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Nele Noppe

Monstrous melodrama: Expanding the scope of melodramatic identification to interpret ne... - 1 views

journal.transformativeworks.org/...155

fans television supernatural_series intimacy phd

shared by Nele Noppe on 31 May 10 - Cached
  • Indeed, the negative responses to "Monster" provide an interesting case study in the context of increasingly intimate relations between television producers and viewers, an intimacy that, generally speaking, is highly desirable to fans. What interests me particularly is that in some cases this increased intimacy is not desirable; for some fans, and in some contexts, distance is preferred.
  • While previous scholarly attempts to characterize slash generically have linked it to fantasy/science fiction, romance, and a genre termed intimatopic, I prefer the descriptive power of melodrama as a type, a narrative style, and a cultural mode. As I will explicate further below, many slash stories dwell on situations of intense pathos, scenarios of emotional surfeit nearly unmatched in any other form of narrative.
  • In short, melodramatic identification cannot be restricted to an affective relationship with a character or plotline; rather, it is a relationship to a continuous interweaving of texts—including both fan fiction and the narrative of the fan herself—into a greater text that the fan knows as "my show.
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  • Indeed, melodrama, like many cultural forms associated with "female interests," is simultaneously omnipresent in television and yet continuously undervalued; it is that which must be avoided if a show is to be considered "quality"
  • Indeed, some forms of slash are completely committed to the exploration of intimacies in the most taboo, fantastic, or simply impossible situations. Wincest might be an example of one such type; certainly incest is a kind of impossible situation.
  • To invoke the term queer in relation to slash is to enter onto controversial ground. Even so, it is the case that, for some fans, an investment in a community and even an identity was part of the small but virulent negative reaction to "Monster," an episode whose clever and occasionally aggressive metatextual play triggered feelings of hurt, exposure, and outrage.
  • Concurrently, the writer Siege displays a keen understanding of the emotional investments of a large segment of Supernatural's audience, as the publisher drools over Sam and Dean's moments of angst, sighing: "It's just the best when they cry."
  • Clearly, there is something emotionally alluring for fans about the idea of being known.
  • A milder and more frequent kind of complaint invoked expectations of privacy. Despite—or because of—the understanding that Wincest is a potential violation of the sensibilities of Kripke, or of the actors who portray the characters in question, there was and is a feeling that the references to Wincest are exposing something that should remain within the community.
Nele Noppe

"The epic love story of Sam and Dean": Supernatural, queer readings, and the romance of... - 0 views

journal.transformativeworks.org/...36

fans television supernatural_series intimacy phd

shared by Nele Noppe on 01 Jun 10 - Cached
  • However, according to many fans, the primary appeal of the series lies not in its macho trappings, but in the extraordinarily intense relationship between protagonists Sam and Dean Winchester.
  • l "is fueled past its failings almost entirely by the chemistry between the two principals, the boys who, like Mulder and Scully, generate enough sexual tension to power a small city" (note 1).
  • The majority of scholarship about slash is, understandably, grounded in audience and reception studies and focuses on fans' "appropriations" of presumably heteronormative material to tell the stories they wish to tell. Slash scholarship often celebrates slash's transgressive, subversive, resistive potential: slash resists the compulsory heterosexuality not only of a given source text, but also of the culture at large.
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  • "To base queer readings only upon notions of audience and reception leaves you open to the kind of dismissive attitude that sees queer understandings of popular culture as being the result of 'wishful thinking' about a text or 'appropriation' of a text by a cultural and/or critical special interest group" (4).
Nele Noppe

Collective intelligence - 0 views

web.mit.edu/...collective%20intelligence.html

fans fanwork media media_mix fanficforensics phd

shared by Nele Noppe on 02 Nov 08 - Cached
  • If the current media environment makes visible the once invisible work of media spectatorship, it is wrong to assume that we are somehow being liberated through improved media technologies. Rather than talking about interactive technologies, we should document the interactions that occur amongst media consumers, between media consumers and media texts, and between media consumers and media producers.
  • On-line fan communities might well be some of the most fully realized versions of Levy's cosmopedia, expansive self-organizing groups focused around the collective production, debate, and circulation of meanings, interpretations, and fantasies in response to various artifacts of contemporary popular culture.
  • Fan women routed around male hostility, developing web communities 'that combine the intimacy of small groups with a support network similar to the kind fan women create off-line.' Discussion lists, mailing groups, webrings, and chatrooms each enabled fan communication.
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  • Matthew Hills has criticized audience researchers for their preoccupation with fan's meaning production at the expense of consideration of their affective investments and emotional alliances.
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