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Nele Noppe

A nightmare of capitalist Japan: Spirited Away - 0 views

  • "Our old enemy 'poverty' somehow disappeared, and we can no longer find an enemy to fight against" (Miyazaki, 1988). In other words, after Japan's industrial success since the Meiji restoration in 1890s and recovery from WWII cast out poverty from the nation, people still remain possessed by an illusion of gaining a wealthy everyday life and continue living with a gap between their ideal and real life. As a result, an endless and unsatisfying cycle of production and consumption has begun destroying harmony among family and community (Harootunian, 2000).
  • Zizek (1989) points out that people of late capitalism are well aware that money is not magical. To obtain it, it has to be replaced through labor, and after you use it, it will just disappear, as will as any other material. Allison (1996) adds to this point: "They know money is no more than an image and yet engage in its economy where use-value has been increasingly replaced and displaced by images (one of the primary definitions of post-modernism) all the same” (p. xvi).
  • Related to its presentation of the loss of spiritual values, the film elaborates an extensive critique of another contemporary global issue: identity confusion. A symptom of identity loss is seen in the way that cultures today encourage people to constantly refashion their self-image, so that individuals construct their identity based on ideals presented in popular media.
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      testing
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  • Because of the gap between the real and the fantasy, people in late capitalist society become ever more unsatisfied with themselves. Perhaps, that is one of the reasons why people are more and more attracted to anime, where transformation of identity are easily visually accomplished. To illustrate, we may name a few examples from a popular daily life phenomenon among anime fans, called “cosplay.”
  • When you are cosplaying, your identity depends on what others know about the character, not on who you are. Cosplay, therefore, allows the players to change their identity.
  • Miyazaki stresses the importance of having a proper name to warn us against the possibility of losing our identity in the post-modern world. When Chihiro first gets hired by Yubaba, Yubaba alters Chihiro’s name to Sen. Later Haku explains to Chihiro that Yubaba controls people by stealing their names. The plot operates on the premise that if Chihiro forgot her original name, she would forget about her past and never be able to go back to where she was from.
  • Besides Chihiro and Haku, a key character representing identity confusion is No-Face, who has only a shadow-like body and a mask. The mask does not hide his face for he has no face; rather, the mask constructs his outside identity. Since the mask symbolizes a product that people can buy with money, here it indicates an unoriginal identity that people can construct by giving into materialism.
Nele Noppe

SAMPLE REALITY · On Hacking and Unpacking My (Zotero) Library - 0 views

  • We’ve all had that experience of reading a journal article or — damn it! — a mother effing blog in which the author tackles clearly, succinctly and without pause some deep research concern that we’ve been pondering for years, waiting for it to blossom into a Beautiful Idea in our writing before going public with it. And POOF! somebody else says it first, and says it better. Keeping our sources private is the talisman against such deadly blows to our research, akin to some superstitious taboo against revealing first names. We academics are true believers in occult knowledge. To put it in the starkest terms possible: before I published my library I was concerned that someone might take a look at my sources and somehow reverse engineer my research. Let’s face it, I’m an English professor. It’s not as if I’m working on the Manhattan Project. Are we in the humanities really that ridiculous and self-important? Let’s face it, I’m an English professor. It’s not as if I’m working on the Manhattan Project. My teaching and research adds only infinitesimally incrementally to the storehouse of human knowledge.
  • I don’t mean to belittle what scholars in the humanities do à la Mark Bauerlein. On the contrary, I think that what we do — striving to understand human experience in a chaotic world — is so crucial that we need to share what we learn, every step along the way. Only then do all the lonely hours we spend tracing sources, reading, and writing make sense.
  •  
    "We've all had that experience of reading a journal article or - damn it! - a mother effing blog in which the author tackles clearly, succinctly and without pause some deep research concern that we've been pondering for years, waiting for it to blossom into a Beautiful Idea in our writing before going public with it. And POOF! somebody else says it first, and says it better. Keeping our sources private is the talisman against such deadly blows to our research, akin to some superstitious taboo against revealing first names. We academics are true believers in occult knowledge. To put it in the starkest terms possible: before I published my library I was concerned that someone might take a look at my sources and somehow reverse engineer my research. Let's face it, I'm an English professor. It's not as if I'm working on the Manhattan Project. Are we in the humanities really that ridiculous and self-important? Let's face it, I'm an English professor. It's not as if I'm working on the Manhattan Project. My teaching and research adds only infinitesimally incrementally to the storehouse of human knowledge."
Nele Noppe

WTO | intellectual property (TRIPS) - agreement text - enforcement - 0 views

  • Article 51 Suspension of Release by Customs Authorities
  •  Members shall, in conformity with the provisions set out below, adopt procedures (13) to enable a right holder, who has valid grounds for suspecting that the importation of counterfeit trademark or pirated copyright goods (14) may take place, to lodge an application in writing with competent authorities, administrative or judicial, for the suspension by the customs authorities of the release into free circulation of such goods. Members may enable such an application to be made in respect of goods which involve other infringements of intellectual property rights, provided that the requirements of this Section are met.
  •  Members may exclude from the application of the above provisions small quantities of goods of a non-commercial nature contained in travellers’ personal luggage or sent in small consignments.
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  • Members shall provide for criminal procedures and penalties to be applied at least in cases of wilful trademark counterfeiting or copyright piracy on a commercial scale.
Nele Noppe

Exactly which 'academics' are getting which fandom riled up? - 0 views

  • As far as one can make out from the current squabble in other fandoms, it is not academics as such who are disregarded or disdained by other fen.  It is, almost exclusively, the Faculty of English Language and Literature who have made themselves unwelcome.  This seems to me significant.  It seems to me more significant still that it is, so far as I can determine, primarily American dons of Frenchified theoretical leanings who are making themselves unpopular with the mass of fandom.  I mean, if the academic fen in question were, say, Womersley of St Catz, Shrimpton of LMH, or Turner of Jesus, let alone Jenkyns of LMH, I shouldn’t expect the same quarrel to have arisen. My primary point is simply that this seems not to be a case in other fandoms of something I’ve never seen and don’t anticipate seeing in mine: of ‘the revolting peasants rising against their intellectual superiors’ or of ‘all academics sucking the soul out of fandom like so many Dementors’, which appear to be the two rallying cries here.  One simply doesn’t observe this sort of anger’s attaching to historians or those who read Law at university or even to wild-eyed, Balliol-Wadham-and-Grauniadista sociologists and anthropologists, at least not in my fandom.  Therefore, I submit that it is misleading and contrary to resolution of the quarrel to cast it in terms of all fen in all fandoms against all academics of all schools of thought.
Nele Noppe

Comic Market: How the World's Biggest Amateur Comic Fair Shaped Japanese Dōji... - 0 views

  • the world's largest regular gathering of comic fans today is Tokyo's biannual Comic Market
  • dōjinshi phenomenon did not start with Comic Market, Comike and dōjinshi are inextricably linked, having shaped each other's history for three decades.
  • Comike convention has shaped the most important trends defining the development of dōjinshi in Japan today
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  • In 1975, a woman who had made critical remarks about the Manga Taikai was excluded from that convention, and [End Page 234] subsequently a firestorm of anger among fans produced a movement against the Manga Taikai led by the famous circle Meikyū (Labyrinth), which resulted in the conception of a new alternative convention. On December 21, 1975, the first Comic Market—"a fan event from fans for fans"—was held in Tokyo.6
  • [End Page 232]
  • [End Page 233]
  • Comike's underlying vision was of an open and unrestricted dōjinshi fair, offering a marketplace without limitations on content or access.
  • With the advent of these fan-consumers (as opposed to fan-creators), dōjinshi became demand-driven publications. Greater competition gradually fostered rising standards of quality, which in turn attracted more circles and buyers. Higher sales shrank production costs and boosted profits, which could then be reinvested in the dōjinshi themselves. Small printing companies, many of which had begun in the minikomi (microcommunication) boom of the early 1970s, were able to use the profits derived from greater demand for their services to modernize their equipment, lowering production costs further and enabling them to construct their production schedules around each Comike.8 Additionally, lower printing costs freed smaller groups from the dependence on bigger groups, which often had strict rules on content and style to avoid conflict among their many members. Having lost their raison d'être, these big clubs and circles gradually faded away, leaving dōjinshi creators to produce stories they liked, in the manner they liked.9
  • [End Page 235]
  • aniparo parodied popular anime series, and in doing so, attracted a new type of fan to Comike, beyond its core group of 2000 or so attendees. These were female fans, mostly middle and high school students strongly influenced by the 1970s florescence of shōjo manga. They began to create and consume dōjinshi in which the (bishōnen or "pretty boy") male protagonists of popular anime and manga were transposed into a very particular sort of erotic story typified by the phrase: "without tension" (yama nashi), "without punchline" (ochi nashi), and "without meaning" (imi nashi)—and hence the contemporary genre title, yaoi.10
  • The eleventh Comic Market in spring 1979 saw the popularity of the cute and pure bishōjo or "pretty girl" (strongly influenced by 1970s shōjo manga) skyrocket among men's dōjinshi circles, attracting many new male participants.
  • The Comic Market was dominated by women from the beginning (90 percent of its first participants were female), but in 1981, thanks to lolicon, male participants numbered the same as female participants for the first time in Comike's history.13
  • [End Page 236]
  • Internal conflicts on the Comike planning committee underlay some of these developments: they marked the ascendancy of the faction led by Yonezawa Yoshihiro, who favored Comike's unlimited expansion.15 Though he was criticized for purportedly selling dōjinshi out to commercialism, Yonezawa couched his plans for Comike in terms of a collective organization of the convention by all participants, including staff, circles, and visitors.16 Whatever the underlying reality, these public principles remain little changed today.17
  • Faced with this loss of identity, talent, and space, every other large fan convention except Comike dissolved. Yaoi Boom But in the middle of the decade, one manga and its anime not only saved dōjinshi fandom from near extinction but was responsible for its biggest boom yet. Takahashi Yōichi's Captain Tsubasa (1981–88, Kyaputen tsubasa),
  • [End Page 237]
  • New dōjinshi conventions appeared, and manga shops began selling dōjinshi on commission. Comparatively lush, custom-made, oversized dōjinshi with more than one hundred pages became common, and popular circles could now live on their fanworks' profits
  • professional creators like Toriyama Akira of Dragonball fame participating,
  • [End Page 238]
  • Despite the self-censorship brought on by the mass media's criticism, Comike nevertheless continued to thrive. Young men tired of new, tighter restrictions on professional manga turned to Comike, and attendance once again swelled to 230,000 in the summer of 1990.23 Hardcore lolicon was now passé, and erotic dōjinshi for men had greatly changed. New genres were introduced with such aspects as fetishism and a new style of softcore eroticism enjoyed by men and women alike; in particular, yuri (lily), or lesbian stories, emerged.24Dōjinshi also became smaller and shorter due to professional publishers recruiting talented dōjinshi creators en masse: the bulk of dōjinshi were the works of the less talented creators left behind.25
  • Other factors contributing to the increased interest in dōjinshi and in fanworks were the development of fixed otaku landmarks and the spread of computers. Almost everyone could now afford to make digital dōjinshi as well as audiovisual or even interactive dōjinshi (i.e. dōjin music and dōjin games).
  • The personal technology revolution meant [End Page 239] simplification of fanworks' production processes as well as completely new possibilities for communication and new digital genres. With the growth of dōjinshi in other media, the term "dōjin products" (dōjin seihin) has gradually come into use to describe fanworks of all genres.
  • Further, the conversion of Tokyo's Akihabara "Electric Town" into a district full of shops selling otaku-related goods, as well as the nationwide expansion of otaku-goods retailers and the establishment of Internet communities and message boards in the late 1990s, enabled otaku to live out their interests and to communicate nonstop with like-minded people everywhere. Their interests and culture were easily shared, and consequently information on Comic Market and dōjin culture spread around the world.
  • The rise of the Internet also meant that Comike lost its monopoly as the center of otaku and dōjinshi culture. Nevertheless, Comike remained the most important event for Japanese fans, especially after companies with otaku-related products started to exploit it.28 Firms had been interested in Comic Market for decades as a never-ending pool of promising new talent and as a place to exploit them commercially, and they were willing to pay much money for direct access to these masses of otaku.29 Starting with NEC in the summer of 1995, companies were granted exhibition space to market or to sell their newest products. This was the birth of the dealer booth at Comike, and, as with dōjinshi circles, the number of applicant companies was much higher than that of available spaces: a self-sustaining event with such high attendance was too important for any related company to ignore.30 Companies accepted the existence of unlicensed parody dōjinshi using copyrighted material (albeit in a transformative and thus arguably fair-use manner) since they could now sell exclusive goods at Comike (Figure 3) or use it as a marketing place, attracting to the convention people who were not interested in dōjinshi.
  • In the summer of 2004, 5 percent of all circles participating in Comike were headed by a professional mangaka or illustrator, while another 10 percent had some professional experience.
  • Despite its relative newness, Higurashi became one of Japan's biggest media phenomena, and at the seventy-sixth Comic Market in summer 2009, Tōhō Project became the first dōjin title ever to receive the honor of being considered its own genre.
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  • It seems that dōjinshi circles are not switching entirely to the Internet but rather are using it as an informational and marketing platform for themselves and their creations, spreading the knowledge of and fascination with Comic Market to new spheres.
  • With high attendance, positive media attention, and industry support, Comike's position seems invulnerable. Even the deaths of important figures such as Iwata Tsuguo in 2004 and Yonezawa Yoshihiro—who was the face of Comike for decades—in 2006 did not harm its position. But unresolved problems, such as the use of copyrighted material in parody dōjinshi and the child pornography questions inherent in lolicon and shotakon, remain.
  • Comike was neither the first nor the biggest dōjinshi fair when it was established; its main purpose was to provide the freest market possible, and that freedom has come at a price. The dream of a Comic Market open to every one and everything was never realized, as there were too many physical, financial, and legal restrictions. Even today, the Comic Market suffers from a lack of space, a lack of money, and a lack of legal security. Only two-thirds of applicant circles can participate due to constraints, since, as a small independent operator Comike's financial resources are limited and most of the work is done by volunteers.
  • s the center of attention, with its size and its links to the industry, it is undeniable that Comike possesses the power and the means to influence social, market, and even political developments. In [End Page 244]
  • recent years it has not been reluctant to use this power. Whether through conferences on copyright issues or on the establishment of a "National dōjinshi fair liaison group" (Zenkoku dōjinshi sokubaikai renrakukai) in 2000, it has taken on the responsibility of representing and of regulating Japanese dōjinshi culture.
Nele Noppe

Uses and gratifications - Wikipedia, the free encyclopedia - 0 views

  •  
    # Diversion - a media text which provides an escape from reality. When a media text temporarily partially covers one's senses. For example playing a video game. # Personal relationships - People create personal relationships with the characters in a media text, they start to feel they know them. This can become dangerous if people start to trust them as well, for example if one trusted a news reporter too much they may take everything they say at face value and not question it, this trust could then be abused. # Personal identity - When a person creates part of their own identity from things they find attractive in people from media texts, for example someone may have a haircut because they liked the look of a similar one in a magazine. This can go a long way in shaping people and people's ideas of values, norms, ideologies and fashions. # Surveillance - the audience gain an understanding of the world around them by consuming a media text, for example print and broadcast news.
Nele Noppe

The Visual Linguist: (^_^) ... Emoticons and the Brain - 0 views

  • That is, as the authors say, "Remarkably, emoticons convey emotions without cognition of faces."This finding has very interesting consequences for understanding how brains process varying degrees of complexity in images. The implication here at least is that more simplified faces become tied more explicitly to a "symbolic" meaning as opposed to their iconic meaning of resembling what they look like. That is, more simplified images strip down the meaning to its core meaning disconnected to the iconic reference that they are framed within.
Nele Noppe

Creativity in amateur multimedia: Popular culture, critical theory, and HCI - 0 views

  • Today, especially in academic circles, this pop culture phenomenon is little recognized and even less understood.
  • These analyses reveal relationships among emerging amateur multimedia aesthetics, common software authoring tools, and the three theorizations of creativity discussed
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      VERBAND FANWERK - OPEN SOURCE
  • This paper explores the enabling factors, especially the role of multimedia authoring tools, in the recent explosion of amateur multimedia.
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  • Yet control over popular culture by mass media is clearly eroding
  • HCI practitioners have explored how software interfaces can enhance and support users in general and creativity in particular. Its analytical tools for examining the relationships between tools and a concrete group of users vis-à-vis a well-defined explication of tasks both solve and create problems. The ability to specify these relationships explicitly greatly facilitates the design of systems; yet that same explicit specificity also defines creativity a priori in cybernetic terms more friendly to computers than to the culturally diverse and rich practice of creativity
  • Critical theory—an umbrella term that encompasses literary theory, continental philosophy, and communication theory, among others—offers sophisticated theoretical resources for the study of cultural artifacts and their use in the communities that create them. Many of these theories ground themselves in the materiality of the cultural artifacts they study; yet the material layer for which these theories were once developed were largely textual. The movement of cultural artifacts from the physical to digital poses a deep challenge (and some risk) for critics studying digital media with these theories
  • this paper investigates three relevant traditions of theory that address these overlaps: HCI, poststructuralism, and theories of technological determinism, especially in media.
  • Creativity—its nature, conditions of possibility, inputs and outputs, and processes—plays a major role in virtually all academic, professional, and artistic domains. As a result, it is heavily, and heterogeneously, theorized.
  • Genealogically, HCI developed alongside cognitive science and computer science, and was most often put in service of professional productivity software.
  • HCI often characterizes creativity in rationalistic, intentional, and scientific ways. For example, Schneiderman (2002, 2003) proposes a creativity framework for, in his words, “generating excellence” with four parts: collect, relate, create, and donate. With it, he hopes to capture the social, iterative, associational, and distributional characteristics of creativity, especially as described by cognitive science. Evident in this perspective is an effort to model creativity, which is seen as a social activity, with certain structural features that take place in environments conducive to creativity.
  • All of this is in service of what Schneiderman calls “evolutionary creativity,” which he illustrates as follows:“doctors making cancer diagnoses, lawyers preparing briefs, or photo editors producing magazine stories”(2002, p. 238). Here, Page 17 Creativity in Amateur Multimedia 15 and pervasive throughout the essay, Schneiderman’s notion of creativity appears to be paraphrasable as professional innovation: His interest is not artistic self-expression and, as we shall see, he is not alone in understanding creativity in terms of professional discourses
  • Again, creativity is understood as it relates to professional discourses, in this case the discourse of art history and its pedagogical presentation to museum-goers. Even analyses of group creativity in HCI contexts that seek to go beyond rationalist- individualist notions of creativity nonetheless operate in a rationalist mode.
  • The notion of creativity that emerges from these mainstream HCI essays places its agency primarily in the intentional activity of the individual (though the individual is presumably a member of relevant groups). It sees the ecology of creativity as a community of expert practice comprising research, dialogue, and artifact exchange, facilitated by social and computer environments that forgivingly compel an iterative and basically scientific (correctness, discrete information, classification, hypothesis) approach toward truth.
  • The role of the author-function is, among other things, to control the polyvalence intrinsic to texts, such that the author, rather than performing the creative role of bringing the text into the world, performs the role of constraining the meaning of the text within a society.
  • (Foucault, 1969/2000, p. 206). Therefore, writing is a destabilizing force that threatens to transform the discourse in which it operates and to swallow up its own author. It is important to remember that Foucault is not limiting his analysis to literary texts; he explicitly includes scientific and academic writing,
  • In this conceptualization of writing, creativity occurs at the level of discursive rule- transgressing. The role of the historical human in this process is greatly diminished, not because humans are not involved in textual production, but because the individual is at the wrong level of granularity for analysis. A given historical individual authoring discourse does so within complex interactions involving several selves and the clash of languages
  • Related, but not identical, to Foucault’s notion of authorship are theories of “intertextuality” put forward by Julia Kristeva and Roland Barthes. Intertextuality is the notion Page 19 Creativity in Amateur Multimedia 17 that a text is a “tissue” of (mis) quotations from other texts, considered to be more than mere collages, but transformative, of the sign systems from which they are derived (McAfee, 2004)
  • Creativity’s agency lies in the juxtaposition of sign systems (in which authorial identities are implicated), which occurs in the context of play, and results in artifacts that are significant not for what they say, but for the ways they materially contribute to the generative capacity of the discursive rule-set from which they operate.
  • Perhaps the foremost theorist of technological determinism is Jacques Ellul (1964/2003, 1980/2003), who argues that individuals, science, and government are all “conditioned” by technology.
  • Like Schneiderman (2002, 2003) and Foucault (1969/2000), Ellul (1964/2003, 1980/2003), too, is making claims about the origins and generation of knowledge in scientific discourses, but he situates the agency in the fierce pressures of technology as it overwhelms and often replaces the comparatively meek procedures of science and governance
  • As a result, according to Benjamin, our cognitive experience of the art also changes; whereas painting allows spectators to control their own stream of consciousness and reflect on what they see, cinema’s moving images disrupt association and contemplation, dominating viewers’ thoughts.
  • Benjamin’s (1936/1968) arguments are developed further by self-described technological determinist Marshall McLuhan, whose claim that “the medium is the message”(1964/2003) characterizes media as “extensions of ourselves” that “alter sense ratios or patterns of perception steadily and without any resistance”(p. 31).
  • For Manovich, the emergence of new visual languages is enabled not by an iterative, rational approach to innovation, as cognitive science might suggest; neither does it emerge from an evolutionary history of discursive transgression, as a poststructuralist approach might suggest 10. Rather, it is made possible by certain forms of productive convenience built into authoring tools that unleash visual languages and cultural logics that exceed any human intention, whether at the level of the individual or the group of experts.
  • To answer this question, it is useful to consider what the three traditions share in common. All consider creativity in the context of professionalism and knowledge production. Creativity is not simply about painting a pretty new picture or expressing a personal emotion; it contributes to discourses about the world and our place in it. All three traditions also understand creativity as situated within systems—networks of software-supported experts, discursive sign systems, or systems of production and consumption. All of these implicitly reject romantic notions of the individual creative genius and pure self-expression; implied in this is a rejection or at least dilution of individual intention as the prime mover of creativity
  • Questions one might ask include the following: What are the social and technical conditions or structures necessary for the generation of these artifacts? What is the discourse of amateur multimedia? What is the minimal unit of meaning? In what ways does its production establish relationships between authors, viewers, technologies, meaning, and ideology?
  • A key first step is to understand how creativity is implemented in multimedia authoring software. Each program has ways it encourages authors to work. For example, Photoshop greatly rewards users who take advantage of layers, opening up avenues of possibility for compositing, nondestructive experimentation, and long-term editability. This in turn makes certain meanings (especially meanings created by the juxtapositions of spatial compositing) more easily realized than others. To what extent do contemporary authoring platforms encourage in the same ways (constituting and compelling a notion of digital creativity), or do different applications suggest different notions of digital creativity?
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Nele Noppe

Abstracts - 0 views

  • Different periods of literary and philosophical thought place emphasis more strongly on either continuity or originality, and thinkers of modernity often privileged originality and artistic genius as they laid the groundwork for a value system that still affects the landscape of contemporary popular culture.
  • Countering this ascribed modernist valuation of originality, postmodern theorists and artists have emphasized pastiche, appropriation, and intertextuality.
  • copyright laws and marketplace expectations have helped establish aesthetic discourses within fan communities that often mirror modernist emphases on originality and authenticity.
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  • despite a cultural value placed on repetition, fandom still remains at least tenuously invested in more traditional notions of originality and uniqueness.
  • In contrast to Eliot's model of artistic genius, emphasizing originality and ownership of individual creativity, I’d like to foreground the fan community as a collective creative culture that values sharing, allusion, and repetition as aesthetic (and affective) choices.
  • Rhetoric is basically a pedagogical discipline comprising a number of pedagogical principles, where one is the principle of imitatio. According to the imitatio principle you have to, very actively, collect an arsenal of different strategies in the process of learning how to write and present a material.
  • With focus on imitatio and from perspectives such as genre, intertextuality, narratology, semiotics, we discuss the creation process of fan fiction in general and slash in particular.  
  • Further, and crucially, fic is a form of discourse that does not just analyse canon – it has the power to add to and change it as fanon and canon mix, encouraging ongoing reinterpretation and reframing of canon within the fanon/canon ‘verse as a whole.
  • Reading and writing fic remains a more popular online activity than taking part in meta discussion, but are the two activities so very different?
  • Harry Potter
  • from a close reading of a set of French potterfictions, my presentation will try to identify and compare the typical “scripts” used by the authors:
  • However, the various academic accounts written about yaoi have a tendency to pathologize yaoi as well as its female fans in terms of gender displacement, female sexual oppression, or sexual starvation.
  • how Queer Theory can assist the academic discussion of yaoi and slash, and counter the tendency to pathologize.
  • The British television show Torchwood has generated a vast amount of fan fiction. Among these stories are some which involve human-animal transformations.
  •   In this paper I intend to study how the human-animal transformations are described in a selected number of fanfic texts.
  • Can these stories be read as a comment on the relation between human and animal, or should the animal in this context rather be read as merely a symbol or a plot device?
  • Ludology, the academic study of games, has maintained a critical distinction that, fundamentally, a game cannot contain a narrative, as its focus is more oriented toward necessarily non-narrative interaction between the game and its players.  Fan fiction seems capable of exploding, or at least complicating, this claim, as the process of a writer’s active and creative engagement with a previously existing storyworld, expressed through fan fiction, appears clearly to meet the requirements both for a game,
  • close readings
  • In existing studies on fan fiction, it has been established that the majority of previous studies have been ethnographical or social in nature. Only very recently have studies on the literary aspects of fan fiction begun to emerge.
  • Harry Potter
  • helps us shorten the gap between literary practices of 'high' and 'low'.
  • Fan Fiction – ‘The Logical Extension’
  • The Love Song of T.S.Eliot and fandom  
  • Fan Fiction – as Dickens (Might) Have Written It
  • Redefining the EveryFan? Implicated reading and janeites on-line
  • Flexible Dancers: How Doctor Who fan fiction subverts and confirms the elements inherent in the romance novel genre
  • A Revamped Lover? The Limitations of the Romance Format in Black Dagger Brotherhood Slas
  • ”This Man Is My Friend – Nobody [Else] Touches Him”: Paris/Kim Fan Fiction from Star Trek: Voyager
  • Sex, power and kittens – human-animal transformations in Torchwood fan fiction
  • “It takes a real man to have a baby”: heterophobia or heteroflexibility in Supernatural mpreg
  • t fan fiction is a form of derivative or appropriative fiction
  • I suggest that we need to look toward tropes, the use of familiar plots, scenarios, and characterization as central organizing and generating principles for fan fiction communities.
  • yaoi and its Western fans are more receptive to a queer interpretation than slash and its fans are. Other key points raised by the research included fans’ rejection of ‘mainstream’ characterization of females, a strong awareness of legal and ethical issues and a desire to challenge contemporary accounts of ‘their’ fandom.  
  • Polish fans unlike their American or European colleagues are quite puritan.
  • Should the fan fiction writer be seen first and foremost as a reader, which is undoubtedly an essential role in fan fictions?
  • where a general rule is to stay true to the canon’s descriptions of characters,
Nele Noppe

Reading Harry Potter: A personal and collective experience - 0 views

  • reception of the Harry Potter novels in France.
  • “media talk” has shaped an image of the Harry Potter readership and ascribed meanings to the novels.
  • Harry Potter readership seems to be very diverse, blurring some traditional age, gender or social distinctions related to reading preferences.
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  • Our research interest was to investigate how these very heterogeneous readers made sense of the books and organized their Harry Potter “reading career.”
  • We have tried to avoid the intellectualist bias of the academic discourse privileging the most analytic and erudite forms of reception, or the most articulate and literary forms of newspaper reviews (Barker, 2004). As Elizabeth Long pointed out, “the traditional imagery of the solitary reader” has privileged “a certain kind of reading: erudite, analytic” (Long, 2003, p. 2-3), and it “legitimat[es] only certain kinds of literary values and certain modes of reading” (p. 11).
  • The Harry Potter books are characterized by their serial publication over ten years, their dispersion on different media and tie-ins, and their symbolic status as best-sellers and objects of public attention: all these elements have shaped reading experiences.
  • Martin Barker emphasized the importance of the secondary, ancillary, or satellite texts that shape in advance the conditions under which interpretations of novels are formed: marketing campaigns, articles, reviews and debates in the media, and fan productions (Barker, 2004).
  • All these public discourses constitute discursive frames around the novels. They tend to ascribe meanings and effects to the Harry Potter books and to spread a homogeneous and sometimes simplistic image of Harry Potter readers.
  • Although the Harry Potter readership is much wider, the readers who were mostly described were teenagers. Assumptions about teenagers’ emotional instability, vulnerability, and identity crises have influenced many of the categories used in media discourse to talk about Harry Potter.
  • Reading Harry Potter was supposed to contribute to the harmonious maturation of the readers, as the characters themselves were growing up. The mechanism of this readers’ transformation was supposed to be “identification”:
  • layed an important role in turning Harry Potter into a part of legitimate and safe culture.
  • These ancillary discourses targeting teenagers were thus clearly gendered, and the labels applied to the movies and the novels can help to define a diversity of reading expectations. But do actual readers conform to these solicitations? How do they appropriate the novels? How do their reading experiences relate to their movie experiences with Harry Potter?
  • The Harry Potter novels, by their wide and diverse readership, lent themselves very well to an investigation of the diversity of “appropriation” and levels of engagement.
  • Cultures of feelings and ethical perceptions: 2.a: a preference for adult or “bad” characters: the appeal of psychological complexity
Nele Noppe

Confessions of an Aca/Fan: Archives: Acafandom and Beyond: Week One, Part One (Anne Kus... - 0 views

  •  
    As fan communities face members who see their positions as enlightened because of their "superior" knowledge--and as academic conferences, programs, and journals are flooded with people who see fan studies as a justification to make a living writing about their hobby without worrying so much about any critical intervention or generating compelling insights--it's perhaps no surprise that the term has "grown" to the point that people are now questioning whether its use has been stretched past usefulness.
Nele Noppe

Project MUSE - Cinema Journal - Introduction - 1 views

  • These fans feel a deep sense of community and are engaged in a complex subcultural economy—using work time to write about copyrighted characters, teaching one another how to use complex technological equipment to create zines for free, and so on
  • fan vids address many of the issues raised during my search for a perfect cover image: each draws from a variety of sources that may be familiar to a particular community of media fans but often are more obscure to other TV viewers. Explaining how and why a particular scene resonates for a fan may indeed rely on the shared knowledge of a story, vid, or central fan discussion.
  • The story of media fandom is one steeped in economic and gender concerns, from the beginning, when women began creating the narratives commercial media wouldn't offer—dominated as it is by male producers—
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  • Some scholars posit that today all viewers are interpellated as fans, that they are invited to engage fannishly by creating content and engaging within an imaginary online community. Does this mean that the old subcultural stance of media fandom has become obsolete in the face of a general shift in media consumption? Moreover, if such convergence can allow fans to become parts of the media industry, should fans embrace these options? And how are these economic issues deeply gendered if predominantly female spaces embrace gift cultures while men are more likely to turn their fannish endeavors into for-profit projects?
  • Fandom is always more complicated than the stories we tell about it, and scholars need to be careful not to create an imaginary feminist idyll. Simply inverting the gaze may keep subject/object relations unquestioned—a concern that has become especially important as queer and trans studies have complicated any naive feminist binaries that may have held sway during early years of media fandom. Likewise, as [End Page 106] De Kosnik and Russo illustrate, an unequivocal embrace of noncommodified fan work remains problematic within a world that requires paying the bills.
Nele Noppe

Audre Lorde: The Master's Tools Will Never Dismantle the Master's House - 0 views

  • Advocating the mere tolerance of difference between women is the grossest reformism. IT is a total denial of the creative function of difference in our lives. For difference must be not merely tolerated, but seen as a fund of necessary polarities between which our creativity can spark like a dialectic.
  • It is learning how to take our differences and make them strengths. For the master’s tools will never dismantle the master’s house. They may allow us temporarily to beat him at his own game, but they will never enable us to bring about genuine change. And this fact is only threatening to those women who still define the master’s house as their only source of support.
  • The failure of the academic feminists to recognize differences as a crucial stregnth is a failure to reach beyond the first patriarchal lesson. Divide and conquer, in our world, must become define and empower.
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  • I urge each one of us here to reach down into that deep place of knowledge inside herself and touch that terror and loathing of any difference that lives there. See whose face it wears. Then the personal as political can begin to illuminate all our choices.
  • Women of today are still being called upon to stretch across the gap of male ignorance, and to educate men as to our existence and our needs. This is an old and primary tool of all oppressors to keep the oppressed occupied with the master’s concerns.
Nele Noppe

Two-Tiered Japanese Blogs - 0 views

  • . The major lesson seems to be, if you are an individual with authority and legitimacy established through traditional channels, you are free to use a name and face on the internet. Everyone else, too bad.
  • Most likely, non-famous Japanese individuals unconsciously fear some form of punishment for establishing a public identity through a non-legitimized blog or stating opinions without proper self-legitimacy. Of course, Western blogs also are an affront to the social order, but that is exactly why ambitious individuals embrace blogs — to jump around professional barriers and bottlenecks. In other words, the West’s excitement about blogs is that you can create a name for yourself by stating opinions publicly. In Japan, the excitement appears to be that you can state opinions without having a name attached.
  • The end result is that anonymity blunts the net’s possibility of changing the current social order. The two-tier system of blogs reinforces the fundamental principles of Japanese social organization. Only individuals at the top of the hierarchy are allowed to embrace a public identity, just as it was before Web 2.0.
Nele Noppe

Communication theory - Wikipedia, the free encyclopedia - 0 views

  • message production: Constructivist Theory, Action Assembly Theory message processing: Elaboration Likelihood Theory, Inoculation Theory discourse and interaction: Speech Acts Theory, Coordinated Management of Meaning developing relationships: Uncertainty Reduction Theory, Social Penetration Theory ongoing relationships: Relational Systems Theory, Relational Dialectics organizational: Structuration Theory, Unobtrusive and Concertive Control Theory small group: Functional Theory, Symbolic Convergence Theory media processing and effects: Social Cognitive Theory, Uses and Gratifications Theory media and society: agenda setting, spiral of silence culture: Speech Codes Theory, Face-saving Theory (Miller, v-viii) Symbolic Convergence Theory
Nele Noppe

Fujoshi - 0 views

  • And therein lies the rub. The image of girls getting out of hand is hard for some to swallow.
  • Experts predict that Japan’s population will shrink to 108 million by 2030, and critics of the otaku phenomenon blame men and women who can now live meaningful lives without human companionship. One analyst says that the rampant creativity of otaku is rivaled only by their stunted emotional growth. Journalist Yumiko Sugiura, who literally wrote the book on fujoshi (2006’s The Fujoshi-izing World: The Female Otaku of East Ikebukuro), says women who indulge fantasies of queer love rather than finding boyfriends face an even greater backlash than their male counterparts. She believes that, via yaoi, fujoshi demonstrate dissatisfaction with traditional Japanese expectations of what a woman’s life should be.
Nele Noppe

Guestpost: Kristina Busse on academics, fans, and the fuzzy line between « Fa... - 0 views

  • In other words, being a good academic may be important to other academics but not necessarily to other fans.
  • We thus face a dilemma: how can we respect and encourage the academic aspects of fan writing while still maintain fan meta as a distinct and separate discourse.
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