Mark Doidge, Radoslaw Kossakowski, and Svenja Mintert
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781526127624
- eISBN:
- 9781526152121
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526127631
- Subject:
- Sociology, Sport and Leisure
Since their emergence in Italy in 1968, ultras have become the most dominant style of football fandom in the world. Since its inception, the ultras style has spread from Southern Europe across North ...
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Since their emergence in Italy in 1968, ultras have become the most dominant style of football fandom in the world. Since its inception, the ultras style has spread from Southern Europe across North Africa to Northern and Eastern Europe, South East Asia and North America. This book argues that ultras are an important site of enquiry into understanding contemporary society. They are a passionate, politically engaged collective that base their identity around a form of consumption (football) that links to modern notions of identity like masculinity and nationalism. The book seeks to make a clear theoretical shift in studies of football fandom. While it sits in the body of literature focused on political mobilisations, social movements and hooliganism, it emphasises more fundamental sociological questions about group formation, notably collective performances and emotional relationships. By focusing on the common form of expression through the performance of choreographies, chants and sustained support throughout the match, this book shows how members build an emotional attachment to their club that valorises the colours and symbols of that team, whilst mobilising members against opponents. It does this through recognising the importance of gender, politics and violence to the expression of ultras fandom, as well as how this is presented on social media and within the stadium through specular choreographies.Less
Since their emergence in Italy in 1968, ultras have become the most dominant style of football fandom in the world. Since its inception, the ultras style has spread from Southern Europe across North Africa to Northern and Eastern Europe, South East Asia and North America. This book argues that ultras are an important site of enquiry into understanding contemporary society. They are a passionate, politically engaged collective that base their identity around a form of consumption (football) that links to modern notions of identity like masculinity and nationalism. The book seeks to make a clear theoretical shift in studies of football fandom. While it sits in the body of literature focused on political mobilisations, social movements and hooliganism, it emphasises more fundamental sociological questions about group formation, notably collective performances and emotional relationships. By focusing on the common form of expression through the performance of choreographies, chants and sustained support throughout the match, this book shows how members build an emotional attachment to their club that valorises the colours and symbols of that team, whilst mobilising members against opponents. It does this through recognising the importance of gender, politics and violence to the expression of ultras fandom, as well as how this is presented on social media and within the stadium through specular choreographies.
Bob Rehak
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781479813155
- eISBN:
- 9781479897070
- Item type:
- book
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479813155.001.0001
- Subject:
- Film, Television and Radio, Film
Today’s franchises of fantastic media depend on visual effects for their existence, not just in their local textual homes (a feature film, a TV episode, a videogame) but across multiple screens and ...
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Today’s franchises of fantastic media depend on visual effects for their existence, not just in their local textual homes (a feature film, a TV episode, a videogame) but across multiple screens and platforms, working transmedially to build ongoing storyworlds, imbue bodies with evidence of life, and ultimately to travel freely as spectacular subgenres in themselves. In this book’s four case studies, major fantastic franchises of the last half century—Star Trek, Star Wars, the Middle Earth films, and The Matrix—reveal themselves as busy sites of negotiation between the late analog era of the 1960s and 1970s and the digital blockbuster era that followed. Arguing that this colonization took place largely in and through the visual effects design and engineering of high-profile media properties, the chapters explore television series art direction and its relationship to an amateur “blueprint culture,” documenting the contents of media’s imaginary worlds; the previsualization practices through which visual effects rebrand complex webs of creative contributions under the sign of the techno-auteur; the animation traditions that bring special-effects-assisted performances to life; and the role of special effects in larger circuits of visual culture. Approaching special effects both as specific technological practices and discursive performances of behind-the-scenes labor, More Than Meets the Eye plumbs the analog roots of contemporary transmedia franchises to find the unexpected behaviors and impacts of special effects that hide in plain sight, constructing perceptions of narrative worlds and characters as on another level they construct our collective ways of imagining franchise cinema, digital media, and technological change.Less
Today’s franchises of fantastic media depend on visual effects for their existence, not just in their local textual homes (a feature film, a TV episode, a videogame) but across multiple screens and platforms, working transmedially to build ongoing storyworlds, imbue bodies with evidence of life, and ultimately to travel freely as spectacular subgenres in themselves. In this book’s four case studies, major fantastic franchises of the last half century—Star Trek, Star Wars, the Middle Earth films, and The Matrix—reveal themselves as busy sites of negotiation between the late analog era of the 1960s and 1970s and the digital blockbuster era that followed. Arguing that this colonization took place largely in and through the visual effects design and engineering of high-profile media properties, the chapters explore television series art direction and its relationship to an amateur “blueprint culture,” documenting the contents of media’s imaginary worlds; the previsualization practices through which visual effects rebrand complex webs of creative contributions under the sign of the techno-auteur; the animation traditions that bring special-effects-assisted performances to life; and the role of special effects in larger circuits of visual culture. Approaching special effects both as specific technological practices and discursive performances of behind-the-scenes labor, More Than Meets the Eye plumbs the analog roots of contemporary transmedia franchises to find the unexpected behaviors and impacts of special effects that hide in plain sight, constructing perceptions of narrative worlds and characters as on another level they construct our collective ways of imagining franchise cinema, digital media, and technological change.
Sabrina Qiong Yu and Guy Austin (eds)
- Published in print:
- 2017
- Published Online:
- May 2020
- ISBN:
- 9781474404310
- eISBN:
- 9781474434850
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474404310.001.0001
- Subject:
- Film, Television and Radio, Film
This collection revisits star studies with themes and methods from the latest international research into stardom and fandom across the globe. It challenges the Hollywood-centrism in star studies by ...
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This collection revisits star studies with themes and methods from the latest international research into stardom and fandom across the globe. It challenges the Hollywood-centrism in star studies by presenting new angles and models, and raises important questions about image, performance, gender, sexuality, race, fandom, social media, globalisation, and translocal stardom. This volume seeks to expand the notion of stardom that is traditionally associated with glamour and desirability to include less glamourous, more troubling stardom (e.g. ageing stars, ‘crip’ stars), or previously unacknowledged stardom (e.g. porn stars, animal stars). It also aims to expand star studies to a wider range of critical disciplines by engaging with performance studies, genre studies, sound studies, disability studies, animal studies and so on. From Hollywood to Bollywood, from China to Spain, and from Poland to Mexico, this collection revisits the definitions of stars and star studies that have been previously based on the study of Hollywood stardom, and points the way forward to new ways of approaching the field.Less
This collection revisits star studies with themes and methods from the latest international research into stardom and fandom across the globe. It challenges the Hollywood-centrism in star studies by presenting new angles and models, and raises important questions about image, performance, gender, sexuality, race, fandom, social media, globalisation, and translocal stardom. This volume seeks to expand the notion of stardom that is traditionally associated with glamour and desirability to include less glamourous, more troubling stardom (e.g. ageing stars, ‘crip’ stars), or previously unacknowledged stardom (e.g. porn stars, animal stars). It also aims to expand star studies to a wider range of critical disciplines by engaging with performance studies, genre studies, sound studies, disability studies, animal studies and so on. From Hollywood to Bollywood, from China to Spain, and from Poland to Mexico, this collection revisits the definitions of stars and star studies that have been previously based on the study of Hollywood stardom, and points the way forward to new ways of approaching the field.
Liam Burke
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781628462036
- eISBN:
- 9781626745193
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628462036.003.0004
- Subject:
- Literature, Comics Studies
Comic book fandom has long been a participatory culture. As comic book characters made the transition to film, the fans, eschewing media boundaries, began effectively applying their collaborative ...
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Comic book fandom has long been a participatory culture. As comic book characters made the transition to film, the fans, eschewing media boundaries, began effectively applying their collaborative traditions to cinema. This process became more intensive and far-reaching in the digital age. Consequently, filmmakers, many of whom initially adopted a protectionist stance, have chosen to (or been forced to) recognize the merits of comic book publishing practices. In recent years, this has led to a refocusing of marketing campaigns, the development of new production practices, greater fidelity between texts, as well as a number of other strategies that position fans at the center of comic book adaptation production.Less
Comic book fandom has long been a participatory culture. As comic book characters made the transition to film, the fans, eschewing media boundaries, began effectively applying their collaborative traditions to cinema. This process became more intensive and far-reaching in the digital age. Consequently, filmmakers, many of whom initially adopted a protectionist stance, have chosen to (or been forced to) recognize the merits of comic book publishing practices. In recent years, this has led to a refocusing of marketing campaigns, the development of new production practices, greater fidelity between texts, as well as a number of other strategies that position fans at the center of comic book adaptation production.
Kevin Patrick
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781628462340
- eISBN:
- 9781626746787
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628462340.003.0002
- Subject:
- Literature, Comics Studies
The Phantom (1996) was a feature-film adaptation of the American comic strip character today regarded as a forerunner of the superhero. However, The Phantom film was an American box-office failure ...
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The Phantom (1996) was a feature-film adaptation of the American comic strip character today regarded as a forerunner of the superhero. However, The Phantom film was an American box-office failure and is routinely overlooked in academic studies of the ‘comic-book movie’. By contrast, The Phantom was a commercial success in Australia, ranking amongst the Top-5 films upon its cinema release and, therefore, this chapter investigates The Phantom’s localized success. The Phantom film provides the basis of a broader inquiry into the global circulation of the superhero phenomenon beyond its American ‘homeland’ by examining the film’s industrial production and cultural reception in Australia, the where character has paradoxically become an ‘indigenous’ superhero. Moreover, it explores how The Phantom’s embodiment of ‘old-fashioned’ heroism – cited as a key reason for the film’s domestic US failure – resonated with Australian audiences, who embraced The Phantom precisely because it was the antithesis of the American superhero archetype.Less
The Phantom (1996) was a feature-film adaptation of the American comic strip character today regarded as a forerunner of the superhero. However, The Phantom film was an American box-office failure and is routinely overlooked in academic studies of the ‘comic-book movie’. By contrast, The Phantom was a commercial success in Australia, ranking amongst the Top-5 films upon its cinema release and, therefore, this chapter investigates The Phantom’s localized success. The Phantom film provides the basis of a broader inquiry into the global circulation of the superhero phenomenon beyond its American ‘homeland’ by examining the film’s industrial production and cultural reception in Australia, the where character has paradoxically become an ‘indigenous’ superhero. Moreover, it explores how The Phantom’s embodiment of ‘old-fashioned’ heroism – cited as a key reason for the film’s domestic US failure – resonated with Australian audiences, who embraced The Phantom precisely because it was the antithesis of the American superhero archetype.
Geoff Pearson
- Published in print:
- 2012
- Published Online:
- January 2014
- ISBN:
- 9780719087219
- eISBN:
- 9781781706145
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719087219.001.0001
- Subject:
- Society and Culture, Cultural Studies
This is an ethnographic account of English football fans who travel home and away with their team, based upon sixteen years’ participant observation. The author identifies a distinct sub-culture of ...
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This is an ethnographic account of English football fans who travel home and away with their team, based upon sixteen years’ participant observation. The author identifies a distinct sub-culture of supporter – the ‘carnival fan’ – who dominated the travelling support of the three clubs observed - Manchester United, Blackpool and the England national team. This accessible account follows these groups home and abroad, describing their interpretations, motivations and behaviour and challenging a number of the myths about ‘hooliganism’ and crowd control. An Ethnography of English Football Fans identifies the primary motivation of these fan groups to be the creation of a carnival – a period of transgression from the norms of everyday life based upon congregating in groups, alcohol consumption, humour and tomfoolery, and expressions of identity. In achieving these aims, the fan groups were frequently brought into conflict with the football authorities, police and ‘hooligan’ groups and this account includes explanations of some of the most serious instances of crowd disorder involving English fans in the last two decades. The book also looks at issues such as attitudes to gender, sexuality and race, and the impact of technology upon football fandom.Less
This is an ethnographic account of English football fans who travel home and away with their team, based upon sixteen years’ participant observation. The author identifies a distinct sub-culture of supporter – the ‘carnival fan’ – who dominated the travelling support of the three clubs observed - Manchester United, Blackpool and the England national team. This accessible account follows these groups home and abroad, describing their interpretations, motivations and behaviour and challenging a number of the myths about ‘hooliganism’ and crowd control. An Ethnography of English Football Fans identifies the primary motivation of these fan groups to be the creation of a carnival – a period of transgression from the norms of everyday life based upon congregating in groups, alcohol consumption, humour and tomfoolery, and expressions of identity. In achieving these aims, the fan groups were frequently brought into conflict with the football authorities, police and ‘hooligan’ groups and this account includes explanations of some of the most serious instances of crowd disorder involving English fans in the last two decades. The book also looks at issues such as attitudes to gender, sexuality and race, and the impact of technology upon football fandom.
Nancy K. Baym
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781479896165
- eISBN:
- 9781479815357
- Item type:
- book
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479896165.001.0001
- Subject:
- Society and Culture, Media Studies
In Playing to the Crowd, Nancy K. Baym examines the shift toward more personal connections with audiences, offering an entirely new approach to media cultures and industries as she does. The book ...
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In Playing to the Crowd, Nancy K. Baym examines the shift toward more personal connections with audiences, offering an entirely new approach to media cultures and industries as she does. The book argues that workers in many fields are under increased pressure get online and connect with others to further their careers, a trend that musicians have long led. Using a dialectical framework, the book draws on in depth-interviews with a range of professional musicians and other qualitative methods to show how the rise of digital communication platforms transformed artist-fan relationships into something that can feel personal. Part I explores music as a means of communication and as a commodity, drawing out the tension between its social and commercial values. Part II looks at audiences, showing how they developed fandoms in the 20th century, how those fandoms came online, and the tension between participation and control musicians experience when they encounter online audiences. Part III looks at relationships, examining how, in contrast to the concert hall environment in which musicians and audiences may one have met, social media create a new potential and pressure for everyday, intimate relating and how musicians manage the tensions between closeness and distance this creates. Ultimately, the book argues that the relational labor musicians do is a significant mode of work, one which requires resources, skills, and strategies we must all understand.Less
In Playing to the Crowd, Nancy K. Baym examines the shift toward more personal connections with audiences, offering an entirely new approach to media cultures and industries as she does. The book argues that workers in many fields are under increased pressure get online and connect with others to further their careers, a trend that musicians have long led. Using a dialectical framework, the book draws on in depth-interviews with a range of professional musicians and other qualitative methods to show how the rise of digital communication platforms transformed artist-fan relationships into something that can feel personal. Part I explores music as a means of communication and as a commodity, drawing out the tension between its social and commercial values. Part II looks at audiences, showing how they developed fandoms in the 20th century, how those fandoms came online, and the tension between participation and control musicians experience when they encounter online audiences. Part III looks at relationships, examining how, in contrast to the concert hall environment in which musicians and audiences may one have met, social media create a new potential and pressure for everyday, intimate relating and how musicians manage the tensions between closeness and distance this creates. Ultimately, the book argues that the relational labor musicians do is a significant mode of work, one which requires resources, skills, and strategies we must all understand.
Crystal S. Anderson
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781496830098
- eISBN:
- 9781496830142
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496830098.001.0001
- Subject:
- Music, Popular
Soul in Seoul: African American Popular Music and K-pop examines how K-pop cites musical and performative elements of Black popular music culture as well as the ways that fans outside of Korea ...
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Soul in Seoul: African American Popular Music and K-pop examines how K-pop cites musical and performative elements of Black popular music culture as well as the ways that fans outside of Korea understand these citations. K-pop represents a hybridized mode of Korean popular music that emerged in the 1990s with global aspirations. Its hybridity combines musical elements from Korean and foreign cultures, particularly rhythm and blues-based genres (R&B) of African American popular music. Korean pop, R&B and hip-hop solo artists and groups engage in citational practices by simultaneously emulating R&B’s instrumentation and vocals and enhancing R&B by employing Korean musical strategies to such an extent that K-pop becomes part of a global R&B tradition. Korean pop groups use dynamic images and quality musical production to engage in cultural work that culminates the kind of global form of crossover pioneered by Black American music producers. Korean R&B artists, with a focus on vocals, take the R&B tradition beyond the Black-white binary, and Korean hip-hop practitioners use sampling and live instrumentation to promote R&B’s innovative music aesthetics. K-pop artists also cite elements of African American performance in Korean music videos that disrupt limiting representations. K-pop’s citational practices reveal diverse musical aesthetics driven by the interplay of African American popular music and Korean music strategies. As a transcultural fandom, global fans function as part of K-pop’s music press and deem these citational practices authentic. Citational practices also challenge homogenizing modes of globalization by revealing the multiple cultural forces that inform K-pop.Less
Soul in Seoul: African American Popular Music and K-pop examines how K-pop cites musical and performative elements of Black popular music culture as well as the ways that fans outside of Korea understand these citations. K-pop represents a hybridized mode of Korean popular music that emerged in the 1990s with global aspirations. Its hybridity combines musical elements from Korean and foreign cultures, particularly rhythm and blues-based genres (R&B) of African American popular music. Korean pop, R&B and hip-hop solo artists and groups engage in citational practices by simultaneously emulating R&B’s instrumentation and vocals and enhancing R&B by employing Korean musical strategies to such an extent that K-pop becomes part of a global R&B tradition. Korean pop groups use dynamic images and quality musical production to engage in cultural work that culminates the kind of global form of crossover pioneered by Black American music producers. Korean R&B artists, with a focus on vocals, take the R&B tradition beyond the Black-white binary, and Korean hip-hop practitioners use sampling and live instrumentation to promote R&B’s innovative music aesthetics. K-pop artists also cite elements of African American performance in Korean music videos that disrupt limiting representations. K-pop’s citational practices reveal diverse musical aesthetics driven by the interplay of African American popular music and Korean music strategies. As a transcultural fandom, global fans function as part of K-pop’s music press and deem these citational practices authentic. Citational practices also challenge homogenizing modes of globalization by revealing the multiple cultural forces that inform K-pop.
Michael Goodrum, Tara Prescott, and Philip Smith (eds)
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9781496818805
- eISBN:
- 9781496818843
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496818805.001.0001
- Subject:
- Literature, Comics Studies
This book sits at an intersection between academic and public discourse. It seeks to advance the debate around gender and representation in superhero narratives by connecting with existing ...
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This book sits at an intersection between academic and public discourse. It seeks to advance the debate around gender and representation in superhero narratives by connecting with existing scholarship and expanding the conversation to include recent and previously unstudied texts and fan movements. We seek to contribute to the growing number of voices, from both fan and academic communities, who argue that diversity is not only the future of the superhero genre, but that diversity has always been present, if sometimes hidden, in the genre’s history, readership, and concerns. The authors in this book argue that In terms of narrative, then, differences in character lead to the consideration that such deviations from established, patriarchal practice lead to differences in narrative structure.Less
This book sits at an intersection between academic and public discourse. It seeks to advance the debate around gender and representation in superhero narratives by connecting with existing scholarship and expanding the conversation to include recent and previously unstudied texts and fan movements. We seek to contribute to the growing number of voices, from both fan and academic communities, who argue that diversity is not only the future of the superhero genre, but that diversity has always been present, if sometimes hidden, in the genre’s history, readership, and concerns. The authors in this book argue that In terms of narrative, then, differences in character lead to the consideration that such deviations from established, patriarchal practice lead to differences in narrative structure.
Mark Doidge, Radosław Kossakowski, and Svenja Mintert
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781526127624
- eISBN:
- 9781526152121
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526127631.00004
- Subject:
- Sociology, Sport and Leisure
Football fandom is an important area of research that covers a wide range of activities, people and places around the world. This chapter introduces the ultras style of fandom and situates it within ...
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Football fandom is an important area of research that covers a wide range of activities, people and places around the world. This chapter introduces the ultras style of fandom and situates it within the wider academic literature on football fandom. It highlights how fandom meets in the broader public sphere and engages politically within the wider politico-economic changes in football, and wider social world. Within the football stadium, there is a performance of fans’ identities which helps generate and sustain their emotions. Significantly, fandom is emotionally charged and this fuels the ultras’ engagement in the sport, but also their interactions, relationships and sense of individual and collective self.Less
Football fandom is an important area of research that covers a wide range of activities, people and places around the world. This chapter introduces the ultras style of fandom and situates it within the wider academic literature on football fandom. It highlights how fandom meets in the broader public sphere and engages politically within the wider politico-economic changes in football, and wider social world. Within the football stadium, there is a performance of fans’ identities which helps generate and sustain their emotions. Significantly, fandom is emotionally charged and this fuels the ultras’ engagement in the sport, but also their interactions, relationships and sense of individual and collective self.
Mark Doidge, Radosław Kossakowski, and Svenja Mintert
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781526127624
- eISBN:
- 9781526152121
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526127631.00005
- Subject:
- Sociology, Sport and Leisure
Football fandom is a regular, ritualistic performance that takes place every weekend over the course of a season. These performances are recounted in conversation, social media and traditional media ...
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Football fandom is a regular, ritualistic performance that takes place every weekend over the course of a season. These performances are recounted in conversation, social media and traditional media throughout the week. The performances help locate the individual within a broader collective, but also structure their interactions with others. Through the collective ritual of fandom, the ultras elevate themselves into a state of flow that brings the gathering of individual fans into one collective working in unison.Less
Football fandom is a regular, ritualistic performance that takes place every weekend over the course of a season. These performances are recounted in conversation, social media and traditional media throughout the week. The performances help locate the individual within a broader collective, but also structure their interactions with others. Through the collective ritual of fandom, the ultras elevate themselves into a state of flow that brings the gathering of individual fans into one collective working in unison.
Mark Doidge, Radosław Kossakowski, and Svenja Mintert
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781526127624
- eISBN:
- 9781526152121
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526127631.00006
- Subject:
- Sociology, Sport and Leisure
Football is an emotional game. Emotions are not restricted to the agony and ecstasy of victory or defeat, but the warmth of friendships and relationships built through engaging with other fans and ...
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Football is an emotional game. Emotions are not restricted to the agony and ecstasy of victory or defeat, but the warmth of friendships and relationships built through engaging with other fans and clubs. Emotions are a primary constituent of social life and how we build relationships, yet they have been absent from the analysis of football fandom. The ultras’ performance helps generate the emotional atmosphere at matches and this sustains the emotional engagement with their club. It builds solidarity, motivates conflict and links individuals to the collective behaviour of the stadium. This emotional engagement also acts as the driver for political mobilisation around issues that affect their club, the sport or the groups.Less
Football is an emotional game. Emotions are not restricted to the agony and ecstasy of victory or defeat, but the warmth of friendships and relationships built through engaging with other fans and clubs. Emotions are a primary constituent of social life and how we build relationships, yet they have been absent from the analysis of football fandom. The ultras’ performance helps generate the emotional atmosphere at matches and this sustains the emotional engagement with their club. It builds solidarity, motivates conflict and links individuals to the collective behaviour of the stadium. This emotional engagement also acts as the driver for political mobilisation around issues that affect their club, the sport or the groups.
Mark Doidge, Radosław Kossakowski, and Svenja Mintert
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781526127624
- eISBN:
- 9781526152121
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526127631.00007
- Subject:
- Sociology, Sport and Leisure
The ultras style of football fandom emerged in 1960s Italy and has spread across Europe and the Mediterranean, to North America and Asia. This is not a history of the ultras, but an analysis of the ...
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The ultras style of football fandom emerged in 1960s Italy and has spread across Europe and the Mediterranean, to North America and Asia. This is not a history of the ultras, but an analysis of the way history has been used and incorporated into the ultras’ performance. History is an important foundation of ultras groups. It can act as an ‘invented tradition’ where ultras integrate historical narratives of their club, city and nation to present themselves to others. This chapter illustrates some of the many ways in which history has been incorporated into the development of the ultras style.Less
The ultras style of football fandom emerged in 1960s Italy and has spread across Europe and the Mediterranean, to North America and Asia. This is not a history of the ultras, but an analysis of the way history has been used and incorporated into the ultras’ performance. History is an important foundation of ultras groups. It can act as an ‘invented tradition’ where ultras integrate historical narratives of their club, city and nation to present themselves to others. This chapter illustrates some of the many ways in which history has been incorporated into the development of the ultras style.
Mark Doidge, Radosław Kossakowski, and Svenja Mintert
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781526127624
- eISBN:
- 9781526152121
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526127631.00009
- Subject:
- Sociology, Sport and Leisure
Football fandom has historically been dominated by men. The ultras style, in particular, becomes a site of hegemonic masculinity where participants perform their understandings of gender. Many ...
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Football fandom has historically been dominated by men. The ultras style, in particular, becomes a site of hegemonic masculinity where participants perform their understandings of gender. Many performances are explicitly masculine, incorporating defence of territory, status, physical and sexual dominance, and violence. These are symbolised in images of warriors, valorised transgressive acts, or images of fraternal solidarity. Each communicates that there is one type of (hegemonic) masculinity that encapsulates the group, in comparison to their feminised rivals. Yet there is nothing explicitly masculine about fandom. Female ultras participate in the rituals, yet also have to navigate the explicit masculinity on display.Less
Football fandom has historically been dominated by men. The ultras style, in particular, becomes a site of hegemonic masculinity where participants perform their understandings of gender. Many performances are explicitly masculine, incorporating defence of territory, status, physical and sexual dominance, and violence. These are symbolised in images of warriors, valorised transgressive acts, or images of fraternal solidarity. Each communicates that there is one type of (hegemonic) masculinity that encapsulates the group, in comparison to their feminised rivals. Yet there is nothing explicitly masculine about fandom. Female ultras participate in the rituals, yet also have to navigate the explicit masculinity on display.
Gwyneth Jones
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780252042638
- eISBN:
- 9780252051487
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042638.003.0004
- Subject:
- Literature, 20th-century and Contemporary Literature
“The Secret Feminist Cabal” examines the community in which Joanna was “first among equals” and her importance to feminist fandom, before focusing on the remarkable “Khatru symposium on women in ...
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“The Secret Feminist Cabal” examines the community in which Joanna was “first among equals” and her importance to feminist fandom, before focusing on the remarkable “Khatru symposium on women in science fiction” in which a group of established writers, newcomers, and one man, Chip Delany, plus one supposed man “James Tiptree Jr.” (Alice Sheldon) discussed, in circulated letters, not only the place of women in sf but also feminism’s entire agenda: including childcare, motherhood, ecology issues, sexual harassment, male heroines, female heroes, the gender pay gap, power struggles, and coercive legislation. Joanna’s most powerful expression of her political manifesto appears here. Stories and essays discussed include “Towards an Aesthetic of Science Fiction,” “The Zanzibar Cat,” and “The Autobiography of My Mother.”Less
“The Secret Feminist Cabal” examines the community in which Joanna was “first among equals” and her importance to feminist fandom, before focusing on the remarkable “Khatru symposium on women in science fiction” in which a group of established writers, newcomers, and one man, Chip Delany, plus one supposed man “James Tiptree Jr.” (Alice Sheldon) discussed, in circulated letters, not only the place of women in sf but also feminism’s entire agenda: including childcare, motherhood, ecology issues, sexual harassment, male heroines, female heroes, the gender pay gap, power struggles, and coercive legislation. Joanna’s most powerful expression of her political manifesto appears here. Stories and essays discussed include “Towards an Aesthetic of Science Fiction,” “The Zanzibar Cat,” and “The Autobiography of My Mother.”
Stacy Wolf
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780195378238
- eISBN:
- 9780199897018
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195378238.003.0007
- Subject:
- Music, Popular, History, American
This chapter uses an ethnographically-based method and introduces the voices of girl fans to the mix as a reminder that audiences of musicals matter above all. This chapter analyzes the girls’ ...
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This chapter uses an ethnographically-based method and introduces the voices of girl fans to the mix as a reminder that audiences of musicals matter above all. This chapter analyzes the girls’ participation on internet fansites in the first years of Wicked’s run on Broadway (2003–2005), including their interpretations and uses of the musical and their language and rhetoric. It focuses on the theme of divas. This chapter reveals the energy and acuity of girl fans of musicals, and how they carry the torch of the form’s continuation and its on-going reinvention as a vehicle for female empowerment.Less
This chapter uses an ethnographically-based method and introduces the voices of girl fans to the mix as a reminder that audiences of musicals matter above all. This chapter analyzes the girls’ participation on internet fansites in the first years of Wicked’s run on Broadway (2003–2005), including their interpretations and uses of the musical and their language and rhetoric. It focuses on the theme of divas. This chapter reveals the energy and acuity of girl fans of musicals, and how they carry the torch of the form’s continuation and its on-going reinvention as a vehicle for female empowerment.
Anastasia Salter and Mel Stanfill
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781496830463
- eISBN:
- 9781496830517
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496830463.001.0001
- Subject:
- Society and Culture, Media Studies
The past decade or so of media promotion has seen a recurring trope of Fanboy to the Rescue—have no fear, it says, this revered franchise is being taken over by a writer, director, or producer who is ...
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The past decade or so of media promotion has seen a recurring trope of Fanboy to the Rescue—have no fear, it says, this revered franchise is being taken over by a writer, director, or producer who is a “fanboy.” In this trope—which, following Suzanne Scott, the book discusses in terms of the “fanboy auteur”—the fan credentials of writers, directors, and producers are presented as a guarantee of quality media-making. This is a strategy of marketing and branding; it is a claim, from the auteur himself or industry PR machines, that the presence of an auteur who is also a fan means the product is worth consuming. Such claims that fan credentials guarantee quality are often contested, with fans and critics alike rejecting various auteur figures as the true leader of their respective franchises. That split, between assertions of fan and auteur status and acceptance (or not) of that status, is key to unravelling the fan auteur. A Portrait of the Auteur as Fanboy examines the contemporary ascendance of the fan auteur through a series of case studies. We consider both thoroughly mainstream fan auteur figures like Zack Snyder and Joss Whedon and more offbeat ones like Kevin Smith. We examine those who explicitly identify as fans of the source material they engage, like Steven Moffat, E L James, and Patty Jenkins, and those who don’t but engage in fannish ways nonetheless, like Taika Waititi and J. K. Rowling.Less
The past decade or so of media promotion has seen a recurring trope of Fanboy to the Rescue—have no fear, it says, this revered franchise is being taken over by a writer, director, or producer who is a “fanboy.” In this trope—which, following Suzanne Scott, the book discusses in terms of the “fanboy auteur”—the fan credentials of writers, directors, and producers are presented as a guarantee of quality media-making. This is a strategy of marketing and branding; it is a claim, from the auteur himself or industry PR machines, that the presence of an auteur who is also a fan means the product is worth consuming. Such claims that fan credentials guarantee quality are often contested, with fans and critics alike rejecting various auteur figures as the true leader of their respective franchises. That split, between assertions of fan and auteur status and acceptance (or not) of that status, is key to unravelling the fan auteur. A Portrait of the Auteur as Fanboy examines the contemporary ascendance of the fan auteur through a series of case studies. We consider both thoroughly mainstream fan auteur figures like Zack Snyder and Joss Whedon and more offbeat ones like Kevin Smith. We examine those who explicitly identify as fans of the source material they engage, like Steven Moffat, E L James, and Patty Jenkins, and those who don’t but engage in fannish ways nonetheless, like Taika Waititi and J. K. Rowling.
Julia Round
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781496824455
- eISBN:
- 9781496824509
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496824455.003.0015
- Subject:
- Literature, Comics Studies
This chapter considers the comic’s demise and Misty’s dwindling appearances in Tammy, looking closely at the material produced after Misty’soriginal run ended and the memories of its readers. It ...
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This chapter considers the comic’s demise and Misty’s dwindling appearances in Tammy, looking closely at the material produced after Misty’soriginal run ended and the memories of its readers. It discusses the possible reasons for the comic’s termination and looks more closely at the process of merging Misty into Tammy, demonstrating how Misty’s rolewas significantly altered and weakened. It identifies some of Misty’s international appearances in countries such as France, Sweden, Germany and Canada, and analyzes these reprints. It closely examines the material included in the British annuals and reprints during the 1980s, and summarizes the millennial re-emergence of Misty in fan websites, fanzines and other tribute publications, and reprinted and new material from Egmont and Rebellion.Less
This chapter considers the comic’s demise and Misty’s dwindling appearances in Tammy, looking closely at the material produced after Misty’soriginal run ended and the memories of its readers. It discusses the possible reasons for the comic’s termination and looks more closely at the process of merging Misty into Tammy, demonstrating how Misty’s rolewas significantly altered and weakened. It identifies some of Misty’s international appearances in countries such as France, Sweden, Germany and Canada, and analyzes these reprints. It closely examines the material included in the British annuals and reprints during the 1980s, and summarizes the millennial re-emergence of Misty in fan websites, fanzines and other tribute publications, and reprinted and new material from Egmont and Rebellion.
Erin Hanna
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781474451369
- eISBN:
- 9781474490641
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474451369.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter looks to Star Trek, a reboot that employed a time travel narrative to simultaneously cast the Star Trek universe as a new continuity and strategically recast iconic characters in a ...
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This chapter looks to Star Trek, a reboot that employed a time travel narrative to simultaneously cast the Star Trek universe as a new continuity and strategically recast iconic characters in a parallel timeline. The chapter asserts that the reinvention of Star Trek property as a twenty-first-century blockbuster required an investment not only in its narrative strategies, but also in a discursively reimagined audience, one that included both pre-existing and future fans. It demonstrates the way in which Star Trek highlights the intersecting logics of the film reboot and the mainstreaming of fandom in popular culture, both of which grow out of serial strategies designed to exploit new and established markets.Less
This chapter looks to Star Trek, a reboot that employed a time travel narrative to simultaneously cast the Star Trek universe as a new continuity and strategically recast iconic characters in a parallel timeline. The chapter asserts that the reinvention of Star Trek property as a twenty-first-century blockbuster required an investment not only in its narrative strategies, but also in a discursively reimagined audience, one that included both pre-existing and future fans. It demonstrates the way in which Star Trek highlights the intersecting logics of the film reboot and the mainstreaming of fandom in popular culture, both of which grow out of serial strategies designed to exploit new and established markets.
Paul Grainge
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781474451369
- eISBN:
- 9781474490641
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474451369.003.0014
- Subject:
- Film, Television and Radio, Film
This chapter interrogates the ways in which Top Gun’s status as filmic reference point for Hollywood ‘high concept’ of the 1980s has informed speculation around its new millennial reboot, Top Gun: ...
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This chapter interrogates the ways in which Top Gun’s status as filmic reference point for Hollywood ‘high concept’ of the 1980s has informed speculation around its new millennial reboot, Top Gun: Maverick. With the new film still unreleased at the time of writing, the essay focuses not on the reboot (or even its promotional materials) but on the anticipation of the reboot as ‘discursive project’. Attending to the paratextual arrays that inform and prefigure media events, it focuses on the period in the mid-2010s leading up to the first official publicity still for Top Gun: Maverick to investigate the dynamics of speculation and nostalgia that accompany the ‘anticipation’ of Hollywood reboots.Less
This chapter interrogates the ways in which Top Gun’s status as filmic reference point for Hollywood ‘high concept’ of the 1980s has informed speculation around its new millennial reboot, Top Gun: Maverick. With the new film still unreleased at the time of writing, the essay focuses not on the reboot (or even its promotional materials) but on the anticipation of the reboot as ‘discursive project’. Attending to the paratextual arrays that inform and prefigure media events, it focuses on the period in the mid-2010s leading up to the first official publicity still for Top Gun: Maverick to investigate the dynamics of speculation and nostalgia that accompany the ‘anticipation’ of Hollywood reboots.
