927 research outputs found
"Fanfiction and the author: How fanfic changes popular cultural texts," by Judith May Fathallah
No full textReview of Judith May Fathallah. Fanfiction and the author: How fanfic changes popular cultural texts. Amsterdam: Amsterdam University Press, 2017, hardcover, €99 (234p) ISBN 978-90-8964-995-9, eISBN 978-90-485-2908-7
Killer Fandom:Fan Studies and the Celebrity Serial Killer
No full textKiller Fandom is the first long-form treatment of serial killer fandom. Fan studies have mostly ignored this most moralized form of fandom, as a stigmatized Bad Other in implicit tension with the field’s successful campaign to recuperate the broader fan category. Yet serial killer fandom, as Judith May Fathallah shows in the book, can be usefully studied with many of the field’s leading analytic frameworks. After tracing the pre-digital history of fans, mediated celebrity, and killers, Fathallah examines contemporary fandom through the lens of textual poaching, affective community, subcultural capital, and play. With close readings of fan posts, comments, and mashups on Tumblr, TikTok, and YouTube, alongside documentaries, podcasts, and a thriving “murderabilia” industry, Killer Fandom argues that this fan culture is, in many ways, hard to distinguish from more “mainstream” fandoms. Fan creations around Aileen Wuornos, Jeffrey Dahmer, Ted Bundy, and Richard Ramirez, among others, demonstrate a complex and shifting stance toward their objects—marked by parodic humor and irony in many cases. Killer Fandom ultimately questions—given our crime-and violence-saturated media culture—whether it makes sense to set Dahmer and Wuornos “fans” apart from the rest of us
Emo:How Fans Defined a Subculture
No full textFor many, the word “emo” calls to mind angsty teenagers, shaggy black haircuts, and skinny jeans. A popular music phenomenon in the early 2000s, emo is short for “emotional hardcore,” and refers to both a music genre and a youth scene notable for its androgynous style. Judith May Fathallah pushes beyond the stereotypes and social stigma to explore how online fandom has shaped the definition of emo, with significant implications both for millennial constructs of gender and for contemporary fan studies.First laying out the debate over what emo is, Fathallah walks superfans and newcomers through the culture surrounding the genre’s major bands, including the emo holy trinity: My Chemical Romance, Fall Out Boy, and Panic! At the Disco. Next she examines fans’ main mode of participation in the emo subculture—online communities such as LiveJournal, Tumblr, MySpace, and band websites. Taking a hard look at the gender politics that dominated those spaces, she unearths a subculture that simultaneously defines itself by its sensitivity and resistance to traditional forms of masculinity, yet ruthlessly enforces homophobic and sexist standards. Fathallah demonstrates fandom’s key role in defining emo as a concept and genre after 2001, with probing insight into its implications for gender constructions through popular music
Killer Fandom
Full text linkKiller Fandom is the first long-form treatment of serial killer fandom. Fan studies have mostly ignored this most moralized form of fandom, as a stigmatized Bad Other in implicit tension with the field’s successful campaign to recuperate the broader fan category. Yet serial killer fandom, as Judith May Fathallah shows in the book, can be usefully studied with many of the field’s leading analytic frameworks. After tracing the pre-digital history of fans, mediated celebrity, and killers, Fathallah examines contemporary fandom through the lens of textual poaching, affective community, subcultural capital, and play. With close readings of fan posts, comments, and mashups on Tumblr, TikTok, and YouTube, alongside documentaries, podcasts, and a thriving “murderabilia” industry, Killer Fandom argues that this fan culture is, in many ways, hard to distinguish from more “mainstream” fandoms. Fan creations around Aileen Wuornos, Jeffrey Dahmer, Ted Bundy, and Richard Ramirez, among others, demonstrate a complex and shifting stance toward their objects—marked by parodic humor and irony in many cases. Killer Fandom ultimately questions—given our crime-and violence-saturated media culture—whether it makes sense to set Dahmer and Wuornos “fans” apart from the rest of us
Transparency and reciprocity: Respecting fannish spaces in scholarly research.
Full text linkMost of us approaching fandom academically consider ourselves fans, and as such, may become accustomed to traversing back and forth across fannish and academic spaces with a degree of ease. Moreover, as fan studies gains in prominence, these spaces are beginning to converge in productive ways: not only have fans been producing meta longer than fan studies has been a subject, but The Archive of Our Own and Fanlore are maintained by fannish academics and academically minded fans. The Journal of Transformative Works and Cultures’ Symposia section welcomes essays from fans writing outside the academy, some of whom choose to employ their fannish pseudonym (see e.g. zvi LikesTv 2009, Versaphile 2011). Nonetheless, I want to argue that as academics situated within institutions, we have a responsibility of transparency and to the fans whose works we quote and whose subcultures we are sometimes guests in. This perspective has developed over the duration of my PhD research (Fathallah 2013), and its adaptation into a monograph on fanfic (Fathallah forthcoming)
Az emo, avagy egy kortárs ifjúsági szubkultúra születéséről és felemelkedéséről. Judith May Fathallah: emo: így rajzolják meg a rajongók egy szubkultúra körvonalait című könyvéről
Full text linkAz elmúlt egy évtized könnyűzenei trendjeit vizsgálva kijelenthetjük, hogy kevés irányzat kapott akkora figyelmet, mint az EMO. Az önmagát néhány évtized alatt globális stílussá
kinövő zenei áramlat váraltanul és óriási meglepetésként tűnt fel a nemzetközi könnyűzenei mainstream világában. Ezután az EMO-t csakhamar a fiatalság vezető szubkultúrájaként kezdték emlegetni, nem csupán a könnyűzenével, divattal, popkultúrával, foglalkozó szakemberek, hanem a pedagógusok, pszichológusok, nevelési tanácsadók is, egyszóval mindazok, akik így vagy úgy kapcsolatba kerültek az irányzattal. De mi is valójában az EMO, és milyen hatások formálták a stílust? Honnan és mikortól eredeztethető? Milyen jellemzői vannak az EMO-nak, és ezek milyen formában jelentek meg a szubkultúrával kapcsolatos diskurzus különböző rétegeiben? Judith May Fathallah 2020-ban megjelent könyve ezeknek a kérdéseknek a megválaszolásában nyújthat páratlan segítséget
Becky is my hero: The power of laughter and disruption in Supernatural
No full textInterpreted through Mikhail Bakhtin's theories of resistant laughter, the fan insert character of Becky from Supernatural can be read as an invitation to appropriate the narrative for their own pleasure. However, outsiders to the fan community may not recognize that Becky's depiction is hyperbolic and may thus read the character as a damaging stereotype
Letter of thanks for reciept of 25th Anniversary Library Booklet from Henry E. Becker of Florida to Judith Y. Lind, Director, Roseland Public Library, May 21, 1997
No full textTranscript of letter written by Henry E. Becker of Florida to Judith Y. Lind, Director, Roseland Free Public Library thanking her for the 25th Anniversary Library Booklet, written on May 21, 1999
‘Except that Joss Whedon is god’: fannish attitudes to statements of author/ity
No full textEarly internet and fan studies theorists believed the New Media context and work of the active fan would bring theories like the Death of the Author to fruition. Contemporary fan studies scholars are more reserved, acknowledging diversity in fan attitudes. Through analysis of a LiveJournal article with comments on authors’ views concerning fanfiction, this article demonstrates the paradoxical investment in various forms of authorial authority espoused across fan communities, as well as defiance and repudiation of them. I argue that while the authors quoted are denied legitimate authority through various tactics, the concept of an originating, proprietary authorship, with attendant capitalist powers and rights, retains much influence. The concept of the author holds more power than the individual figures attempting to wield it, and fans attribute or deny the power of authorship to particular figures according to their public personas and cultural politics. In this sense, fans may withhold or bestow legitimation through the operation of Foucault’s author-function, interpreting text and statements of authority through the public persona of the author
‘Except that Joss Whedon is God’: fannish attitudes to statements of author/ity.
Full text linkEarly internet and fan studies theorists believed the New Media context and work of the active fan would bring theories like the Death of the Author to fruition. Contemporary fan studies scholars are more reserved, acknowledging diversity in fan attitudes. Through analysis of a LiveJournal article with comments on authors’ views concerning fanfiction, this article demonstrates the paradoxical investment in various forms of authorial authority espoused across fan communities, as well as defiance and repudiation of them. I argue that while the authors quoted are denied legitimate authority through various tactics, the concept of an originating, proprietary authorship, with attendant capitalist powers and rights, retains much influence. The concept of the author holds more power than the individual figures attempting to wield it, and fans attribute or deny the power of authorship to particular figures according to their public personas and cultural politics. In this sense, fans may withhold or bestow legitimation through the operation of Foucault’s author-function, interpreting text and statements of authority through the public persona of the author
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