roman – Curitiba’s steamers are pride to point out it as the first one – is a striking example. Steampunk Carnivale[1]photo roman (http://www.youtube.com/watch?v=Ehm8RJ8KVwo) is a collective production involving performances by the various members of Steampunk Council of Paraná Lodge, who customized their costumes and accessories and collaborated to generate the plot. The work – which combined science ficton and intrigue — was shared via Youtube.

Despite the understandable limitations of an amateur production, this photo roman can be characterized as contributing to an urban culture that has taken shape around a common interest in steampunk retrofuturism with the production and exchange of such products acting as part of what Thornton (1995) describes as a micromedia circuit. What matters here is not so much the aesthetic merits of the community’s productions or their comparison with more mainstream cultural products but rather the social and cultural dimensions of participants interactions with each other.

The cultural products that emerge from the steamers’ appropriation and remixing practices do not always fully cohere. Participants continually negotiate their relationship to the genre and to pre-existing culture materials according to their most immediate interests. As an example, note the following explanations of two steamers of Curitiba:

I really like gothic, so I wanted to make a gothic steamplay. I’ve brought a little bit of everything: I have keys, the belt that has potions, also weapons, which were made in the workshops. [ ... ] I’ve watched the movie The Crucible (and also read the book), and I’ve been writing the story for me. [...] Harry Potter has also influenced a little bit, so that my wand is from Harry Potter, it is not customized, I did not want to change it. (Brazilian steamer)   One of my ideas is inspired by Assassin‘s Creed games, which there are murders [...] it is like a secret society, fighting against the old Knights Templar. (Brazilian steamer)

This is how steamers – between pirates and nomads (Jenkins, 2010) – create their performances and products in an experience that is both individual and collective, within a vast network of connections that constitute this participatory culture.

 

Brazilian steamer at Steam Coffee. Curitiba, Paraná, Brazil, 2012.Brazilian steamer at Steam Coffee. Curitiba, Paraná, Brazil, 2012

 

Brazilian steamersBrazilian steamers

Steamers start from the media culture products that most interest them and become producers of new texts including fictional narratives, photo romans, illustrations, photographic essays, customized objects, crafts, dance and music performances, fashion and accessories, magazines, events. These acts of cultural expression are informed by two competing logics: the Do It Yourself (DIY) aesthetic from the punk movement and the contemporary conception of Do It Together (DIT) as it has taken shape around the Maker movement. One emphasizes individual, the other collective production. Thus, even though DIY logic prevails, the premise is surrounded by a mutual aid policy: each steamer helps the others with his skills in making products and accessories, embodying the DIT logic of participatory culture.

This idea is summarized in the interview with one of the forerunners in Paraná, Carlos Alberto Machado:

People sometimes send e-mail asking: ‘do you sell steampunk clothing?’. ‘We are not selling, what we do is teach you how to do,’ I say. [ ... ] Paraná is the state that is promoting more workshops. And the workshops are bringing a lot of people and a lot of good things. There is the shyest person who ends up getting more outgoing, and makes friends. [ ...] We do not call it as a class, the idea is not to teach you the ‘abc’. The idea is to encourage the participants to bring things and the group teaches the group. [...] They bring this knowledge and show them what they do to encourage the participants to try to do something similar. (Brazilian steamer)

Thus, the interest in steampunk by Curitiba’s group is structured through the desire to interact and be part of a community that shares broader cultural and social interests. Sociality grows from mutual interests, reflecting the group’s particular interpretative conventions as they are shaped by individual and collective acts of story telling, performance, and cultural production. While there is a strong emphasis here on self-creation, we should recall that all of this activity occurs within a consumerist context, where critical interactions between man and technology coexist with leisure, hedonism, and consumption. Their retrofuturist imaginings emerge from a particular local context and get circulated through a micromedia circuit.

Brazilian steampunk reinserts questions that turn away from traditional political participation. Steampunk encourages its participants to return again and again to the core question: “what if had it been different?”. Besides, creating a story of an invented past is a way to discuss current and relevant issues. It’s not an attempt to return to past, not about engaging with an exotic foreignness, but an inter-space that mixes criticism, socio-temporal concern, hedonism, entertainment. More than the fascination for the historical period of Victorian Age itself, what prevails is the will of the steamers to recreate their own fictitious historical memory, which is strongly impacted by media culture.

 

Éverly Pegoraro is a Brazilian university lecturer and PhD candidate in Communication and Culture at State University of Midwestern Paraná, Brazil . His doctoral research deals with the relationship between visuality and sociality in steampunk. He is the leader of the Communication and Sociocultural Interfaces research group. Contact:everlyp@yahoo.com.br ou https://www.facebook.com/everly.pegoraro.

 

References

Bhabha, Homi (2011).O entrelugar das culturas. In: COUTINHO, Eduardo (Org.). O bazar global e o clube dos cavalheiros ingleses: textos seletos. [The global bazaar and the English gentlemen's club: selected texts].Rio de Janeiro: Rocco.

Certeau, Michel. de. (1998). A invenção do cotidiano. Artes de fazer [The practice of everyday life].(3rd ed.). Petrópolis, Brazil: Vozes. Conselho Steampunk. http://www.steampunk.com.br/.

Deleuze, Gilles; Guattari, Felix. (1995a). Mil Platôs. [Thousand Plateaus]. Vol. 1. São Paulo: Ed. 34. ______. Mil Platôs. (1995b). [Thousand Plateaus].Vol. 2. São Paulo: Ed. 34.

Jenkins, Henry. (2010). Piratas de textos.Fans, culturaparticipativa y televisión.[Textual Poachers: Television Fans and Participatory Culture]. Barcelona: Paidós.

Maffesoli, Michel. (1987). O tempo das tribos.O declínio do individualismo nas sociedades de massa. [The time of tribes.The decline of individualism in Mass Society]. Rio de Janeiro, Brazil: Forense—Universitária.

Thornton, Sarah. (1995). Club cultures: Music, media andsubcultural capital. Cambridge, England: Polity.

 

[1] Although the name of the photo roman refers to Carnival, one of Brazil’s major festive periods, the theme has no direct reference to the subject. Curitiba is not known for its Carnival tradition. Besides, in the days of this festivity, there is an alternative event for those who do not enjoy Carnival: Zombie Walk. As the organizers of the event use to say: “in Curitiba, Carnival is a horror”.

Transforming Television: An Interview with Denise Mann (Part Three)

We both agree that the Writer’s Strike represented a key battle in the struggle to define digital extensions as part of creative content and not simply as part of the promotion of a series. Some years out from the strike, what do you see as its lasting impact on the way the industry operates? What won what in these struggles?

The honeymoon period during which creators were given carte-blanche to experiment with the media corporations’ IP was short-lived. In the period leading up to the strike, the Alliance of Motion Picture and Television Producers (AMPTP) stubbornly refused to acknowledge the creative labor involved in these short-form, content-promotional hybrids. The WGA strike of 2007-8 signaled an important response by the exploited members of the writing community that their creative digital labor needed to be rewarded with credit and income.

Disney launched the first volley across the bow of the WGA’s minimum basic agreements by engineering a deal with Apple iTunes to stream its TV series online; however, they failed to arrange an appropriate compensation package for the writers whose original work was being replayed on a new distribution platform. To make matters worse, the networks placed ads inside this digital content, which allowed them to earn additional revenues, thereby undermining their claim that this content constituted promotions.

In the period leading up to the strike, Cuse and Lindelof were able to use their considerable leverage during the making of Lost to negotiate on behalf of not just the WGA members, but also the other talent guilds to ensure that all creators received payment for their work on derivative content such as “The Lost Diaries” webseries. This precedent helped the WGA negotiate terms for all digital content created by guild-represented writers; however, the sanction lacked teeth, as more and more studios formed their own in-house social media marketing groups to oversee these “content-promotion hybrids” going forward.

While the WGA achieved a symbolic victory—an agreement to pay writers for their creative labor regarding digital content, they have lost out in two ways:  first, writers are still earning “digital pennies” for creating derivative content given the uneven measurement system associated with online entertainment; secondly, the big media companies are shoring up the infrastructural walls surrounding digital content by creating in-house social media marketing divisions and limiting creator involvement.

In many ways, transmedia is playing a secondary role in the industry’s current thinking to the idea of second screen content. What do you think is motivating this obsession with the Second Screen? What functions does the second screen perform for the industry? for audiences? Why is the second screen easier to comprehend and implement than the more ambitious ideas about wired television so many industry leaders have been promoting?

As Jennifer Holt and Kevin Samson explain in the introduction to Connected Viewing: Selling, Streaming, and Sharing (2014)  “connected viewing” practices eschew the top-down, bottom-up binary that has governed so much media industry scholarship around digital, in favor of what Michael Curtin has called “a matrix era”—namely, “a transition from the one-to-many distribution strategies of the broadcast networks to a moment ‘characterized by interactive exchanges, multiple sites of productivity, and diverse modes of interpretation and use.”  While one could argue that these interactive systems and multiple sites of productivity engender enhanced creative exchanges between production cultures and audiences, the industry’s current focus on “second screen” over “transmedia storytelling” experiences seems designed to help studios manage consumer data more efficiently via their infrastructural strengths: marketing and distribution.

Furthermore, by controlling marketing and distribution, the media companies are able to facilitate a disturbing trend—developing sophisticated analytics designed to harvest consumer preferences via algorithms and other, digital measurement strategies. In the last decade, Hollywood has fallen far behind their Silicon Valley counterparts—Google, Facebook, and Netflix—when it comes to managing the sale of big data to advertisers through products such as Adsense and Adwords. The latter, in combination with tools like Google Analytics, provided publishers with access to a composite portrait of consumer behavior designed to help advertisers deliver targeted online ads.

In contrast, transmedia storytelling strategies were creator-dependent activities designed to empower creators and audiences via “multiple sites of productivity” and “diverse modes of interpretation and use.” Teasers, trailers, and interstitial video already circulate between broadcast TV series; now, via second screen experiences, all of these new forms of online promotions and branded entertainment can be enlisted to access a composite of consumer information. By bringing these digital production activities in-house—hiring low-paid creative labor to execute all this digital, promotional churn—big media companies will be able to navigate the online advertising space more effectively, unimpeded by talent guild restrictions.

Denise Mann has been the head of the UCLA School of Theater, Film and Television’s Producers Program since 1996 and is an Associate Professor in the Department of Film, Television and Digital Media. In that capacity, she teaches graduate and undergraduate courses on contemporary entertainment industry practices as well as critical studies seminars on film and television history and theory. She is the editor of Wired TV: Laboring Over an Interactive Future (Rutgers University Press, 2014) and the author of Hollywood Independents: The Postwar Talent Takeover (University of Minnesota Press, 2008). Previously, Professor Mann co-edited Private Screenings: Television and the Female Consumer (University of Minnesota Press, 1992).

Transforming Hollywood: The Future of Television Conference Videos (Part Two)

Last time, I shared videos of the opening sessions of the Transforming Hollywood: The Future of Television conference, recently hosted at UCLA, and organized by myself and Denise Mann (UCLA). I am grateful to David McKenna for his epic work in editing, mixing, and uploading these videos so quickly.

Today, I am sharing the video from the final two sessions of the conference — including my one-on-one exchange with Sleepy Hollow‘s Orlando Jones around the ways he has been using social media to interface with his fans and the politics of diversity and creativity in the contemporary television industry.

TMH5, Panel Four: Indie TV – Where Creators & Fans Pilot New Shows from UCLA Film & TV on Vimeo.

Indie TV: Where Creators and Fans Pilot New Shows

The Internet broke the network bottleneck. Through platforms such as YouTube and Vimeo, creators release series directly to fans who follow shows and share them with friends. Web-content creators can write stories in whatever length, style and genre they choose, on their own schedule, and with actors of their choosing. The result is a truly open television ecosystem, where creators, talent and fans work together to realize stories they want to see. Each of the producers on this panel contributes to this new vision of television by producing series for the Internet that are being shaped for traditional TV as well; (several of these web series are being developed for HBO). Issa Rae created The Misadventures of Awkward Black Girl with a small team and expanded the show using a successful crowdfunding campaign. Rae went on to produce additional series, including Amy Rubin’s Little Horribles, which Rubin released via her own Barnacle Studios. In the process, Little Horribles has become a hit with fans and with critics at Variety, LA Weekly and Splitsider, among others. Dennis Dortch and Numa Perrier launched the Black & Sexy TV network to showcase indie comedy, releasing their own hit series The Couple, and releasing additional series created by other emerging Hollywood talent. Jay Bushman helped The Lizzie Bennet Diaries grow into a deeply engaging transmedia phenomenon, which prompted viewers of the Jane Austen-inspired series to follow characters from YouTube to Twitter and Pinterest. Raising tens of thousands of dollars from fans, Adam Goldman created and wrote two critically-acclaimed dramas, The Outs and Whatever this is, exploring the realities of being insecure in New York City. After showrunner Brad Bell co-created Husbands with Jane Espenson, the indie hit caught the eye of CW executives, who used the series to launch their new online network. As these examples convey, the Internet has become an incubator for talented, next-generation web creators and web celebs, who, in combination with fan followers, are reinventing television for the digital age.

Moderator: Aymar Jean Christian, assistant professor, Northwestern University

Panelists: Brad Bell, co-creator and star, Husbands
Jay Bushman, producer and writer, The Lizzie Bennet Diaries
Adam Goldman, writer and director, Whatever this is
Numa Perrier, co-founder, Black & Sexy
Issa Rae, creator and star, The Misadventures of Awkward Black Girl
Amy Rubin, creator and star, Little Horribles

TMH5, Panel Five: Discussion on fandom and the future with Orlando Jones, the star of Fox’s “Sleepy Hollow” from UCLA Film & TV on Vimeo.

Fandom and the Future of Television Orlando Jones, Star, Writer, Producer, Sleepy Hollow with Henry Jenkins

At the opening of the panel, I share the story of how I first connected with Orlando Jones. Orlando, who is ever-present on Twitter, had referenced my book, Textual Poachers, which seemed to be a ready invitation to engage. I wrote back to say that I was following his new series, Sleepy Hollow, closely and enthusiastically. A few minutes later, I wrote back to see if he might be willing to visit my PhD seminar on fandom, participatory culture, and Web 2.0 the next time he was in Los Angeles, and within the course of 30 minutes, we had met, shared our mutual admiration, and he had agreed to do a guest lecture (already had his people working with me to pull this off). And of course, fans online were already speculating about whether there might be a Henry/Orlando ship forming (Horlando, perhaps?) and the answer is wouldn’t you like to know. His visit with my USC students was captured on video and today, I am finally able to share it with you also, so for my fellow Sleepy Hollow fans out there, this is a double dose of Orlando’s magic. And for everyone else, I hope you will agree with me that he is an extraordinary individual — deeply respectful of his fans, outrageously funny at the drop of a hat, and deeply thoughtful about his craft and about the changing media environment a second later. I’ve learned so much from my two conversations with him so far and am very happy to be sharing these exchanges with a broader public via this blog. Enjoy!

Orlando Jones from USC Annenberg Innovation Lab on Vimeo.

Further Information About Transforming Hollywood: The Future of Television

UCLA School of Theater, Film and Television

and

USC School of Cinematic Arts

Announce

Transforming Hollywood: The Futures of Television, April 4, 2014, UCLA 

Co-directors:

Denise Mann, UCLA

Henry Jenkins, USC

Presented by the  Andrew J. Kuehn  Jr. Foundation

Media Sponsor: Variety

Friday April 4   2014

James Bridges Theater, UCLA

TRANSFORMING HOLLYWOOD: THE FUTURE OF TELEVISION

Conference Description

This year, the fifth installment of Transmedia, Hollywood has been given a new name—Transforming Hollywood: The Future of Television—to reflect our desire to engage more fully with the radical changes taking place in the American television industry for creators, distributors and audiences. When future generations of historians write their accounts of the evolution of the American television industry, they will almost certainly point to the 2010s as a moment of dramatic change: We’ve seen the entry of Netflix, Hulu, Amazon and YouTube as major players shaping the production of original programming, gaining critical praise, courting industry awards, and perhaps, most dramatically, starting to compete, in terms of number of subscriptions, with the top cable networks. We’ve seen Kickstarter emerge as an alternative means for “crowdfunding” television content, allowing fans to exert a greater role in shaping the future of their favorite series. We’ve seen a continued growth in the number of independent producers creating and distributing their content through the web. With these other changes, we are seeing the industry and academia struggle to develop new insights into what it means to consume television content in this connected and yet dispersed marketplace. This conference will bring together key creative and corporate decision-makers who are shaping these changes and academics who are placing these shifts in their larger historical and cultural contexts. What does all of this mean for those of us who are making or watching television? 

 

Schedule

9:00-9:10 a.m.: Welcome and Opening Remarks – Denise Mann and Henry Jenkins

 

9:10-11:00 a.m.: PANEL 1
Virtual Entrepreneurs: Creators Who are Reinventing TV for the Digital Future
In Fall 2011, Google announced plans to invest $100 million dollars to forge original content partnerships with a number of talented YouTube creators in order to enhance the production value of their work and their value to brands. This panel gives voice to two new types of virtual entrepreneur: Individual web creators who are reinventing entertainment for the digital age, and the CEO of a new type of web-based multi-channel network (MCN), which is forging deals with individual web-creators in exchange for providing them with infrastructural support in the form of sound stages, green screens, higher quality cameras and editing equipment, enhanced social media marketing tools and brand alliances. Early entrepreneurs in this newly commercial, digital economy include Felicia Day and Sheri Bryant (Geek & Sundry), Freddie Wong (“Video Game High School) and Dane Boetlinger (“Annoying Orange), each of whom has catapulted themselves into the top tier of web celebs with huge fan followings. Many of these entrepreneurial web creators have sought out deals with MCNs such as Fullscreen, Maker Studios and Machinima in order to expand their budding entertainment enterprises. However, other creators are chafing inside long-term contracts with MCNs, frustrated by what they see as onerous terms — the split of advertising revenues and intellectual property rights. Today’s panel debates the viability of these new creative and business models, asking whether they represent a radical rethinking of entertainment that puts power back into the hands of creators or if they are transitional systems that will eventually be absorbed by Hollywood’s big media groups.
Moderator: Denise Mann, co-director, Transforming Hollywood / associate professor, head of Producers Program, UCLA School of Theater, Film and Television
Panelists:
Sheri Bryant, partner/co-founder, Geek & Sundry
Allen DeBevoise, chairman and CEO, Machinima, Inc.
Amanda Lotz, associate professor, University of Michigan
George Strompolos, founder and CEO, Fullscreen, Inc.

 

11:10 a.m.-1:00 p.m.: PANEL 2
The Programmers of the Future in an Era of Cord-Cutters and Cord-Nevers
As consumers spend more of their free time online, viewing and sharing content on social networks such as YouTube, Facebook, Instagram, Vimeo, Tumblr and Vine, what does this mean for the future of television? Cord-cutters and cord-nevers represent a very real threat to the current big dogs of digital distribution — the multichannel video programming distributors (MVPDs), also known as subscription cable systems (Comcast, Time-Warner), satellite carriers (DirecTV, Dish) and telcos (AT&T U-verse, Verizon FiOS). At the same time, the MVPDs have been waging too many public battles with Hollywood broadcasters over their high re-transmission fees, resorting to theatrics by pulling favorite sporting events and sitcoms — behavior that alienates consumers and tests the patience of government policy-makers. These policy-makers are making little effort to curb the reckless deal-making taking place at over-the-top (OTT) premium video services such as Netflix, Amazon Prime, Hulu Plus and YouTube (as well as among other players such as Microsoft Xbox), as each makes moves to expand globally while freeing themselves from their dependency on Hollywood licensing deals. By creating their own libraries of critically-acclaimed original programming (Netflix’s “House of Cards” and “Orange is the New Black”; Amazon’s “Betas”) — the OTT services are creating legions of new, loyal consumers, paving the way for a future that may or may not include Hollywood’s premium content licensing deals going forward. Furthermore, the OTT services are attracting A-level talent by offering greater creative autonomy than their micro-managing counterparts at the studios and networks. Do these new programming and streaming options foretell the end of an era in Hollywood or the beginning of a revised set of practices for creators and additional viewing options for binging viewers? Only time will tell. 
Moderator: Andrew Wallenstein, editor-in-chief, digital, Variety
Panelists:
Belisa Balaban, senior vice president, alternative and live programming, Pivot/Participant Media
Jamie Byrne, director, content strategy, YouTube
David Craig, clinical assistant Professor, USC, and producer, Media Nation
Joe Lewis, head of original programming, Amazon Studios

 

1:00-2:00 p.m.: LUNCH BREAK – LUNCH OPTIONS AVAILABLE ON CAMPUS

 

2:00-3:50 p.m.: PANEL 3
Second Screens, Connected Viewing, Crowd-funding and Social Media: Re-imagining Television Consumption
As the television industry has been remapping the flow of media content, as new forms of producers and distributors enter the marketplace, there has also been an accompanying effort to rethink their interface with media audiences. Over the past decade, we’ve seen a renewed emphasis on audience engagement strategies which seek to ensure consumer loyalty and social buzz as a way for individual programs or networks to “break through the clutter” of the multiplying array of media options. New metrics are emerging for measuring the value of engaged viewers and the kinds of social and cultural capital they bring with them when they embrace a program. So, for example, the rise of Black Twitter has been credited with helping to rally support behind new programs with strong black protagonists, such as ABC’s “Scandal,” Fox’s “Sleepy Hollow” and BET’s “Being Mary Jane.”  Second-screen apps are becoming ubiquitous as television producers seek to hold onto the attention of a generation of viewers who are prone to multitasking impulses. The successful “Veronica Mars” Kickstarter campaign opens up the prospect of fans helping to provide funding in support of their favorite stars, creators or series. And the commercial success of “50 Shades of Gray,” which was adapted from a piece of “Twilight” fan fiction, has alerted the publishing world to the previously underappreciated value of women’s fan fiction writing as a recruiting ground for new talent and as a source for new creative material. Yet, for all this focus on engaged audiences, does the industry value some form of viewers and viewership more than others? Which groups are being underrepresented here and why? Are the new economic arrangements between fans and producers fair to all involved?
Moderator: Henry Jenkins, co-director, Transforming Hollywood / provost professor of Communication, Journalism, Cinematic Arts and Education, USC 
Panelists:
Ivan Askwith, lead strategist,Veronica Mars” Kickstarter CampaignVicky L Free, chief marketing officer, BET Networks
Stacey Lynn Schulman, senior vice president, chief research officer, TVB
Nick Loeffler, director of business development, Kindle Worlds
Sharon L. Strover, professor, College of Communication, University of Texas at Austin

 

 

4:00-6:15 p.m.: PANEL 4
Indie TV: Where Creators and Fans Pilot New Shows
The Internet broke the network bottleneck. Through platforms such as YouTube and Vimeo, creators release series directly to fans who follow shows and share them with friends. Web-content creators can write stories in whatever length, style and genre they choose, on their own schedule, and with actors of their choosing. The result is a truly open television ecosystem, where creators, talent and fans work together to realize stories they want to see. Each of the producers on this panel contributes to this new vision of television by producing series for the Internet that are being shaped for traditional TV as well; (several of these web series are being developed for HBO). Issa Rae created “The Misadventures of Awkward Black Girl” with a small team and expanded the show using a successful crowdfunding campaign. Rae went on to produce additional series, including Amy Rubin’s “Little Horribles,” which Rubin released via her own Barnacle Studios. In the process, “Little Horribles” has become a hit with fans and with critics at Variety, LA Weekly and Splitsider, among others. Dennis Dortch and Numa Perrier launched the Black & Sexy TV network to showcase indie comedy, releasing their own hit series “The Couple,” and releasing additional series created by other emerging Hollywood talent. Jay Bushman helped “The Lizzie Bennet Diaries” grow into a deeply engaging transmedia phenomenon, which prompted viewers of the Jane Austen-inspired series to follow characters from YouTube to Twitter and Pinterest. Raising tens of thousands of dollars from fans, Adam Goldman created and wrote two critically-acclaimed dramas, “The Outs” and “Whatever this is,” exploring the realities of being insecure in New York City. After showrunner Brad Bell co-created “Husbands” with Jane Espenson, the indie hit caught the eye of CW executives, who used the series to launch their new online network. As these examples convey, the Internet has become an incubator for talented, next-generation web creators and web celebs, who, in combination with fan followers, are reinventing television for the digital age.
Moderator: Aymar Jean Christian, assistant professor, Northwestern University
Panelists:
Brad Bell, co-creator and star, “Husbands”
Jay Bushman, producer and writer, “The Lizzie Bennet Diaries”
Adam Goldman, writer and director, “Whatever this is”
Numa Perrier, co-founder, Black & Sexy
Issa Rae, creator and star, “The Misadventures of Awkward Black Girl”
Amy Rubin, creator and star, “Little Horribles”

 

6:30-7:15 p.m. Fandom and the Future of Television

Orlando Jones, Star, Writer, Producer, Sleepy Hollow

with Henry Jenkins

Followed by:

RECEPTION – Lobby of the James Bridges Theater

 

For more information, see:  http://www.liquid-bass.com/conference/

For conference Registration, see : https://transforminghollywood5.eventbrite.com

Why Do We Need to “Understand” Fans?: A Conversation with Mark Duffett (Part Four)

There remains a strong emphasis within fan studies on issues of gender and sexuality, not to mention generation, yet there is still relatively limited focus on issues of race. One consequence is that the “whiteness” of fandom is often taken for granted, with very few examples here of the practices associated with fans of color. How might we expand current paradigms of fan studies to deal more fully with race or be more inclusive of diverse kinds of fan tastes and interests?

In the book’s conclusion I mention that there is much more work on fandom and race. There is a danger here, though, that we might essentialize “fans of color” and their practices, creating a kind of academic segregation by default. Instead, there are ways to explore fandom and race that might lead the discussion in fruitful directions.

The first is to explore fandom’s multiple implications within what we might reductively call “the colonial project.” After all, it is a type of blindness not to deal with race within its historical context of colonialism, production and labour. It would be a mistake here to see wider issues of identity and consumption as fully falling outside those concerns. Collecting has always been a means of defining identity. What therefore happened in the late nineteenth and early twentieth century, when electronic media became the context within which such practices were defined? Fans operated from within the orientalist ideologies that defined the colonial and postcolonial era. I have not seen very much work like this, but I think it would be interesting to explore the orientalism at play within fans’ collections of ‘exotic’ artefacts or ‘exoticized’ media genres.

A second approach might involve examining the implication of fandom within specific racial or ethnic cultures. Blackface, in its later incarnations, is an obvious example here. Researchers like Eric Lott have made clear that it was a mode of performance primarily organized to define whiteness. It continued in its vestigial forms into many of our own lifetimes. To identify as a fan of blackface was necessarily to implicate oneself in racial terms. Equally, we might explore dimensions of racial ownership around things like the chitlin’ circuit. How did fandom function within on-going histories of race relations, as a way to express ethic or racial identities at particular junctures?

A third way of examining race in the context of fandom is to examine moments when race made a difference within particular fan cultures. How are fans of a particular background treated when they constitute a minority with a particular fan culture? What does that say about perceptions of the object or the ethics of the fan community? Should, for example, one’s status as a ‘black Doctor Who fan’ always be a point of discussion? To what extent are people actively using fan cultures for particular objects as ways to build or deny inter-racial alliances? The recent discussion in the journal Transformative Works about racism in cosplay was instructive there.

Also, to what extent it unproductively generalizing and essentialist to explore why particular ethnic groups claim ownership over certain fan objects, some of which at first appear unconnected with their specific cultures? We can generate hypotheses at least, for example that Morrissey’s Chicano fans connect with his Anglo-Irish status as a white ‘outsider,’ but such theories hold absolutely no weight until they are subjected to thorough empirical assessment.

 

A final direction for the study of race and fandom might be to consider the racial implications of fandoms based around racially controversial objects. For example, how do the fans of the vulgar contemporary blackface performer Shirley Q. Liquor see the racial connotations of their object? This kind of research is a rather thorny area; using unsolicited material might give us some traction.


You suggest that academics writing about fandom often have a very static conception, not doing research on how people become fans or for that matter, how specific fandoms emerge. What do you see as some possible steps towards addressing these questions?

The answer to your query has two possible directions: one for collective communities and the other for personal fan passions.

The emergence of specific communities and fandoms is amenable to historical study. A substantial number of younger researchers still see the online world of the present as the main place to research fandom, but I expect to see more of this historicizing work as fan studies further expands as a field. In consequence, we might then be able to start developing a more elaborate understanding of the history of media fandom itself. To set the ball rolling we need a greater historicization of fandoms specifically as living cultures, communities that go through periods of expansion and decline. There has been some interesting recent work on this, including your piece for Boom about the San Diego Comic-Con.

The question of how people become fans is still something of an elephant in the room for fan studies. There may be some scope there for a project comparing ‘becoming a fan’ stories. As I explain my book, however, serious methodological obstacles await anyone who uses such material to explain the emergence of personal fandom. Longitudinal studies of individual fans – even autobiographic or auto-ethnographic ones – always have a reflexive, ex post facto element. People can keep diaries, but fandom is hard to anticipate. Serial or genre fans who predictably move from one object to the next are already fans in a sense, so their personal stories are not the same as those of new fans.

As new fans progress through the process of initiation, they change their perspective and commitment. Self-reporting afterward is not going to create the same data as might be collected ‘live’ at each stage. Asking individuals who already keep diaries to reveal their contents during phases of first initiation would move the question forward, but such individuals were not primed to talk about things that might help to address theoretical concerns. It is quite a thorny issue, but we need to start addressing it to fully understand fandom.

You write at the end of the book, “a master theory of fandom may never be found, but it remains a worthy goal to understand the phenomenon as a special bundle of processes that interact in contingent ways.” How does this push for a more general theory of fandom relate to the push, elsewhere in the book, for ever more particular accounts of specific kinds of fans and fan practices?

The concern that you raise here is in some ways like squaring a circle, because fan studies has expanded so rapidly as a field. Media technology has continually changed. More researchers have become interested. New fandoms and new ways of pursuing fandom have sprung up. Empirical work on fandom has now rather exploded. Beyond this, Understanding Fandom was deliberately rich in detail because I was disappointed by some other media textbooks: volumes that were well organized but rather low on information.

Because the value of some recent work is yet to be decided by history, the world of textbooks moves a bit slower that the field that they discuss. Although articles are referenced in Understanding Fandom and sometimes discussed quite extensively, I focused quite deliberately on the ‘classic’ texts of fan studies. My hope was to get a balance between theory and empirical detail, especially when particular examples could further illuminate theoretical concerns and point a way forward.

The challenge of creating a textbook is to be able to frame the work that has been done, and – ideally – explain a bit about what is missing or offer some fresh perspectives. One of the things that seemed missing to me from fan studies was much discussion about celebrity-following. I hope that the book begins a dialogue that will encourage us to widen our scope a little further, beyond a focus on fan practices and communities to think more carefully about on fan motivations. Of course, ‘textual’ fans follow auteurs and celebrity actors, so celebrity-following is a practice or set of practices, not a separate set of fandoms, but it is a practice that forces us to think about the “why” of fandom, not just the “how.”

The fascinating thing about media fandom, for me, remains that it affectively unites commercial culture, individual subjectivity and collective empowerment. My aim with Understanding Fandom was to explain it in an ethical way that might connect research on practices with a wider spectrum, if you like, of work on representations, identities and processes.

Mark Duffett is a Senior Lecturer in media and cultural studies at the University of Chester with research interests spanning fandom and popular music culture. As well as publishing Understanding Fandom (Bloomsbury, 2013), he guest edited a recent special edition of the journal Popular Music and Society, and also edited a Routledge book called Popular Music Fandom(2013) which featured chapters by Cornel Sandvoss, Joli Jensen and Matt Hills. In 2010 he organized an International Symposium on music fandom at Chester and was keynote speaker in 2012 at the MARS music conference in Finland. He is currently writing a book on Elvis Presley for the Equinox Press series, Icons of Popular Music, and co-organizing an April 2014 international conference on rock music and love in Montpellier.