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Nele Noppe

Copyright quandary - 0 views

thestar.com.my/...story.asp

copyright dojinshi non-academic fanwork fanficforensics phd

shared by Nele Noppe on 02 Nov 08 - Cached
  • Sales of fanzines had never really caused big problems so long as they were done only at one-day fanzine exhibitions. However, some fanzines now sell in the thousands or tens of thousands of copies due to an increase in the number of bookstores selling them and the popularity of Internet shopping.
  • Even after the man had stopped selling it by himself, his fanzine carrying Doraemon’s “final” episode continued to be sold at Internet auctions, sometimes going for tens of thousands of yen.
  • Yet the series remains unfinished due to Fujiko’s death in 1996.
  • ...3 more annotations...
  • We also cannot overlook the number of copies sold – 13,000 was too many.”
  • But we don’t categorically reject fanzines in general (as a base of manga culture) as long as they remain within reasonable bounds.
  • “If publishers basically approve the existence of such fanzines, the creation of a new rule should be studied, which would require fanzines selling more than a certain number of copies to pay part of their profits to copyright holders,” said Yukari Fujimoto, a social critic.
Nele Noppe

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

www.icaruscomics.com/wp_web

dojinshi fan_fiction fanart fans fanwork manga_industry non-academic united_states fanficforensics phd

shared by Nele Noppe on 02 Nov 08 - Cached
  • 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
  • ...7 more annotations...
  • 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.
Nele Noppe

paceus: Textual Echoes: Nele Noppe and the 'open work' - 0 views

paceus.livejournal.com/114842.html

open_work research academia fanficforensics phd

shared by Nele Noppe on 17 Feb 10 - Cached
  • open source software
  • spirit of 'open work' is decentralised
  • Nina Työlahti
  • ...7 more annotations...
  • Kristina Busse talked about the myth of the author too
  • tv shows like SGA do certainly seem to require active participation from fans because the show is so flawed -- unrealistic, filled with plot holes, or otherwise unsatisfying and failing to meet my expectations of entertainment
  • file sharing and piracy
  • gift economy
  • This explanation doesn't cover fan writing and for example fanzines from the earlier decades though, since they didn't exactly have anything to do with the internet. Vidding, though, began as slide shows and continued with VCRs, so that was definitely connecting the format to what the vidders wanted to express.
  • legitimises fan works
  • remember their cultural specificity
  • Nele Noppe on 17 Feb 10
     
    A review of my TE presentation, yey
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