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shared by Nele Noppe on 25 Jan 10
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cupidsbow: Women/Writing 1: How Fanfiction Makes Us Poor, by cupidsbow - 0 views
cupidsbow.livejournal.com/239587.html
fans fan_fiction gender literature feminism fanficforensics phd
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is the non-capitalist aspect of fanfiction actually a method of silencing the artistic voices of women? And does it take away what should be legitimate opportunities for us to earn an income from what we create?
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If the "wrong" people overcome the prohibitions and manage to write, the work is often made to vanish, usually through the ordinary, polite workings of class privilege. The widespread blindness to the work is based on illogical assumptions that are accepted as reasonable and never questioned. In fact, questioning the silence is considered rude and boorish,
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certain topics are considered more important than others, based on an idea of how "universal" they are, and therefore art about them is innately more valuable.
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that books can be misread due to assumptions about the author, so for instance, before Wuthering Heights was known to be written by a woman, it was considered by critics to be about the nature of evil, and afterwards, it was considered a romance.
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[Pollution of Agency and the Double Standard of Content are clearly aspects related to the general contempt in which fanfiction is held by the wider writing community--it's just porn; it's all about men doing boring domestic stuff; they aren't even men, they're written like fourteen year old girls; only crazy, obsessive stalkers write that stuff; it's all so derivative and unoriginal, such a waste of talent.]
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This is when works or authors are belittled by assigning them to the wrong category, or arranging categories so that all the "wrong" people don't fit the prestigious ones.
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When a work by the "wrong" person actually makes it into the canon of Literature or Serious Art, it is only because they are one of a kind who produced this one thing out of the blue.
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because successful women's writing is isolated from its influences, it is often accused of having a poor or informal style
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Lack of Models.While it's clear that women don't write in a vacuum, the disappearance of so many "wrong" works from the mid- to long-term literary record means that each new generation of women artists has to find or make a new network of their own.
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Responses.This is another fascinating chapter, which looks at the ways in which women have faced the silence and decided to write anyway.
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Fanfiction writers may conceive of what is being made in different ways (art, craft, fun, porn, and so on), but there is no question, at least within the bounds of the subculture, that we can write! That is quite a different expectation to that of the wider world,
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Aesthetics.This chapter discusses the impact of not having a visible female tradition on art in general. For a start, it means that many of the representations of women within art are deeply flawed, as they are based on stereotypes. It also means the hierarchy of art is skewed so that the "masculine" values are at the top, all others at the bottom, like so:"high art" [means] man, mankind, the individual man, individuality, humans, humanity, the human figure, humanism, civilization, culture, the Greeks, the Romans, the English, Christianity, spiritual transcendence, religion, nature, true form, science, logic, creativity, action, war, virility, violence, brutality, dynamism, power, and greatness.... "low art": Africans, Orientals, Persians, Slovaks, peasants, the lower classes, women, children, savages, pagans, sensuality, pleasure, decadence, chaos, anarchy, impotence, exotica, eroticism, artifice, tattoos, cosmetics, ornaments, decoration, carpets, weaving, patterns, domesticity, wallpaper, fabrics, and furniture. (p. 114-5 Russ quoting Valerie Jaudon and Joyce Kozloff)
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Another consequence of the focus on a male value system, is that associations are made between things like size and quality (the number of pages in a book, for instance, affects how prestigious it is); hence short stories [again: fanfiction!] are not all that important compared to novels
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is the non-capitalist aspect of fanfiction actually a method of silencing the artistic voices of women? And does it take away what should be legitimate opportunities for us to earn an income from what we create?
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is the non-capitalist aspect of fanfiction actually a method of silencing the artistic voices of women? And does it take away what should be legitimate opportunities for us to earn an income from what we create?
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is the non-capitalist aspect of fanfiction actually a method of silencing the artistic voices of women? And does it take away what should be legitimate opportunities for us to earn an income from what we create?
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is the non-capitalist aspect of fanfiction actually a method of silencing the artistic voices of women? And does it take away what should be legitimate opportunities for us to earn an income from what we create?
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There is no doubt in my mind that fanfiction offers an amazing network for women writers, and given the advantages of the internet, it would be almost impossible to make this writing disappear en masse as has so often happened to women's writing in the past.
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most of them described by Russ: yes, she wrote it, but we don't really know who "she" is; yes, she wrote it, but she totally shouldn't have (only perverts/stalkers/sluts/thieves write it); yes, she wrote it, but it's not important (because it's not about high culture ideas, it's unpaid, it's vernacular, it's just porn, it's derivative, it's bad); yes, she wrote it and it's actually good, but it's a one-off fluke and it's not really fanfiction anyway (it's a homage, a pastiche, a post-modern experiment, it won the Pulitzer); yes, she went on to write successful original novels in spite of her fanfiction beginnings (but she's not like all the others who do it, and let's not talk about it anyway, because it opens us up to copyright violation lawsuits).
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Do we really want to be part of a culture that endorses a silencing of women by keeping us in our places in the ghetto? Or is this beyond the purview of something we do for fun, as a hobby?
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It seems to me that part of why fanfiction can so easily be written off is because we so carefully police it, keeping our work in the unpaid ghetto along with other women's crafts.
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Then again, fanfiction's market isn't the commercial publishing market--fanfiction is part of the long-tail economy of the internet, so the same rules don't apply.
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I still think that the fanfiction community is the most amazing women's art culture I've ever experienced, and quite possibly the most amazing there has ever been, just in terms of sheer numbers and output. And perhaps that is enough; perhaps one of the foundation-stones of the fanfiction community is that it doesn't have to engage directly with capitalist imperatives, and messing with that ethos might unbalance everything.
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I do feel angry, though, that this amazing outpouring of female talent is written off as nothing but derivative porn written by a bunch of crackpots. It makes me want to punch things and scream at the world, "Are you all asleep, or just deliberately stupid?"
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shared by Nele Noppe on 02 Nov 08
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Why Heather can write - 0 views
www.technologyreview.com/printer_friendly_article.aspx
education fan_fiction fans fanwork harry_potter literature fanficforensics phd
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Teachers sometimes complain that popular culture competes for the attention of their students, a claim that starts from the assumption that what kids learn from media is less valuable than what schools teach. Here, however, much of what is being mastered are things that schools try-and too often fail-to teach their students. (It has been said that if schools taught sex education the same way they taught writing, the human race would die out in a generation.)
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we could talk about young anime fans who are teaching each other Japanese language and culture in order to do underground subtitling of their favorite shows.
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What difference will it make, over time, if a growing percentage of young writers begin publishing and getting feedback on their work while they are still in high school? And what happens when those young writers compare notes, becoming critics, editors, and mentors? Will they develop their craft more quickly-and develop a critical vocabulary for thinking about storytelling?
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And writing about Harry offers them something else, too: an audience with a built-in interest in the stories-an interest that would be difficult to match with stories involving original fictional characters. The power of popular culture to command attention is being harnessed at a grassroots level to find a readership for these emerging storytellers.
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themes that could not be discussed so openly in a school assignment and that might be too embarrassing to address through personal narratives or original characters.
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Fandom is providing a rich haven to support the development of bright young minds that might otherwise get chewed up by the system, and offering mentorship to help less gifted students to achieve their full expressive potential. Either way, these teens are finding something online that schools are not providing them.
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Japan, Ink: Inside the Manga Industrial Complex - 0 views
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Europe has caught the bug, too. In the United Kingdom, the Catholic Church is using manga to recruit new priests. One British publisher, in an effort to hippify a national franchise, has begun issuing manga versions of Shakespeare's plays, including a Romeo and Juliet that reimagines the Montagues and Capulets as rival yakuza families in Tokyo.
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Circulation of the country's weekly comic magazines, the essential entry point for any manga series, has fallen by about half over the last decade.
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Fans and critics complain that manga — which emerged in the years after World War II as an edgy, uniquely Japanese art form — has become as homogenized and risk-averse as the limpest Hollywood blockbuster.
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The place is pulsing with possibility, full of inspired creators, ravenous fans, and wads of yen changing hands. It represents a dynamic force
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Nearly every aspect of cultural production — which is now Japan's most influential export — is rooted in manga.
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About 90 percent of the material for sale — how to put this — borrows liberally from existing works.
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"This is something that satisfies the fans," Ichikawa said. "The publishers understand that this does not diminish the sales of the original product but may increase them.
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"The dojinshi are creating a market base, and that market base is naturally drawn to the original work," he said. Then, gesturing to the convention floor, he added, "This is where we're finding the next generation of authors.
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They tacitly agree not to go too far — to produce work only in limited editions and to avoid selling so many copies that they risk cannibalizing the market for original works.
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He opened Mandarake 27 years ago, well before the dojinshi markets began growing more popular — in part to provide another sales channel for the work coming out of them. At first, publishers were none too pleased with his new venture. "You think I didn't hear from them?" he tells me in a company conference room. But in the past five years, he says, as the scale and reach of the markets has expanded, the publishers' attitude "has changed 180 degrees." It's all a matter of business, he says.
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triangle. "You have the authors up there at this tiny little tip at the top. And at the bottom," he says, drawing a line just above the widening base of the triangle, "you have the readers. The dojin artists are the ones connecting them in the middle."
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As recently as a decade ago, he told me, creators of popular commercial works sometimes cracked down on their dojinshi counterparts at Super Comic City. "But these days," he said, "you don't really hear about that many publishers stopping them."
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the copyright winds in the US have been blowing in the opposite direction — toward longer and stricter protections. It is hard to imagine Hollywood, Nashville, and New York agreeing to scale back legal protection in order to release the creative impulses of super-empowered fans, when the gains from doing so are for now only theoretical.
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mutually assured destruction. What that accommodation lacks in legal clarity, it makes up for in commercial pragmatism.
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The Surprising History of Copyright and The Promise of a Post-Copyright World - 0 views
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copyright was never primarily about paying artists for their work, and that far from being designed to support creators, copyright was designed by and for distributors — that is, publishers, which today includes record companies.
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For three centuries, the publishing industry has been working very hard to obscure copyright's true origins, and to promote the myth that it was invented by writers and artists.
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They're fighting to maintain a state of mind, an attitude toward creative work that says someone ought to own products of the mind, and control who can copy them. And by positioning the issue as a contest between the Beleaguered Artist, who supposedly needs copyright to pay the rent, and The Unthinking Masses, who would rather copy a song or a story off the Internet than pay a fair price, the industry has been astonishingly successful. They have managed to substitute the loaded terms "piracy" and "theft" for the more accurate "copying" — as if there were no difference between stealing your bicycle (now you have no bicycle) and copying your song (now we both have it).
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Copyright is an outgrowth of the privatization of government censorship in sixteenth-century England. There was no uprising of authors suddenly demanding the right to prevent other people from copying their works; far from viewing copying as theft, authors generally regarded it as flattery. The bulk of creative work has always depended, then and now, on a diversity of funding sources: commissions, teaching jobs, grants or stipends, patronage, etc. The introduction of copyright did not change this situation. What it did was allow a particular business model — mass pressings with centralized distribution — to make a few lucky works available to a wider audience, at considerable profit to the distributors.
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For the vast majority of artists, copyright brings no economic benefits. True, there are a few stars — some quite talented — whose works are backed by the industry; these receive the lion's share of distribution investment, and generate a correspondingly greater profit, which is shared with the artist on better than usual terms because the artist's negotiating position is stronger. Not coincidentally, these stars are who the industry always holds up as examples of the benefits of copyright.
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The method the government chose was to establish a guild of private-sector censors, the London Company of Stationers, whose profits would depend on how well they performed their function. The Stationers were granted a royal monopoly over all printing in England, old works as well as new, in return for keeping a strict eye on what was printed.
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The system was quite openly designed to serve booksellers and the government, not authors. New books were entered in the Company's Register under a Company member's name, not the author's name. By convention, the member who registered the entry held the "copyright", the exclusive right to publish that book
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The Stationers' right was a new right, though one based on a long tradition of granting monopolies to guilds as a means of control. Before this moment, copyright — that is, a privately held, generic right to prevent others from copying — did not exist.
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Dissolution of the monopoly might have been good news for long-suppressed authors and independent printers, but it spelled disaster for the Stationers, and they quickly crafted a strategy to retain their position in the newly liberal political climate.
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The Stationers based their strategy on a crucial realization, one that has stayed with publishing conglomerates ever since: authors do not have the means to distribute their own works. Writing a book requires only pen, paper, and time. But distributing a book requires printing presses, transportation networks, and an up-front investment in materials and typesetting. Thus, the Stationers reasoned, people who write would always need a publisher's cooperation to make their work generally available. Their strategy used this fact to maximum advantage. They went before Parliament and offered the then-novel argument that authors had a natural and inherent right of ownership in what they wrote, and that furthermore, such ownership could be transferred to other parties by contract, like any other form of property.
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The first recognizably modern copyright, the Statute of Anne, was passed in 1709 and took effect in 1710.
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The Statute of Anne, taken in historical context, is the smoking gun of copyright law. In it we can see the entire apparatus of modern copyright, but in still-undisguised form. There is the notion of copyright as property, yet the property is really intended for publishers, not authors. There is the notion of benefitting society, by encouraging people to write books, but no evidence was offered to show that they would not write books without copyright. Rather, the Stationers' argument was that publishers could not afford to print books without protection from competition, and furthermore that printers could not be depended to reproduce works faithfully if given unfettered freedom to print. The corollary, they implied, was that without the prospect of reliable distribution, authors would produce fewer new works.
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The authors who succeeded in selling this new right to printers had no particular motivation to complain — and naturally, we don't hear very much about the authors not so favored. T
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This is the secret that today's copyright lobby never dares say aloud, for once it is admitted, the true purpose of subsequent copyright legislation becomes embarrassingly clear.
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Having granted the premise that copyrights should exist at all, the English government found themselves under pressure to extend copyright terms further and further.
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The industry's centuries-long campaign for strong copyright law is not merely a reflexive land grab, however. It's a natural economic response to technological circumstances. The effect of the printing press, and later of analog sound recording technology, was to make creative works inseparable from their means of distribution. Authors needed publishers the way electricity needs wires. The only economically viable method of reaching readers (or listeners) was the bulk print run
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There is nothing inherently exploitative about this; it's just straightforward economics. From a business point of view, a print run is a daunting and risky project.
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When one realizes that all this must happen before the work has generated a penny of revenue, it is little wonder that publishers argue hard for copyright. The publisher's initial investment — that is, their risk — in any individual work is greater, in economic terms, than the author's
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But today, the medium over which content is distributed can be unrelated to the medium in which it is ultimately consumed. The data can be sent over a wire, at essentially no cost, and the user can print up a copy at her own expense, and at whatever quality she can afford, on the other end [7]. Furthermore, it is no longer important to possess the master; in fact, the concept of the master copy itself is obsolete. To make a perfect copy of a printed work is actually quite hard, although making a corrupt or abridged copy is very easy. Meanwhile, to make a perfect copy of a digital work is trivially easy — it's making an imperfect copy that requires extra effort.
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Thus, a publisher's total expense was proportional to the number of copies distributed. In such a situation, it is reasonable to ask that each user bear a portion of the costs of distribution.
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Thus the practice of charging the same fee for each copy, regardless of how many copies there are or who made them, is now unjustifiable. The cost of producing and distributing the work is now essentially fixed, no longer proportional to the number of copies
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From society's point of view, every dollar spent beyond the amount needed (if any) to bring the work into existence in the first place is a waste, an impediment to the work's ability to spread on its own merits.
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The Internet did something the Company of Stationers never anticipated: it made their argument a testable hypothesis. Would creators still create, without centralized publishers to distribute their works? Even minimal exposure to the Internet is enough to provide the answer: of course they will.
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Imagine the simplest scenario: you walk into the neighborhood print shop and tell the clerk the Web address of the book you want. A couple of minutes later, the clerk comes back with a freshly printed, hardbound book, straight off the Internet. He rings up the sale. "That'll be eight dollars. Would you like to add the one dollar author's suggested donation?" Do you say yes? Perhaps you do, perhaps not — but note that when museums charge a voluntary admission fee, people often pay it. The same sort of dynamic is at work in the copy shop. Most people are happy to pay a tiny extra bit on top of some larger amount, if they have their wallet out already and think it's for a good reason.
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This is not the only possible system, and it can easily coexist with others. Those not convinced by voluntary donations should consider another method: the Fund and Release system (also called the Threshold Pledge system [9]).