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Nele Noppe

Abstracts - 0 views

www.mos.umu.se/...symposiumabstracts.htm

fans fan_fiction literature research fanficforensics phd

shared by Nele Noppe on 10 Jan 10 - Cached
  • Different periods of literary and philosophical thought place emphasis more strongly on either continuity or originality, and thinkers of modernity often privileged originality and artistic genius as they laid the groundwork for a value system that still affects the landscape of contemporary popular culture.
  • Countering this ascribed modernist valuation of originality, postmodern theorists and artists have emphasized pastiche, appropriation, and intertextuality.
  • copyright laws and marketplace expectations have helped establish aesthetic discourses within fan communities that often mirror modernist emphases on originality and authenticity.
  • ...33 more annotations...
  • despite a cultural value placed on repetition, fandom still remains at least tenuously invested in more traditional notions of originality and uniqueness.
  • In contrast to Eliot's model of artistic genius, emphasizing originality and ownership of individual creativity, I’d like to foreground the fan community as a collective creative culture that values sharing, allusion, and repetition as aesthetic (and affective) choices.
  • Rhetoric is basically a pedagogical discipline comprising a number of pedagogical principles, where one is the principle of imitatio. According to the imitatio principle you have to, very actively, collect an arsenal of different strategies in the process of learning how to write and present a material.
  • With focus on imitatio and from perspectives such as genre, intertextuality, narratology, semiotics, we discuss the creation process of fan fiction in general and slash in particular.  
  • Further, and crucially, fic is a form of discourse that does not just analyse canon – it has the power to add to and change it as fanon and canon mix, encouraging ongoing reinterpretation and reframing of canon within the fanon/canon ‘verse as a whole.
  • Reading and writing fic remains a more popular online activity than taking part in meta discussion, but are the two activities so very different?
  • Harry Potter
  • from a close reading of a set of French potterfictions, my presentation will try to identify and compare the typical “scripts” used by the authors:
  • However, the various academic accounts written about yaoi have a tendency to pathologize yaoi as well as its female fans in terms of gender displacement, female sexual oppression, or sexual starvation.
  • how Queer Theory can assist the academic discussion of yaoi and slash, and counter the tendency to pathologize.
  • The British television show Torchwood has generated a vast amount of fan fiction. Among these stories are some which involve human-animal transformations.
  •   In this paper I intend to study how the human-animal transformations are described in a selected number of fanfic texts.
  • Can these stories be read as a comment on the relation between human and animal, or should the animal in this context rather be read as merely a symbol or a plot device?
  • Ludology, the academic study of games, has maintained a critical distinction that, fundamentally, a game cannot contain a narrative, as its focus is more oriented toward necessarily non-narrative interaction between the game and its players.  Fan fiction seems capable of exploding, or at least complicating, this claim, as the process of a writer’s active and creative engagement with a previously existing storyworld, expressed through fan fiction, appears clearly to meet the requirements both for a game,
  • close readings
  • In existing studies on fan fiction, it has been established that the majority of previous studies have been ethnographical or social in nature. Only very recently have studies on the literary aspects of fan fiction begun to emerge.
  • Harry Potter
  • helps us shorten the gap between literary practices of 'high' and 'low'.
  • Fan Fiction – ‘The Logical Extension’
  • The Love Song of T.S.Eliot and fandom  
  • Fan Fiction – as Dickens (Might) Have Written It
  • Redefining the EveryFan? Implicated reading and janeites on-line
  • Flexible Dancers: How Doctor Who fan fiction subverts and confirms the elements inherent in the romance novel genre
  • A Revamped Lover? The Limitations of the Romance Format in Black Dagger Brotherhood Slas
  • ”This Man Is My Friend – Nobody [Else] Touches Him”: Paris/Kim Fan Fiction from Star Trek: Voyager
  • Sex, power and kittens – human-animal transformations in Torchwood fan fiction
  • “It takes a real man to have a baby”: heterophobia or heteroflexibility in Supernatural mpreg
  • t fan fiction is a form of derivative or appropriative fiction
  • I suggest that we need to look toward tropes, the use of familiar plots, scenarios, and characterization as central organizing and generating principles for fan fiction communities.
  • yaoi and its Western fans are more receptive to a queer interpretation than slash and its fans are. Other key points raised by the research included fans’ rejection of ‘mainstream’ characterization of females, a strong awareness of legal and ethical issues and a desire to challenge contemporary accounts of ‘their’ fandom.  
  • Polish fans unlike their American or European colleagues are quite puritan.
  • Should the fan fiction writer be seen first and foremost as a reader, which is undoubtedly an essential role in fan fictions?
  • where a general rule is to stay true to the canon’s descriptions of characters,
Nele Noppe

Regulating the Fringe: Waisetsu (Obscenity) Rules Doujinshi? - 0 views

www.akibanana.com/?q=node/137

dojinshi manga fanwork sexual_content law non-academic copyright academic manga_industry fanficforensics phd

shared by Nele Noppe on 02 Nov 08 - Cached
  • Doujinshi arrests are based on three major dimensions: copyright, taxation and obscene expression.
Nele Noppe

Boys' Love vs. Yaoi: An Essay on Terminology | The Mark of Ashen Wings - 0 views

ashenwings.com/...s-yaoi-an-essay-on-terminology

academic boys_love manga fanficforensics phd

shared by Nele Noppe on 08 Jun 09 - Cached
  • The defining characteristic of boys’ love, I’d argue, is that it is a narrative about the romantic or erotic relationship between two or more male characters that has been created with the intention of appealing to a female audience.
  • This broad definition of boys’ love has the advantage, to academics, of expanding it beyond its traditional application to Japanese or other Asian media (usually manga and anime) to encompass non-Asian genres such as slash and to permit the analysis of books about male/male relationships written by women that have otherwise been left out of such categorization
  • Subgenres within boys’ love, then, would include those various categories based on setting, source material, age of characters, status of presentation, plot type, and the like.
Nele Noppe

The Road to Comiket - 0 views

heiseidemocracy.com/...the-road-to-comiket

comiket_ibento dojinshi fans fanwork non-academic fanficforensics phd

shared by Nele Noppe on 02 Nov 08 - Cached
  • held twice a year in August and December at the Tokyo Big Sight in Tokyo, Japan, and attracts over 450,000 participants over its three day run.
  • primary focus of the event is the buying and selling of doujinshi
  • Comiket is also known colloquially as the birthplace of cosplay and thousands of visitors come dressed as their favorite anime, manga and game characters as well.
  • ...15 more annotations...
  • establishment of an official industry presence in the form of an industry booth dealers’ section
  • alternate media such as software, music, and character goods.
  • doujin circle (同人サークル). A doujin circle is an individual or group of creators who collaborate as a discreet entity to produce doujin items for sale;
  • Recently the so-called “kojin circle” (個人サークル, personal circle) composed of a single member has been increasing, as individuals take on all aspects of doujin production from the application process, illustration, post-production, printing, and staffing of the table space allotted at the event.
  • Step 1 Purchase an application packet.
  • Step 2 File the application correctly and on time.
  • Comiket is an all genre event, meaning literally anything goes
  • Step 3 Wait for the election results.
  • Step 4 Produce a doujin.
  • Also, copyright considerations that apply to other events such as Wonder Festival are in effect here when it comes to certain types of character goods (no unauthorized figures), and while most IP is considered fair game for parody in the doujin community, a few exceptions such as Disney stand out as taboo.
    • Nele Noppe
      Nele Noppe on 02 Nov 08
       
      This is interesting- dojinshi using copyrighted characters may be sold, but no unauthorized figures of said characters? Is this because figures cost just a little too much for copyright holders to be comfortable with letting fans produce them? I'm not surprised about the Disney exception, non-Japanese companies with little experience with the dojin economy are probably a lot more likely to come down like a ton of bricks on anyone selling things based on their copyrighted characters.
  • Step 5 Coordinate replication.
  • Step 6 Make final preparations.
  • This broadening of distribution means that it’s no longer necessary to attend events in person to obtain many professionally produced books at a reasonable price. While they’re still cheaper at Comiket, many circles have recognized the need to provide something more to encourage fans to attend (or just to show gratitude to those who do show up), and that’s where the copy book comes in.
  • Step 7 Show up and sell!
  • At some point before 9:30 an event staff member will visit you at your table where your participation will be officially registered. You must provide both a sworn statement that you’re not selling anything illegal and copies of the books you’ll be releasing that day to the staff, and then you’re clear to go.
    • Nele Noppe
      Nele Noppe on 02 Nov 08
       
      I wonder if the staff sometimes takes away merchandise or closes entire boots at the last minute because they've found something objectionable in the advance copies provided to them (apparently only hours or minutes before the opening of the event)?
Nele Noppe

Of Otakus and Fansubs - 0 views

www.law.ed.ac.uk/...hatcher.asp

academic anime copyright fans fansubbing internet fanficforensics phd

shared by Nele Noppe on 23 Dec 08 - Cached
  • hindrances in a digital world that copyright laws pose for creative works that, while technically infringing, should perhaps be valued and allowed.6 Certain features of digital technologies and the internet,7 according to Lessig, can permit greater restrictions on remix than were allowed in the past.8
  • hindrances in a digital world that copyright laws pose for creative works that, while technically infringing, should perhaps be valued and allowed.6 Certain features of digital technologies and the internet,7 according to Lessig, can permit greater restrictions on remix than were allowed in the past.8
  • Lessig and other legal scholars such as Mehra have pointed to dojinshi in Japan as an example of how permitting more “remix” can contribute to a vibrant cultural industry.
  • ...26 more annotations...
  • some artists make a living off producing dojinshi.
  • In the west, fans of anime, the term for Japanese animation, behave much like fans of Star Wars and Star Trek: they “remix” the characters and ideas from the stories they watch.
  • Trekkies or Star Wars fans do the same activities as otaku, but one practice sets anime fans apart from other avid fans: fansubs.
  • Manga also has its own form of fansubs called scanlations
  • Fansubs and scanlations don’t quite match the “traditional” forms of remix that Lessig and others mention. They do not create a “new” work in the same sense as dojinshi, fan films, or AMVs because their aim is to remain faithful to the original work.
  • Fansubs as a cultural product sit at an interesting boundary—between the dojinshi-like fan culture that authors such as Lessig want to encourage and the massive online file trading so vilified by the recording and motion picture industries.
  • examines the anime industry’s unique relationship with fansubbers in the context of the suggestion that it represents a new policy model for online copyright.
  • Section 7 concludes by stating that it is too soon to claim the anime industry as a victory for alternative business models incorporating what most would think of as widespread copyright infringement.
  • Otaku create fansubs because they love anime—in fact, most love all things Japanese.
  • Fansubs predate BitTorrent, broadband, the dotcom boom and bust, and even the World Wide Web.
  • Fansubbers distributed or traded the finished videocassette tapes to others, but because of the time and cost involved of mailing out a physical medium, distribution was limited.
  • At one time fansubs were virtually the only way that fans could watch (and understand) anime.
  • But as with the music industry, the benefits of digital technology and the internet brought problems.46 Fansubbers started to take advantage of faster computers that allowed them to subtitle anime without the need for expensive, specialized equipment.47 This made it easier for more people to fansub because of the lower cost barriers to becoming a fansubber. The internet also meant that fans could meet from around the world, thus making it more likely that fansub groups would form. Today, groups now make digital video files instead of videocassettes.
  • Fansubbed videocassettes offered a poor quality picture and sound that encouraged fans to buy the licensed product when it came out and also limited the number of copies that could be made from a single original cassette (or from 2nd and 3rd generation cassettes).49 Digisubs offer a quality comparable to official (DVD) releases and the ability to make limitless copies.
  • Fansubbers then “release” their fansubs to fans. Distribution happens through all of the regular internet channels, including p2p services (Kazaa, eMule, etc), BitTorrent, IRC, and newsgroups.
  • Lessig essentially asks the question, “Do our laws stifle creativity and sharing to the point where it harms society?”78 Some point to fansubs and anime as part of the answer to this question—when a company allows some illegal activity it actually benefits.
  • Unfortunately for fansubbers, copyright law does not condone their activities.80 International copyright treaties such as the Berne Convention, state that its signatories (such as the United States and Japan) should grant authors the exclusive right to translation.
  • copyright law construes translations as “derivative works”.82 Derivative works are any work “based upon one or more preexisting works.
  • Within Japan, fansubs could potentially be within the law because the Japanese take a more relaxed attitude towards some aspects of copyright law and include private use and non-profit exceptions into their law.
  • The Japanese legal system may also, as a practical matter, discourage litigation towards fansub groups within Japan,
  • For infringements outside of Japan, it is no small wonder that Japanese companies do not bother with the expense of enforcing a right against a group whose infringement affects a distant market with a different legal system.
  • In his article regarding selective copyright enforcement and fansubs, Kirkpatrick argues for a fair use defense under U.S. law for fansub activities based on the cross-cultural value of translations, the non-commercial nature of fansub groups, and the potential market enhancement for the original work.
  • The fact remains that fansubs may create a preferable product for otaku—thus decreasing any market enhancement arguments.
  • One wonders what could be easier than a few clicks of the mouse and a few hours (or less) wait for a file to download, for free. Many video files deliver comparable picture quality and fandubs do exist.
  • Regardless of any potential defense, the law sufficiently tilts towards copyright holders so that they can easily use the threat of suit as enforcement.
  • The sheer cost of defending a copyright suit makes for a powerful incentive for fansubbers to settle, especially since fansubbers make no money from their activities and are unlikely to have any assets.
Nele Noppe

Thought Police Can't Protect Real Children - 0 views

www.translativearts.com/thoughtpolice2010ej.html

non-academic manga anime sexual_content children law censorship crime games phd

shared by Nele Noppe on 08 Apr 10 - Cached
  • would have established the catagory of "nonexistent youth"
  • The banning of fictional depictions of child abuse would likely be as meaningless as the banning of fictional depictions of car chasing with the aim toward reducing motor vehicle accidents in real life.
  • If content alone was the issue, war footage and horror films should be banned as well.
  • ...15 more annotations...
  • Content in itself is not the issue--Child pornography has been outlawed because the methods involved in production involve real children in possibly abusive circumstances. How the material was produced is what makes it criminal, not what impression it conveys on the audience. 
  • Child pornography involving real children being sexually abused is horrid beyond words. For that very reason, I find it reprehensible to mix together such acts of human misery and suffering with illusionary fantasy that exists only in the author's imagination. Widening the definition of child pornography to include fictional material belittles the gravity of real sex abuse.
  • Many convicted criminals also cite the Bible as their inspiration of conducting astonishingly savage acts, and yet few would attribute the Bible as the root cause of such criminal behavior. Why?--Because free societies accept the principle that people are responsible for their own actions.
  • It is very dangerous to restrict the actions and rights of citizens based on the principle that some limited number of individuals may act irresponsibly. This is the equivalent of removing knives from the household kitchen because someone used a meat cleaver to commit a crime. Again, this logic is unbelievably reckless as well.
  • Furthermore, crime statistics published by the Japanese police themselves show no causality between the proliferation of erotic material and sex crimes. The crime rate has dramatically decreased since WW2 while the availability of erotica and violent fictional entertainment has risen by leaps and bounds during the same period.
  • It is easily imaginable that an endless cycle of accusations and denials will unfold regarding establishing the "true age" of fictional characters. Authors and publishers will more than likely attempt to proclaim that the characters look young, but they are actually above the age of 18. Physical attributes vary between widely depending on race and ethnicity, not to mention fictional non-human characters.
  • Publishers and authors are extremely proficient in adapting toward new regulations. If graphical depictions are banned, then abstract or comedic depictions will increase.
  • Either an ever increasing set of symbols will be deemed to be inappropriate to be linked to a core human attribute--human sexuality--or the futility of the ban will lead the law to become impotent over all.
  • Even today, numerous adult manga publications have self censorship standards that are mind-boggling. Authors have complained about how some editors have insisted on having all female characters appearing in their works be endowed with large breasts because drawing women as they appear more like in real life was deemed "too childish looking." 
  • Banning the fictional depictions of minors involved in sexual situations will make a fundamental core human attribute taboo.
  • Such a ban will stifle creativity and impoverish the cultural landscape.
  • The value attributed to works of literature and art change over time. The works of modern art and literature from the last two centuries are filled with examples where they were deemed to be vile, corruptive trash by contemporary authorities, but now these same works enjoy high status as priceless cultural treasures.
  • A culture grows richer through addition, not by subtraction.
  • A ban on fictional depictions of minor engaged in sexual situations has the very real potential to brand individuals as sex offenders even though they have had no sexual contact with real people. I believe there could be no legal justification for destroying people's lives simple because they drew doodles on paper, but the proposed ban would create such a legal precedence. 
  • I am absolutely certain that history will not look back kindly upon such a ban, and it will join a long list of colossal failures of regulatory policy, such as the prohibition of alcohol in the US between 1920 to 1933, various sodomy laws, the comic book code, and bans on socialist literature in Japan during the prewar era. It is important to note that all these failed moral crusades were led by virtuous and diligent individuals intent on making the world a better place. 
Nele Noppe

Neighbors: Artist draws acclaim with 'manga' creations - 0 views

www.pressconnects.com/...article

anime dojinshi fans fanwork manga non-academic united_states fanficforensics phd

shared by Nele Noppe on 02 Nov 08 - Cached
  • That was the case when she dabbled in Fan Manga, which is a fan-drawn comic using existing characters but with newly created storylines. She had entered her work into a National Fan Manga contest that required her to use a manga called "Black Sun Silver Moon." Soon after she entered, she heard from the contest sponsors, TheOtaku.com and the go!comi publishers, that she was one of 15 finalists. Guests at the New York Anime Festival voted on their choices -- and at the ending ceremonies, she discovered her work had won."My fan manga will be published in the back of the actual manga 'Black Sun Silver Moon,' which is every manga fan's dream: to be published in a real one," she says. "I haven't gotten word which issue it will be published in but go!comi said they'd let me know."
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

Aestheticism Articles: HP doujinshi - 0 views

www.aestheticism.com/...index.htm

dojinshi fan_fiction fans fanwork harry_potter non-academic fanficforensics phd

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

Doujin's Commercial Evolution - 1 views

heiseidemocracy.com/...k-doujins-commercial-evolution

anime dojinshi fans fanwork games manga manga_industry non-academic fanficforensics phd

shared by Nele Noppe on 02 Nov 08 - Cached
  • Over the first years of the new millennium these trends continued, with a robust market emerging that combined improved distribution with wider interest to generate revenue for some circles that could no longer be termed “amateur” in any meaningful sense.
  • The doujinshi market grew steadily via promulgation through the internet and pop culture media. This resulted in the viability of the doujin as a means of part time and increasingly full time employment. “Kojin circles” emerged, consisting of a sole creator (kojin) who handled all aspects of production and received all the benefits of income from publications. Larger circles formed semi-professional units to produce doujin software that would compete with professional releases. Otaku goods shops expanded their scope as doujin vendors, acting as proxy sellers for hundreds of circles both via brick and mortar outlets and via online mail order. Online-only doujin shops such as DLsite emerged, selling digital copies of doujinshi via download. Advances in printing technology and cheap, high quality labor (mostly Chinese) allowed for the proliferation of doujin items to media beyond the traditional books (and less tradtional CD-Rs), including towels, pillowcases, fans, cups, trinkets, and figures.
  • new class of semi-pro and professional creators
  • ...6 more annotations...
  • an increasingly large class of professional creators uses doujin sales as a substantial segment of their income, acting as freelance illustrators, mangaka, and designers when they’re not doing doujin work (and vice versa).
  • Perhaps the biggest issue raised by the emergence of this group of professional and semi-pro doujinka is that of intellectual property rights and copyright infringement.
  • in many instances the people producing the doujinshi are the same as those producing the original works being parodied. The doujin scene is so interbred with that of professional anime, manga, and game creators that it would be impractical for all but the largest IP holders to crack down on the parody doujin scene.
  • soft circles
  • Lilith’s business model is the culmination of doujinshi as commerce - small, versatile, ubiquitous, and high quality.
  • The doujin world now spans works from the rank amateur to the polished professional and everything in between,
Nele Noppe

'Boys love' a vicarious escape for girls -Yomiuri - 0 views

www.yomiuri.co.jp/...20080201TDY13104.htm

boys_love fans film fujoshi gender manga non-academic fanficforensics phd

shared by Nele Noppe on 02 Nov 08 - Cached
  • However, her words convey a profound truth--a yearning for relationships with interchangeable roles that are free from fixed ideas about gender.
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