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.
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.
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.
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.
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.
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.
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.”
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.
Alexis Lothian
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781479811748
- eISBN:
- 9781479854585
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479811748.003.0007
- Subject:
- Society and Culture, Cultural Studies
The second wormhole connects part 2’s chapters on black queer science fiction with the media cultures that part 3 analyzes through an exploration of sexual fantasy as a speculative world-making ...
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The second wormhole connects part 2’s chapters on black queer science fiction with the media cultures that part 3 analyzes through an exploration of sexual fantasy as a speculative world-making practice. This short and somewhat personal chapter reads a particularly queer and sexy scene from the science fiction TV show Sense8 (Netflix, 2015-2018), in which telepathically linked characters join sexually from disparate global locations. Sensate sex is a potent metaphor, the hybrid progeny of two sometimes-utopian fantasies: the queer world of public sex (where bodies come together, which anyone can join) and the science fiction of intimate technological connectivity (where physical and spatial boundaries lose their meaning). It functions here to map correspondences between the depictions of gendered spectatorship in Delany’s writings about male public sex cultures and the mostly female fan communities whose erotic fiction-writing practices form a speculative kind of sexual public.Less
The second wormhole connects part 2’s chapters on black queer science fiction with the media cultures that part 3 analyzes through an exploration of sexual fantasy as a speculative world-making practice. This short and somewhat personal chapter reads a particularly queer and sexy scene from the science fiction TV show Sense8 (Netflix, 2015-2018), in which telepathically linked characters join sexually from disparate global locations. Sensate sex is a potent metaphor, the hybrid progeny of two sometimes-utopian fantasies: the queer world of public sex (where bodies come together, which anyone can join) and the science fiction of intimate technological connectivity (where physical and spatial boundaries lose their meaning). It functions here to map correspondences between the depictions of gendered spectatorship in Delany’s writings about male public sex cultures and the mostly female fan communities whose erotic fiction-writing practices form a speculative kind of sexual public.
Alexis Lothian
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781479811748
- eISBN:
- 9781479854585
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479811748.003.0009
- Subject:
- Society and Culture, Cultural Studies
Chapter 6 moves from futures depicted on screen to the audiences who take them up and respond to them by highlighting grassroots cultures of video remix that have flourished since the early years of ...
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Chapter 6 moves from futures depicted on screen to the audiences who take them up and respond to them by highlighting grassroots cultures of video remix that have flourished since the early years of the digital age. The speculative modes of cultural production and reception among science fiction media’s feminist fans showcase queer possibilities that emerge from efforts to push back against the pressures of dominant media temporalities. Their creative methods are the focus of this chapter, which highlights a practice that has emerged from obscurity to some influence in the last ten years: the subcultural art form of fans making music video, or vidding. The chapter uses the term “critical fandom” to center the affective and political temporalities of creative fan works that reimagine the racialized and gendered economies of digital media production and consumption. It analyzes several fan videos in depth to develop a theory of the form, then turns to queer, feminist, decolonial engagements with the television series Battlestar Galactica (2003–2009). Finally, the author’s own video remix practice is discussed as a way to incorporate the insights of this form into scholarly production.Less
Chapter 6 moves from futures depicted on screen to the audiences who take them up and respond to them by highlighting grassroots cultures of video remix that have flourished since the early years of the digital age. The speculative modes of cultural production and reception among science fiction media’s feminist fans showcase queer possibilities that emerge from efforts to push back against the pressures of dominant media temporalities. Their creative methods are the focus of this chapter, which highlights a practice that has emerged from obscurity to some influence in the last ten years: the subcultural art form of fans making music video, or vidding. The chapter uses the term “critical fandom” to center the affective and political temporalities of creative fan works that reimagine the racialized and gendered economies of digital media production and consumption. It analyzes several fan videos in depth to develop a theory of the form, then turns to queer, feminist, decolonial engagements with the television series Battlestar Galactica (2003–2009). Finally, the author’s own video remix practice is discussed as a way to incorporate the insights of this form into scholarly production.
Jennifer Robertson
- Published in print:
- 1998
- Published Online:
- May 2012
- ISBN:
- 9780520211506
- eISBN:
- 9780520920125
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520211506.003.0005
- Subject:
- Anthropology, Asian Cultural Anthropology
This chapter traces the transformations in and discourses of fandom in modern Japan. Audiences and especially female fans of all-female revue theaters figured prominently in social critiques of ...
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This chapter traces the transformations in and discourses of fandom in modern Japan. Audiences and especially female fans of all-female revue theaters figured prominently in social critiques of modernity, and fandom was interpreted as a pathology of modernity. Male fans were not exempt from scrutiny. The chapter examines profiles of fans, fan etiquette, translations from fan magazines, and observations of Takarazuka fan clubs.Less
This chapter traces the transformations in and discourses of fandom in modern Japan. Audiences and especially female fans of all-female revue theaters figured prominently in social critiques of modernity, and fandom was interpreted as a pathology of modernity. Male fans were not exempt from scrutiny. The chapter examines profiles of fans, fan etiquette, translations from fan magazines, and observations of Takarazuka fan clubs.
Sun Jung
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789888028672
- eISBN:
- 9789882207127
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888028672.003.0004
- Subject:
- Film, Television and Radio, Film
This chapter addresses Western cult fandom of the Korean genre film, Oldboy, and describes how postmodern South Korean masculinity is reconstructed through the ambivalent desires of Western ...
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This chapter addresses Western cult fandom of the Korean genre film, Oldboy, and describes how postmodern South Korean masculinity is reconstructed through the ambivalent desires of Western spectators based on the mixed practice of mugukjeok and neo-Orientalism. It also investigates how the Western desire for the Other is expressed, transformed, and redefined by consuming hybrid South Korean masculinity, as exemplified by the “savage but cool” Oh Dae-Soo, and how this transformed desire, “with a distinctly postmodern slant,” is different from earlier Orientalist desires towards the primitive Other. In addition, the chapter evaluates the West's ambivalent reception of Oldboy, which fluctuated between Western male identification with South Korean cool masculinity and Western desire for the primitiveness of South Korean masculinity. The most popular film review websites are presented as well. It can be concluded that due to the ever-fluctuating postmodern popular cultural flows, Western audiences experience the hybrid “time between dog and wolf” when they view Oldboy: the time when contemporary postmodern South Korean masculinity, as epitomized by the “savage but cool” Dae-Soo, is reconstructed within ambivalent neo-Orientalist Western spectatorship.Less
This chapter addresses Western cult fandom of the Korean genre film, Oldboy, and describes how postmodern South Korean masculinity is reconstructed through the ambivalent desires of Western spectators based on the mixed practice of mugukjeok and neo-Orientalism. It also investigates how the Western desire for the Other is expressed, transformed, and redefined by consuming hybrid South Korean masculinity, as exemplified by the “savage but cool” Oh Dae-Soo, and how this transformed desire, “with a distinctly postmodern slant,” is different from earlier Orientalist desires towards the primitive Other. In addition, the chapter evaluates the West's ambivalent reception of Oldboy, which fluctuated between Western male identification with South Korean cool masculinity and Western desire for the primitiveness of South Korean masculinity. The most popular film review websites are presented as well. It can be concluded that due to the ever-fluctuating postmodern popular cultural flows, Western audiences experience the hybrid “time between dog and wolf” when they view Oldboy: the time when contemporary postmodern South Korean masculinity, as epitomized by the “savage but cool” Dae-Soo, is reconstructed within ambivalent neo-Orientalist Western spectatorship.
Anna Malinowska
- Published in print:
- 2017
- Published Online:
- May 2020
- ISBN:
- 9781474404310
- eISBN:
- 9781474434850
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474404310.003.0010
- Subject:
- Film, Television and Radio, Film
The chapter discusses the manifestations of camp as shown in the subversive uses of star images. It specifically focuses on the impersonation of Hollywood actresses in non-western contexts, seeing ...
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The chapter discusses the manifestations of camp as shown in the subversive uses of star images. It specifically focuses on the impersonation of Hollywood actresses in non-western contexts, seeing the uses as an attempt at catching up with western modernity. As such, the chapter analyses the problem of engaged fandom, its political and social potential, and the role of camp in mediating cultural differences by means of entertainment.Less
The chapter discusses the manifestations of camp as shown in the subversive uses of star images. It specifically focuses on the impersonation of Hollywood actresses in non-western contexts, seeing the uses as an attempt at catching up with western modernity. As such, the chapter analyses the problem of engaged fandom, its political and social potential, and the role of camp in mediating cultural differences by means of entertainment.
Clarissa Smith and Sarah Taylor-Harman
- Published in print:
- 2017
- Published Online:
- May 2020
- ISBN:
- 9781474404310
- eISBN:
- 9781474434850
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474404310.003.0014
- Subject:
- Film, Television and Radio, Film
This chapter examines the alternative economy of porn stardom through the career and performances of James Deen. It draws attention to the previously un-acknowledged acting and performance involved ...
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This chapter examines the alternative economy of porn stardom through the career and performances of James Deen. It draws attention to the previously un-acknowledged acting and performance involved in doing sex for the camera, and analyses Deen’s multi-layered performance style in his pornographic scenes. It also looks at Deen’s effort to expand his stardom outside his film performance which is little valued, by discussing his involvement in adult industry activism and various charity work, and his use of social media and engagement with his fans as a way to supplement or correct his onscreen persona.Less
This chapter examines the alternative economy of porn stardom through the career and performances of James Deen. It draws attention to the previously un-acknowledged acting and performance involved in doing sex for the camera, and analyses Deen’s multi-layered performance style in his pornographic scenes. It also looks at Deen’s effort to expand his stardom outside his film performance which is little valued, by discussing his involvement in adult industry activism and various charity work, and his use of social media and engagement with his fans as a way to supplement or correct his onscreen persona.
Robin Anne Reid
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496811523
- eISBN:
- 9781496811561
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496811523.003.0014
- Subject:
- Literature, Film, Media, and Cultural Studies
Robin Anne Reid, in “Bending Culture: Racebending.com’s Protests Against Media Whitewashing,” ruminates on the extent to which the gap between the categories of cultural, or fan activism, and ...
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Robin Anne Reid, in “Bending Culture: Racebending.com’s Protests Against Media Whitewashing,” ruminates on the extent to which the gap between the categories of cultural, or fan activism, and political activism may be changing, especially with regard to younger people participating in online activist sites. Reid concentrates her inquiry on one internet community, Racebending.com, which originated in a protest against the casting of white actors in M. Night Shyamalan live-action adaptation The Last Airbender (2010). She argues that the group’s online activities since the release of the film shows the overlap between fan and political activism, thereby demonstrating connections between critical race and intersectional studies.Less
Robin Anne Reid, in “Bending Culture: Racebending.com’s Protests Against Media Whitewashing,” ruminates on the extent to which the gap between the categories of cultural, or fan activism, and political activism may be changing, especially with regard to younger people participating in online activist sites. Reid concentrates her inquiry on one internet community, Racebending.com, which originated in a protest against the casting of white actors in M. Night Shyamalan live-action adaptation The Last Airbender (2010). She argues that the group’s online activities since the release of the film shows the overlap between fan and political activism, thereby demonstrating connections between critical race and intersectional studies.
Cait Coker
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496811523
- eISBN:
- 9781496811561
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496811523.003.0015
- Subject:
- Literature, Film, Media, and Cultural Studies
Through her essay “The Mako Mori Fan Club,” Cait Coker examines the subversive nature of Guillermo del Toro’s Pacific Rim (2013) by utilizing fan works as sources of viable criticism to decenter the ...
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Through her essay “The Mako Mori Fan Club,” Cait Coker examines the subversive nature of Guillermo del Toro’s Pacific Rim (2013) by utilizing fan works as sources of viable criticism to decenter the white American male action hero with a Japanese heroine. To this end, Coker delves into the major motifs of Pacific Rim fandom online and considers its relationship with a film that seemingly “failed” in the American market but exploded internationally, even prompting a sequel slated for 2017. She also reflects on how the depictions of close, but not necessarily romantic, relationships are celebrated in both the film and in fandom as illustrating a cooperative ideal generally not seen in popular, mainstream media.Less
Through her essay “The Mako Mori Fan Club,” Cait Coker examines the subversive nature of Guillermo del Toro’s Pacific Rim (2013) by utilizing fan works as sources of viable criticism to decenter the white American male action hero with a Japanese heroine. To this end, Coker delves into the major motifs of Pacific Rim fandom online and considers its relationship with a film that seemingly “failed” in the American market but exploded internationally, even prompting a sequel slated for 2017. She also reflects on how the depictions of close, but not necessarily romantic, relationships are celebrated in both the film and in fandom as illustrating a cooperative ideal generally not seen in popular, mainstream media.
Su Holmes
- Published in print:
- 2008
- Published Online:
- September 2012
- ISBN:
- 9780748627523
- eISBN:
- 9780748671212
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748627523.003.0007
- Subject:
- Film, Television and Radio, Television
Although quiz shows often encourage us to ‘play’ along, and they encode the participation of the audience into their textual form, there have been virtually no audience studies in this sphere. This ...
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Although quiz shows often encourage us to ‘play’ along, and they encode the participation of the audience into their textual form, there have been virtually no audience studies in this sphere. This chapter seeks to address this neglect. Moving from the early broadcast origins of the quiz show up until the advent of ‘interactive’ television, it considers the ways in which the viewer at home has been encouraged to participate. It then moves on to explore how fan cultures on the internet offer insights into audience interaction with the quiz show (and its cultural politics). But as such fans are also often contestants, the chapter returns to the questions of ‘performance’ and ‘authenticity’ examined in Chapter 5.Less
Although quiz shows often encourage us to ‘play’ along, and they encode the participation of the audience into their textual form, there have been virtually no audience studies in this sphere. This chapter seeks to address this neglect. Moving from the early broadcast origins of the quiz show up until the advent of ‘interactive’ television, it considers the ways in which the viewer at home has been encouraged to participate. It then moves on to explore how fan cultures on the internet offer insights into audience interaction with the quiz show (and its cultural politics). But as such fans are also often contestants, the chapter returns to the questions of ‘performance’ and ‘authenticity’ examined in Chapter 5.
Kristen J. Warner
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039577
- eISBN:
- 9780252097669
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039577.003.0003
- Subject:
- Society and Culture, Gender Studies
This chapter analyzes the ways Black women fans have reacted to not being visible in the dominant spaces of fandom. It offers the fandom of ABC's Scandal—a program with Black women in central ...
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This chapter analyzes the ways Black women fans have reacted to not being visible in the dominant spaces of fandom. It offers the fandom of ABC's Scandal—a program with Black women in central positions both behind and in front of the camera—as a primary example of the ways Black women fan communities work toward reinscription. Premiering on ABC in April 2012, the prime-time dramatic series produced by Grey's Anatomy showrunner Shonda Rhimes and starring African American actress Kerry Washington became a literal embodiment of the type of labor Black women practice in fan spaces. In this case, Black female fans have transformed the central Black lead, canonically drawn as normative and racially neutral, into a culturally specific Black character. This is commonplace labor for non-White fans—particularly in the early-twenty-first-century's so-called postrace moment.Less
This chapter analyzes the ways Black women fans have reacted to not being visible in the dominant spaces of fandom. It offers the fandom of ABC's Scandal—a program with Black women in central positions both behind and in front of the camera—as a primary example of the ways Black women fan communities work toward reinscription. Premiering on ABC in April 2012, the prime-time dramatic series produced by Grey's Anatomy showrunner Shonda Rhimes and starring African American actress Kerry Washington became a literal embodiment of the type of labor Black women practice in fan spaces. In this case, Black female fans have transformed the central Black lead, canonically drawn as normative and racially neutral, into a culturally specific Black character. This is commonplace labor for non-White fans—particularly in the early-twenty-first-century's so-called postrace moment.
