1,720,959 research outputs found
Fandom as Methodology: Introduction
No full textFandom, in its many guises, crosses over with the practice of many contemporary artists, as well as writers about contemporary art. Rather than a new contribution to fan studies, this collection sits alongside the growing literature on fandom as a set of practices that have relevance across a wide range of disciplines, spreading out from its already interdisciplinary home across cultural and media studies. In this introduction, we will explore some histories of fandom in art and art history, relating them to scholarship in the field of fan studies. This does not attempt to be exhaustive, but gives the reader some pointers to think through how art and fandom have fertile points of conversation, and how these can enrich contemporary scholarship on art that is currently engaged with discussions around affect, desire, politics and identity. We argue that fandom has a fit with many artistic works and methods that embrace the excessive, the deviant, the wilful and the overblown. Importantly this approach can become a political or queered practice, one where not fitting in is taking as a starting point to imagine something or someone, somewhere else. As Joli Jensen has argued: “I believe what it means to be a fan should be explored in relation to the larger question of what it means to desire, cherish, seek, long, admire, envy, celebrate, protect, ally with others. Fandom is an aspect of how we make sense of the world, in relation to mass media, and in relation to our historical, social, cultural location.
Fan Letters of Love
Full text linkDrawing on the queer-feminist work of Jane Gallop, Eve Kosofsky Sedgwick, and Maggie Nelson, this essay in two parts— which is epistolary in form and content—considers the reparative effects of writing a love letter to a dead woman writer; argues it to be a loving and sustaining form of feminist criticism: an example of what the author terms "close writing". The essay performs its critique by getting "close to" the lives, writings, and images of two US-American women writers associated with the New York Downtown scene of the 1970s and 1980s: Kathy Acker (1947–1997) and Cookie Mueller (1949–1989)
Notes on Comic Face
No full textCan I say I am a fan of Donald Sutherland? No, I cannot. Can I say I am fan of a certain span of Donald ‘time’? Yes, I can. The experimental essay presented here is part of an ongoing series of works where I interpolate with a selection of films starring Donald. I work only with films made between 1970 to 1980; critically acclaimed works such as 1900 (Bernardo Bertolucci, 1976); Don’t Look Now (Nicolas Roeg, 1973) and M*A*S*H (Robert Altman, 1970), as well as frat films such Animal House and The Kentucky Fried Movie (John Landis, 1978 and 1977 respectively). I attend to, scrutinise, each film with the same dedication and patience. Put simply, I like the way he looks during this decade. There is shame in this admission, and this shame, this adolescent prurience, is central to my project. I can’t help looking. There is a little more. A hand gesture, an avian twitch that Donald tests in Kelly’s Heroes (Brian G. Hutton, 1970) and calcifies in Ordinary People (Robert Redford, 1980). I am tracking the development of this movement with the zeal of a Victorian anthropologist. This is my method.<br/
Fandom as Methodology: A Sourcebook for Artists and Writers
Full text linkFandom as Methodology is a sourcebook for artists and writers, with a combination of academic essays and artist pages.
The book explores fandom as methodology for:
- art practice: the artist as fan, and the fan as a practice-based researcher;
- contemporary art history, in which subjective encounters with art and artists are not erased.
- experimental writing about art, including poetry and fiction.
This book will fill a gap for artists and art writers who want to draw on models taken from fan cultures, as well as providing a range of examples of artists and writers working in this vein. Fandom as Methodology proposes that many artists and art writers already draw on affective strategies found in fandom
More than a schoolgirl crush: Amy Adler and the adolescent fan
No full textA schoolgirl crush: a mixture of desire, identification and aggression, played out in fantasy. A combination of narcissistic, heterosexual and homosexual desire, the intense identification with the object of desire undoes the paradigms of ‘mature’ heterosexuality. In the work of American artist Amy Adler , this adolescent position is appropriated and reworked in her hybrid photographed drawings. Depicting a range of adolescent and child characters, including the artist as a young woman, Adler’s portraits explore the ways in which identity is filtered through celebrity culture, with her own images becoming part of a seductive, androgynous cast that include a young River Phoenix and a series of unnamed, nubile female stars taken from magazines, billboards and CD covers.
In this work Adler enacts the adolescent fan copying a photograph of his or her idol as perfectly as possible, an act of ownership that inscribes the fan’s desire into the image. However, as Adler re-enacts this process, she maintains a distance, the adult performing the adolescent who attempts to possess or perhaps become the object of desire through the act of drawing. This paper explores the potential of the adolescent position for thinking through modes of desiring and identification that are often dismissed as ‘immature’ or ‘feminine’, undermining the stability of binary definitions of both sexuality and gender. In thinking through the aggression and seduction presented in Adler’s work, the adolescent fan provides a structure for thinking about female desire that allows it to be more than a schoolgirl crush
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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