1,720,967 research outputs found
A Game of Moans:Fantipathy and Criticism in Football Fandom
No full textThe above statements, all taken from a popular online forum, are fairly typical examples of football (soccer) fan discourse in times of victory.¹ Enthusiastic exclamations of delight sit alongside optimism and relief, while other comments playfully mock those who had previously criticized or underestimated the team.It was March 10, 2013, in England, and fans of Liverpool Football Club (hereafter Liverpool) were celebrating a 3-2 victory against a strong opponent, Tottenham Hotspur. Six days later, however, following Liverpool’s 3-1 defeat to Southampton, the same forum took on a very different complexion: Wages should be stopped, starting with [the] manager
Anti-fandom Meets Ante-fandom:Doctor Who Fans' Textual Dislike and 'Idiorhythmic' Fan Experiences
No full textThe Politics of Against:Political Participation, Anti-fandom, and Populism
No full textIn exploring political participation as a form of (political) fandom, this chapter assesses how the process that Jonathan Gray, Lee Harrington, and I (2017) have described as “fanization” affects political engagement, activism, and movements and thus aims to explore the premises and consequences of the fanization of democracy by building on two themes of recent scholarship, the first being the growing body of that work documenting the eroding boundaries between realms of political and popular communication by highlighting the degree to which popular entertainment and culture become significant spaces of political discourse and action..
"If even one person gets hurt because of those books, that’s too many.” Fifty Shades anti-fandom, lived experience and the role of the subcultural gatekeeper
No full textSurveying fandom: The ethics, design and use of surveys in fan studies
No full textThe use of surveys within fan studies is an important methodological tool which fosters the ability of a multitude of voices and articulations from fans to be gathered and analyzed. The development of the Internet and online survey software has also heightened the use of surveys by researchers, with specific groups, networks, and communities being seemingly more easily accessed and studied through utilizing this method. However, as this chapter will argue, although surveys offer many advantages for the study of fans, they raise new, and magnify old, critical issues surrounding ethics, and can pose challenging questions and limitations surrounding how to design and distribute for rich engagement, response, and representation of the fan community under study. Thus, this chapter will reflect on the use of this method within fan studies, outlining my own experiences and offering suggestions on the design and use of surveys within this field. As there are few comprehensive or specific work on survey use as a method in fan research, this chapter will provide an analytic and useful guide for fan studies scholars intending to use surveys in their scholarship
"Are you ready for this?" "I don't know if there's a choice": Cult reboots, The X-Files revival, and fannish expectations
No full textDuring the summer of 2014, Vulture published an interview with The X-Files (FOX, 1993–2002; 2016) creator, Chris Carter, in which he confirmed that conversations had been held with Fox about a reboot of the series. Speculation among fans was rife, particularly given the emphasis placed on the term ‘reboot’. Would the original cast members return? Would the series continue from the end of the 2008 film? Or would a new series “begin [the] franchise anew from the ashes of [its] old or failed property [and] seek to disavow and render inert its predecessor’s validity” (Proctor 2012: 4)? In a January 2015 interview with Gillian Anderson, the Nerdist Podcast created a new hashtag, #xfiles2015, calling for it to be utilized by fans to persuade Fox to revive the show (Levine 2015). Later that month Fox confirmed they were in the “logistical” stage of planning for the franchise’s return, and in March 2015, Patrick Munn reported that the series would return as a short-order mini-series with David Duchovny and Gillian Anderson reprising their roles as Fox Mulder and Dana Scully (2015)
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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