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Nele Noppe

Fan fiction - FSFwiki - 0 views

  • Because men majoritarily control the market economics, fan fiction becomes an alternative, sometimes central area of cultural production for women.
  • Men also produce fan fiction, but because their relationship to the market is different from women's, under the patriarchal mode of production, their fannish endeavours do not share exactly the same characteristics. There is significant overlap between women's fannish networks and men's, but sexism necessarily colours the interactions between individuals and/or groups from each class.
Nele Noppe

Dr. Robin Anne Reid - What do you mean pleasure, white man? abstract - 0 views

  • all fan created productions rely to different degrees upon some form of self-insertion.
  • However, empathetic identification and self-insertion are complicated when the fans being considered are not positioned as privileged within the dominant system of race.
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

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

  • 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

Fanfic Symposium: The Life, Death, and Life of Qui-Gon Jinn - 0 views

  • the very level of complexity so characteristic of protagonists is the primary cause of their tendency to arouse boredom in the readers/viewers. Since his or her persona was so thoroughly explored in fiction, very little is left to the imagination of the reader/viewer.
  • No matter how fascinating a person the protagonist may be, it's simply more interesting for the reader/viewer to ponder the background and character of the more minor roles
Nele Noppe

Fanfic Symposium: Naming OCs:What Makes a Show Eminently Slashable - 0 views

  • The foremost condition that I can think of is that there must be two attractive characters of the same sex that people would like to fantasize over.
  • Another necessary condition is that the two candidates for slash must not be unredeemably heterosexual.  That rules out shows such as Remington Steele, The Scarecrow and Mrs. King, and Moonlighting, in which the men with looks to die for spent season after season chasing the female lead, frequently culminating in wedding episodes of great pomp and circumstance, albeit with a total lack of credible plot.
Nele Noppe

Fanfic Symposium: The Overuse of H/C - 0 views

  • In LFN fanfic, the justification I have heard is 'what would it take to break Michael?' Michael, you see, is the top-op, superspy boy. Always in control, his emotions submerged behind a blank mask. And I understand that hurt/comfort is a common thread in many fandoms. It is the gratuitousness of the violence that bothers me. It’s as if some authors enjoy hurting Michael; please excuse the vulgarity, some actually get off on the idea of destroying this proud, difficult man/character.
Nele Noppe

Fanfic Symposium: Why Isn't there More Attack of the Clones Fiction? - 0 views

  • One of these reasons is that Anakin is smack in the middle of a major romance (more specifically, a major heterosexual romance.  Not sure how much that matters, but accuracy and all).  No matter how badly that romance is handled (and it’s handled pretty darned badly), we can’t deny that it’s there, and as long as Anakin is professing (badly) that Padme is the center of his universe, it’s a bit harder to throw him into bed with someone else.  Now, you could point out that this hasn’t stopped LOTR writers from slashing Aragorn with 2/3 of the Fellowship, but I would point out that the courtship there is in the past (or in the books, in a glorified footnote), and is a fairly minor part of the story. 
  • The second apparent answer, and perhaps the reason for the lack of such stories, is the lack of any “vibe” between Obi-Wan and Anakin.
  • Which brings us to the most often-cited reason: Anakin’s lack of appeal.
Nele Noppe

Fanfic Symposium: Rana Bob's Field Guide to Mary Sues - 0 views

  • Overidentification tends to be at the heart of the Canon Character Sue. It's hard not to do it, too, because it seems only logical to fill in unknown details of a canon character's personality with details of your own personality when the character is so similar to you in other ways. This is why, I suspect, so many of the male characters in the source material are "feminized" in fanfiction written by female authors.
Nele Noppe

Why Heather can write - 0 views

  • 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.)
  • such informal teaching occurs across a range of other online communities.
  • 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?
  • 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.
  • 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.
  • 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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