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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

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

Knock it off: Global treaty against media piracy won't work in Asia | Full Page - 0 views

  • That's because in Asia, "intellectual property" as we think of it is an alien concept, recently imported from the West and hastily transplanted with limited success at best. "It's almost like there's an institutional disrespect for copyright in Asia," says Seung Bak, cofounder of the video streaming startup DramaFever, which brings free, English-subtitled Asian television to U.S. audiences. "People feel like, 'If I can't touch it, why should I have to pay for it?'"
  • But Lam points out that things are fundamentally different now. For one, hardware used to be differentiated by where it was manufactured.
  • You have name-brand stuff and knockoff stuff being made side by side, maybe even coming off the same assembly line."
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  • Indeed, an entire consumer subculture has sprung up around counterfeit goods in China, what Chinese refer to as shanzhai or, literally, "mountain village" products (the name comes from the fact that, in ancient times, bandits would often build their redoubts in high passes, out of reach of the short arm of the law). Though its name suggests something remote and marginal, in reality shanzhai is now a mainstream phenomenon. It's estimated, for instance, that one of every five cellphones produced in China -- some 150 million devices -- are shanzhai.
  • One could argue that, by duplicating existing feature sets while striving to offer more, shanzhai may actually be driving innovation (of sorts), contrary to the argument made by those who suggest that without airtight and infinitely extended IP protection, there's no incentive for the development of groundbreaking new products and technologies. Of course, the truth is somewhere in between. Not all of the "innovations" of shanzhai products are particularly useful (one shanzhai Blackberry Pearl clone offers a built-in electric razor, for instance). But the knockoffs have certainly exerted downward pressure on price, forced major brands to compete on quality and service, as opposed to perceived prestige and appearance, and derailed artificial constraints imposed by manufacturers and governments that are ultimately harmful to consumers.
  • Which explains why, when Apple finally partnered with China Unicom to officially introduce the iPhone to the market earlier this month, the response was tepid at best: The official iPhone was crippled at launch (its WiFi connectivity disabled by government mandate), cost a cool grand and was locked to the Unicom network. "The rumor -- it's all water cooler gossip at this point -- is that they sold around 5,000 units in the first week," says Lam. "That's a shockingly low number. But you have to consider that anyone who's wanted an iPhone in China has been able to get one for years now, unlocked, fully functional, at a cheaper price. The 'official' launch is meaningless -- the unofficial launch happened so long ago that no one even cares." The estimated tally of grey-market iPhones in use in China? More than 1.5 million.
  • in today's frictionless global market it's harder to put barriers between consumers and the stuff they want. If something is available anywhere, people can get it everywhere.
  • Welcome to contemporary Korea, where a titanic digital public works program in the '90s resulted in 85 percent of the population having home broadband access that's faster than anything commercially available in the U.S. "What they think is normal in Seoul is vastly different from what we think is normal here -- the stuff we read about in Popular Science, they take for granted," says DramaFever's Seung Bak. "A show will air on TV, and 10 minutes later it'll be uploaded in HD quality to a sharing site where anyone can download it in about 10 seconds." So Korea can be thought of as something of a laboratory for the future of digital media, because it's just a matter of time before the rest of the world's bandwidth catches up.
  • Call it the can't-beat-'em, might-as-well-join-'em syndrome. Strict enforcement has prompted an endless game of whack-a-mole, with pirates moving on to new platforms as their old ones are shut down. But by giving filesharers and sharing platform operators incentives to offer legal, licensed services -- while ensuring that the user experience their audiences have been drawn to remains the same -- a solution emerges that might just allow everyone to benefit.
  • Two strokes of good fortune helped CrunchyRoll survive, both occurring in the fall of 2008. The first was the cable channel Cartoon Network's surprising decision to cancel its venerable Toonami programming block -- for years one of the most reliable sources of anime on broadcast television. The second was an unique deal the company was able to negotiate with TV Tokyo, the broadcaster that airs more anime than any other Japanese network. "TV Tokyo controls 40 percent of Japan's anime series, and we were able to get them to agree to let us put episodes of their shows up on our site within one hour of broadcast," says Gao. "Not even Hulu can do that. It effectively means that we're the 'first window' for content. And the reason they agreed is that they know we're growing their audience: We're getting them viewers they'd never be able to access on their own."
  • The deal prompted other broadcasters to fall in line. Now, CrunchyRoll simulcasts English-subtitled editions of 20 out of the 40 anime programs currently on the air in Japan. Free programming is bookended with advertising; a premium option costing as little as $5 a month eliminates the ads, provides access to high-definition content and subscriber-only programming, and puts a little premium member badge on a user's profile. "That's more important than you'd think," says Gao. "One of the things we realized early on was that CrunchyRoll isn't just a video sharing site, it's a social network for fans of Japanese animation. The little badge is social proof that you're a real supporter of the site."
  • That partnership between content provider and consumer is exactly what's missing in the Western world's debate over intellectual property, where movie studios and record labels talk about their customers as potential criminals. In Asia, media companies have a much closer and more interactive relationship with fans, treating them as partners in evangelizing their products -- even when that means blurring the lines of copyright restrictions.
  • "They realize these unauthorized spinoffs help to build the fandom, and ultimately drive sales of the original," she says.
  • "Japanese tend to resolve things in extralegal fashion, whereas in the U.S., Disney will send out a whole battalion of lawyers," notes manga historian Fred Schodt. "It's not an exaggeration to say that much of the current state of U.S. copyright law has come about due to Disney's efforts to keep Mickey Mouse from falling into the public domain."
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

cimorene: gay media invisibility: representations of our own (gay genre) vs queering th... - 0 views

  • Is it any more "subversive" to conjecture that a fictional character from CSI or Dollhouse or Star Trek is gay than to conjecture that I am straight, as no doubt happens every time I step out in public? Some percentage - and it's hard to calculate in reality, but definitely higher than 2 - of people are gay; if the show doesn't show us who they are, well, what if it were these two? What if they weren't evil? What if they weren't dead? What if they were the protagonist, instead of just a sidekick?
  • And that's why slash goggles are necessary, why by-us-for-us isn't enough, and why slash can be so much more satisfying than simply consuming a rare text that already acknowledged our existence in the first place: it's the media world that, dammit, we live in too, and we just want to take a piece of it back.
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