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Nele Noppe

thingswithwings: a few words on warnings - 0 views

  • So his intention was to play this scene of assault, with no warning, in the public space of a classroom. Now, this is a class that also teaches Irreversible and Demonlover and other films that involve pretty graphic scenes of rape and assault, but I think there's a difference between being told to watch Irreversible on your own at home, and coming into class, sitting around with a bunch of half-strangers, and being surprised by an out-of-context rape scene.
  • One thing that I really like about fandom is that we're different from the publishing world, from the academic world, from the world of boyfans even, in that we try really hard to take into consideration the needs and squicks and concerns of the reader.
  • Professional publishing is about getting people to buy books, and professional publishing is about the rights of the author - so, in the first place, we're often lied to about what a novel will contain, and even when we're not, we're not warned, because the rights of the author to surprise the reader - the rights of his inviolable artistic vision - are more important than the rights of the reader to tailor her reading to her own desires.
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  • The author knows more about how we ought to read, what we want to read, than we do, and will control the reading process. Our only option if we don't like it is to throw the book down halfway through - which, as we've learned recently, apparently deprives us of the right to say we didn't like it.
Nele Noppe

The inadequacies of pairing as a label - 0 views

  • As helpful as labels and categories can be, I kind of wish we had better ones. The pairing label is often overly simplistic, it gets slapped on things that don't really deserve it, or need it, and it creates expectations that may not always be in the writer's best interest (or the reader's). And the gen label carries such a huffy, prudish connotation that it might as well be a warning.
Nele Noppe

blush_squick: Pinning it down - 0 views

  • Something that I don't think anyone raised is the difference between being squicked because of something happening to a fictional character and being squicked because of something happening to a real person. I find the latter enormously worse than the former, and I'm much less likely to be squicked by a fictional character's misfortunes if they're depicted in a cartoony, unrealistic way.
Nele Noppe

Words, Words, Words « The News from BardHaven - 0 views

  • a passionate debate about just what it means to read in the digital age
  • some argue that the hours spent prowling the Internet are the enemy of reading
  • But others say the Internet has created a new kind of reading, one that schools and society should not discount. The Web inspires a teenager like Nadia, who might otherwise spend most of her leisure time watching television, to read and write.
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  • At least since the invention of television, critics have warned that electronic media would destroy reading. What is different now, some literacy experts say, is that spending time on the Web, whether it is looking up something on Google or even britneyspears.org, entails some engagement with text.
Nele Noppe

A nightmare of capitalist Japan: Spirited Away - 0 views

  • "Our old enemy 'poverty' somehow disappeared, and we can no longer find an enemy to fight against" (Miyazaki, 1988). In other words, after Japan's industrial success since the Meiji restoration in 1890s and recovery from WWII cast out poverty from the nation, people still remain possessed by an illusion of gaining a wealthy everyday life and continue living with a gap between their ideal and real life. As a result, an endless and unsatisfying cycle of production and consumption has begun destroying harmony among family and community (Harootunian, 2000).
  • Zizek (1989) points out that people of late capitalism are well aware that money is not magical. To obtain it, it has to be replaced through labor, and after you use it, it will just disappear, as will as any other material. Allison (1996) adds to this point: "They know money is no more than an image and yet engage in its economy where use-value has been increasingly replaced and displaced by images (one of the primary definitions of post-modernism) all the same” (p. xvi).
  • Related to its presentation of the loss of spiritual values, the film elaborates an extensive critique of another contemporary global issue: identity confusion. A symptom of identity loss is seen in the way that cultures today encourage people to constantly refashion their self-image, so that individuals construct their identity based on ideals presented in popular media.
    • Nele Noppe
       
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  • Because of the gap between the real and the fantasy, people in late capitalist society become ever more unsatisfied with themselves. Perhaps, that is one of the reasons why people are more and more attracted to anime, where transformation of identity are easily visually accomplished. To illustrate, we may name a few examples from a popular daily life phenomenon among anime fans, called “cosplay.”
  • When you are cosplaying, your identity depends on what others know about the character, not on who you are. Cosplay, therefore, allows the players to change their identity.
  • Miyazaki stresses the importance of having a proper name to warn us against the possibility of losing our identity in the post-modern world. When Chihiro first gets hired by Yubaba, Yubaba alters Chihiro’s name to Sen. Later Haku explains to Chihiro that Yubaba controls people by stealing their names. The plot operates on the premise that if Chihiro forgot her original name, she would forget about her past and never be able to go back to where she was from.
  • Besides Chihiro and Haku, a key character representing identity confusion is No-Face, who has only a shadow-like body and a mask. The mask does not hide his face for he has no face; rather, the mask constructs his outside identity. Since the mask symbolizes a product that people can buy with money, here it indicates an unoriginal identity that people can construct by giving into materialism.
Nele Noppe

archive : s0metim3s | Undercommons - 0 views

  • there are different ways in which the idea of the commons has worked its way into being one of the most significant memes of the last few years - Pete Linebaugh is not Silvia Federici is not Toni Negri is not Lessig, and so on. Federici, for her part, signals a timely warning in Caliban and the Witch against assuming that ‘the commons’ was without divisions of labour, particularly a gendered division of labour.
  • Yet, as the idea of ‘the commons’ became resolutely attached to discussions over IP and various other forms of knowledge production it - much like the precarity meme - was often put to service as a way of reimposing a certain claim to ownership and division of labour, namely: the implicit assertion that knowledge-production only involved those who are marked (or mark themselves) as knowledge producers in a certain division of labour.
  • the concept of the undercommons is disruptive of claims that the commons was an idyll, without difference and without divisions of labour.
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  • For Harney and Moten, it works as a reminder of the colonial, racialised and gendered conditions of the (university) labour market, and against the constant calls for the renewal of this or that discipline which function merely to idealise (and continue) such conditions
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