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Nele Noppe

Fanfic Symposium: Age of Consent? Ptui. What About the Real Problems? - 0 views

www.trickster.org/...symp85.html

fan_fiction law sexual_content slash fanficforensics phd

shared by Nele Noppe on 19 Aug 08 - Cached
  • I notice, though, that many (all?) of the fic archives where Harry appears in stories as a participant, are very quick to note in their intro the age of consent in the UK, though usually they just say it's 16 which as noted above is slightly inaccurate. This is interesting, or maybe only I find it so.  It looks to me as if they don't want to be considered to be peddling paedophilia, which would be an accusation the newspapers (for instance) might make.
Nele Noppe

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

www.participations.org/...5_02_olivier.htm

harry_potter france readers fanficforensics phd

shared by Nele Noppe on 29 May 09 - Cached
  • 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.
  • ...11 more annotations...
  • 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

Why poor countries lead the world in piracy | Technology | guardian.co.uk - 0 views

www.guardian.co.uk/...or-countries-lead-world-piracy

phd copyright

shared by Nele Noppe on 03 May 11 - No Cached
  • Media Piracy's core thesis is simple: people in the poor world don't pay for software, games, music and movies because these goods cost too much. Whereas a DVD here might cost you an hour's wage, the same DVD in a poor country could cost a day's work, or a week's, or even more
  • But that's not what the media companies say they believe. In their official narrative – bolstered by a long line of studies with undocumented methodologies and assumptions – is that poor countries simply lack a "culture of copyright" that can be reinforced through education and enforcement.
  • Karganis and co have much to say on this score. They document the way that the airwaves and newspapers in poor countries are dominated by the official, Hollywood view of piracy, presented uncritically and at length. The message is even integrated into the school curriculum through official teaching units produced by American entertainment conglomerates and given to teachers to be delivered verbatim to their students.On the enforcement side, entertainment companies often secure a kind of rough, streamlined justice that allows them to race to the head of the justice line, pushing past criminal and civil cases of much larger magnitude. They get their own police forces tasked to them, and their own special high-grade punishments that treat offences against them as inherently graver than offences against local firms and people.
  • ...1 more annotation...
  • But by asking taxpayers – here in the rich world and also in the poor world – to foot the bill for trade sanctions, enforcement, new civil and criminal penalties, even global treaties like ACTA, the entertainment industry can still get a profit out of the poorest people in the world by externalising the costs and reaping whatever sliver of legit market they can drag out of the poor world by brute force.
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