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Nele Noppe

BBC NEWS | UK | England | Tyne | Man cleared over Girls Aloud blog - 0 views

    A former civil servant who wrote an internet article imagining the kidnap and murder of the pop group Girls Aloud has been cleared of obscenity.Darryn Walker, 35, from South Tyneside, was charged after his blog appeared on a fantasy pornography site.
Nele Noppe

Dr. Robin Anne Reid - What do you mean pleasure, white man? abstract - 0 views

  • all fan created productions rely to different degrees upon some form of self-insertion.
  • However, empathetic identification and self-insertion are complicated when the fans being considered are not positioned as privileged within the dominant system of race.
Nele Noppe

Project MUSE - Cinema Journal - Should Fan Fiction Be Free? - 0 views

  • This situation deserves scrutiny, especially because fan fiction is becoming [End Page 118] increasingly visible to non-initiates through major media outlets in the United States and the United Kingdom, indicating that the genre is moving away from the margins of American and British culture
  • The mainstreaming of an alternative form of cultural production is nearly always synonymous with commercialization;
  • Over the past decades of sharing their transformative works, fan fiction readers and writers have generally felt wary of commodifying a form of cultural production that is essentially derivative and perhaps subject to copyright infringement lawsuits.
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  • Digital appropriation artists have developed a number of monetization models: royalties, distribution agreements, reasonably priced licenses that permit remix practitioners to sell their appropriations legally, and small-scale compensation intended only to reimburse remixers for their outlay. Although fan filmmakers and game modders have experimented with these models, fan fiction writers have not conducted similar experiments in marketing their works.
  • Fanfic authors who think that selling appropriative art is always and absolutely against the law are mistaken. No such case law exists, and many appropriating artists make money from their work today without constantly encountering legal trouble.
  • Why, then, do fic writers resist earning income from their output? Many scholars of fan studies claim that fan fiction is, and must remain, free—that is, "free of charge," but also "free of the social controls that monetization would likely impose on it"—because it is inherently a gift culture, as Hellekson describes in this issue. In fact, even the fan organization, the Organization of Transformative Works, one of whose goals is to redefine fan works as transformative and therefore legal, states: "The mission of the OTW is first and foremost to protect the fan creators who work purely for love and share their works for free within the fannish gift economy."
  • Therefore, writing fan fiction for personal gain—financial, psychological, or emotional—aligns with the fact that self-enrichment is already inherently an important motivation for women to produce and consume fanfic. For some women, belonging to an affinity group or discussing stories with fellow writers and readers is not the primary reason for engaging with this type of fiction.
  • The rewards of participating in a commercial market for this genre might be just as attractive as the rewards of participating in a community's gift culture; and the existence of commercial markets for goods does not typically eliminate parallel gift economies.
  • If fans successfully professionalize and monetize fan fiction, the amateur culture of fic writing will not disappear.
  • Although fans have legitimate anxieties about fan fiction being corrupted or deformed by its entry into the commercial sphere, I argue that there is far greater danger of this happening if fan fiction is not commodified by its own producers, but by parties foreign to fandom who do not understand why or for whom the genre works, and who will promote it for purposes it is unsuited for, ignoring the aspects that make it attractive and dear to its readers.
  • However, an even greater danger than this is that fan fiction may not be monetized at all, in which case no one, particularly women authors, will earn the financial rewards of fanfic's growing popularity. Only the corporate owners of the media properties that fic authors so creatively elaborate on will see economic gain from these writers' volunteer work.
  • if women can formulate a model for the monetization of their artworks, the gap will be narrowed.
  • In the absence of such experimentation, women writing fanfic for free today risk institutionalizing a lack of compensation for all women that practice this art in the future. Woolf asked of her forebears, "What had our mothers been doing then that they had no wealth to leave us?" Will our generation answer that we have been giving our talents away as gifts, rather than insisting on the worth of our work?
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Nele Noppe

Derivative By Any Other Name; or, A Cultural Approach to Fan Fiction Genre Theory | Ant... - 0 views

  • I’d suggest that fan fiction exists within a fan community for its creation, distribution, and reception.
Nele Noppe

FanFiction.Net - Unleash Your Imagination - 0 views

    Enorme site waar mensen fanfic kunnen publiceren. Niet gemodereerd, fanfic over alle mogelijke media -manga, anime, boeken, films, games, ...
Nele Noppe

Why Heather can write - 0 views

  • Teachers sometimes complain that popular culture competes for the attention of their students, a claim that starts from the assumption that what kids learn from media is less valuable than what schools teach. Here, however, much of what is being mastered are things that schools try-and too often fail-to teach their students. (It has been said that if schools taught sex education the same way they taught writing, the human race would die out in a generation.)
  • such informal teaching occurs across a range of other online communities.
  • we could talk about young anime fans who are teaching each other Japanese language and culture in order to do underground subtitling of their favorite shows.
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  • What difference will it make, over time, if a growing percentage of young writers begin publishing and getting feedback on their work while they are still in high school? And what happens when those young writers compare notes, becoming critics, editors, and mentors? Will they develop their craft more quickly-and develop a critical vocabulary for thinking about storytelling?
  • And writing about Harry offers them something else, too: an audience with a built-in interest in the stories-an interest that would be difficult to match with stories involving original fictional characters. The power of popular culture to command attention is being harnessed at a grassroots level to find a readership for these emerging storytellers.
  • themes that could not be discussed so openly in a school assignment and that might be too embarrassing to address through personal narratives or original characters.
  • Fandom is providing a rich haven to support the development of bright young minds that might otherwise get chewed up by the system, and offering mentorship to help less gifted students to achieve their full expressive potential. Either way, these teens are finding something online that schools are not providing them.
Nele Noppe

Fan-readings from my essay collection "Content" - 0 views

    Now that's distribution ;)
Nele Noppe

Aestheticism Articles: HP doujinshi - 0 views

  • Japanese doujinshika---at least at this sort of amateur level---are often very leery of publicity. This might be a reaction to the arrests of several doujinshika in apparently random, token copyright enforcement cases in recent years (such as the infamous Pokemon doujinshika incident), or it might simply be a sign of how negatively "fringe" behavior is viewed in Japanese society
  • Snape is gorgeous---or at least that's what the djka at this show seemed to believe.
  • Doujinshika are infamous for "prettifying" real-life (or real-text) actors/characters, and who can blame them?
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  • it's how Snape is depicted emotionally that's most telling on a cross-cultural level.
  • None of the doujinshi that I saw on the Snape side of the event depicted Angsty!Snape. Or Traumatized!Snape, or for that matter Unhappy!Snape. Instead, almost all of the books showed variations on the same thing: Cranky!Snape.
  • I've been told repeatedly that Japan just doesn't do psychology---certainly not to the same dogged degree as the West.
  • Western Fanfic Snape is physically attractive but brooding, miserable, and emotionally damaged. Japanese Doujinshi Snape is physically attractive and cranky because he's surrounded by horny goofballs.
  • Still, it was interesting to see so many similarities of concept and characterization between Japanese writers and Westerners Sirius/Remus 'shippers.
  • The only real difference I can see between the Japanese depictions and the Western is that sense of ominousness I mentioned. The majority of Western Sirius/Remus 'fics I've read have been hopeful/positive in tone.
Nele Noppe

How doujinshi will take over the world (or not) - 0 views

  • First, doujinshi are not commercial products, and this is one of the most important distinctions that allows its very existence. 
  • Many doujinshi conventions (Comiket included) require doujin circles to provide print run information, and enforces a cap.  Quite simply, there aren’t enough books to export en mass. 
  • This is also why doujinshi has continued to grow while other media like manga, anime, and music have suffered with the advent of peer to peer trading on the internet…the doujinshi market is a collector’s market, where the physical book itself is highly valued
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  • that’s not to say that doujinshi isn’t profitable…a few artists never “go pro” because they make quite a healthy living on their doujinshi,
  • The much better road for the American manga industry and fans to take is not to import doujinshi, but to import the doujinshi ideal and ethics, and foster a domestic doujinshi community of our own.  This road is beset by its own share of hurdles, though, and they have very deep roots.
  • While fanzines and fanfiction have been around in the U.S., we have nothing even close to the doujinshi scene in Japan, because of American corporate mentality which values “perpetual properties” instead of new creations, and these properties are guarded visciously.
  • in America properties are created and owned by the corporation.
  • They simply have no reason to support budding artists in such a way, when their raison detre are still characters created decades ago.  Fan comics are not seen as extending the life of a property, but as competition. 
  • The truth is a significant portion of Japanese doujinshi are erotic works, many based on children’s shows.  It isn’t hard to imagine the kind of moral outrage most doujinshi would illicit. 
  • American manga companies need to take a hard look at doujinshi in Japan and understand its benefits, and readers and artists should take a stand because this is an opportunity for the status of the creator to take precedence over the corporation.
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