#fandomin general

[olderthannetfic]

Anon who originally asked about the FanDomination cease and desist:

From the Fanlore article the case was from 2003, which came before the Bandom stories about... milk. Honestly I’m not sure why the Baseball RPF story was called that, but apparently it was 20 chapters. Not sure who else to ask if they have any knowledge on the case.

--

Somebody probably still knows.

One thing I’ve noticed is that while fans in general find fandom history interesting, the people I personally see posting a lot tend to be from a narrow slice of fandom that’s:

very LJ-y

mostly into specific kinds of Western fandoms

mostly into m/m.

at least somewhat OTW-adjacent

That’s partly because that’s who I tend to know. (Never underestimate how much is due to one’s own bubble, especially on tumblr!) It’s also partly about who cares about making a public record of fandom’s history. You’ll find this bias on Fanlore, among people I reblog, and sometimes among people in “fan studies”. (Though, of course, there’s plenty of academic work on kpop fandom and so forth, though not always in the same departments as the people looking at old fanfic zines.)

I’m reminded of this because FanDomination was one of Laura Hale’s things, and Hale had a hateboner for OTW in addition to being in a slightly different flavor of fandom. I imagine plenty of FanDomination alumni are still into fic and would be happy to weigh in. I don’t know that they’re on tumblr or that my social circles overlap with them.

Here’s an example of the lovely programmer of FanDomination responding to astolat’s call to action:

“P.S. Why does a fic reader/writer need to be on thier board at all? Do they have an investment in the operation? Also, why would there HAVE to be a female on the board? That seems pretty sexist to me to REQUIRE one to be 'legitimate'. Are you saying that males are incapable of truly understanding the nature and intricacies of fandom? Sounds like a bunch of feminazi horseshit to me.”

Ah, whiny fandom men. So oppressed. (OTW was much more “fandom is by women for women�� in its very early days. The language got made slightly more inclusive over time, though probably not in a way the shittiest of cis men would want.)

Not that that tells you who exactly was using the site. I’m just saying there have always been multiple groups in fandom, and there may be cultural factors that mean a post of mine on here doesn’t turn up many responses from old FanDomination users.

I might try Reddit or Spacebattles or something if I were really hunting for people. (IDK if anybody on Spacebattles was actually on there, but it’s a more dude-heavy space with a different background and vibe than people I tend to know, so it would be a good starting point to get outside my own social circles.)

r/FanFiction is the big subreddit for fic. You could always try asking there.

[qt-pop]

QT/BIPOC fandom

In the conversations around the Mackie Debacle (AKA the Variety Bullshit), and a few other conversations I’ve seen, people have continuously pointed out that the majority of fandom is white and straight. It is important to remember that our little bubbles we create on the internet aren’t necessarily the majority, but the minority/majority dichotomy is old and tired. I don’t want us generalizing fandom as something white and straight and toxic, even if that is the true majority.

Fandom historically and presently is a place for those that are left out of the mainstream and canon. It belongs to QTPOC and BIPOC. Of course, it is overrun with white hets, they appropriate everything, but that doesn’t make it theirs. It doesn’t make them the default.

I saw this important post about people justifying the way fandom is based on the fact that its strength is that it is unmoderated. The poster points out how fucked up that logic is and the importance of taking extra care in the spaces we are creating.

Because it isn’t unmoderated, it’s moderated by us. By the collective, by the fans. And the abuse and racism and toxicity make it clear there are systematic issues with the way fandom and fan spaces have evolved.

QTPOC and BIPOC can’t create spaces that are untouched by racism and homophobia, it gets into everything, it’s internalized, it can’t be rooted out by us alone. That’s the work of those that benefit from it. We can moderate our spaces though. We consistently have flourished and thrived inside despicable conditions for centuries. It’s exhausting and we have every right to our anger and displeasure and to voice that. And we have every right to our joy and passions. 

Fandom is for QTPOC and BIPOC

[kieranconveyma]

3.Intertexuality and Transmedia

Intertexuality and multi modality

Trans media

Concreation and remix

Transmedia a story across multiple media ? Not so quick

Structuralism and poststructuralism

Structuralism stressed the relationship of signs to other signs within the same system associated with Ferdinand de Saussare

Whilst many structuralists saw that different novels and paintings shared or reworked exisiting signing systems they tended to examine each novel or painting as a closed off entity determined by internal structures

This is all questioned by post structualism, religious texts are often regarded as sancosant and impervious to change, On the other hand its also the most translated text in history and made into picture books, film etc.

From the single text to the moment of signs across texts

Intertexuality

Julia Kristeva

The term intertexuality denotes the transposition of one or several sign systems to another

Thank u Next Scene Comparison

Two kinds of intertexualiting

Originally related to literature now applied to cultural artefacts more broadly

Two kinds of intertexuality

Unconcious - True intertexuality behind authors control are all texts related to other texts

Self concious - What Kristeva calls the banal sense or the study of sources Kristeva Reader P111

Intertexuality as a critical filter

Intertaxuality questions popular beleifs about authorship originality, creativity and plagarism

Intertexuality as a critical filter 

Traditionally focus has been on the character of the author, the inspired creator and the work as unique production

Intertexuality

Shifts the emphasis from author to reader, focuses on the text in relation to a web of other texts.

Intertextual objects

Remakes sequels and prequels within the same media

Translations and adaptations between media eg novel to film, film to game

Transitions between genres Pride and Prejudice remade as Pride, Prejudice and Zombies

Artfacts within a genre group between different episodes of the same TV Soap opera or between different TV soap operas.

Nothing is ever truly original

Authors/Creators cant ever control the ways in which their work is read or understood

Authors/Creators cant even control the content of their own work

According to Kristeva  'every text is from the outset under the jurisdiction of other discourses which impose a universe on it'(cited in Culler 1981:105)

Every text and every reading depends on prior codes.

Horizontal axis: author - reader

Vertical axis: text to other texts

From author to reader

“the birth of the reader must be at the cost of the death of the Author” Barthes 1967:148)

Intertextuality and Postmodernism 

The reader constructs the text Everything's a text“ The crisis of meaning” Meaning is plural Meaning is always changing and subjective Deconstruction of texts The object as a process Radical Intertextuality (Jenkins 2011)“movement across texts or across textual structures within the same medium” (Jenkins 2011)E.g. characters moving across different interrelated titles in the DC and Marvel universes.

Multimodality (Jenkins2011)

Movement across separate kinds of representation and modalities E.g. a single character appearing in slightly different form in a comic book, a live action movie and a game.

Transmedia Radical intertextuality + Multimodality = Transmedia 

Transmedia doesn’t mean a franchise. A franchise can be multimodal without being transmedia (if the story is repeated across media)

Transmedia storytelling is“ a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience.” (Jenkins, 2007)

“There is no one single source or text where one can turn to gain all of the information...”(Jenkins, 2007)

Ideally, each medium makes it own unique contribution to the unfolding of the Story...”

The Star Wars Franchise Three sets of trilogies spanning across three fictional eras

Complex fictional worlds

Most often, transmedia stories are based not on individual characters or specific plots but rather complex fictional worlds which can sustain multiple interrelated characters and their stories...” (Jenkins, 2007) 

This process of world-building encourages an encyclopedic impulse in both readers and writers. We are drawn to master what can be known about a world which always expands beyond our grasp. This is a very different pleasure than we associate with the closure found in most classically constructed narratives, where we expect to leave the theatre knowing everything that is required to make sense of a particular story.”(Jenkins, 2007)

“A transmedia text does not simply disperse information: it provides a set of roles and goals which readers can assume as they enact aspects of the story through their everyday life...” (Jenkins 2007)

Holistic & immersive engagement

Transmedia and capitalism If merchandise produces are part of transmedia storytelling, but don’t add to the story, is capitalism a component of transmedia? And/or, is transmedia an expression of capitalism? Can transmedia only exist in a capitalist world?

“Transmedia storytelling reflects the economics of media consolidation”. “The current configuration of the entertainment industry makes transmedia expansion an economic imperative”(Jenkins, 2007)

Transmedia as a “game thing”?

Active participation

Role playing

Driving the narrative by exploring worlds

“Some have tried to argue that games are a key component of transmedia, but I do not want to prioritize digital media extensions over other kinds of media practices.”(Jenkins, 2011)

Transmedia can provide a broader background narrative for games

Nothing new? Is trans media storytelling a timeless concept?

Trans-historically transmedia

The 3 Cs of Transmedia Storytelling

Inviting interaction “The encyclopedic ambitions of transmedia texts often results in what might be seen as gaps or excesses in the unfolding of the story: that is, they introduce potential plots which can not be fully told or extra details which hint at more than can be revealed. Readers, thus, have a strong incentive to continue to elaborate on these story elements...” (Jenkins 2007)

Hyperdiegesis (Matt Hills 2002)

hyper = over, beyond, extended...

diegesis = the story

“the creation of a vast and detailed narrative space ,only a fraction of which is ever directly seen or encountered within the text, but which nonetheless appears to operate according to principles of internal logic and extension.” (Hills, 2002: 137) 

Co-creation, fandomination and remix The role of audiences and consumers is more fluid than ever before User-generated content Digital means have blurred the lines between production and consumption, transforming audiences into (inter)active media producers and content creators (Beer and Burrows 2010; Ritzer and Jurgenson 2010).

The producer/consumer binary is  gradually dissolving And with transmedia, “readers have a strong incentive to continue to elaborate on these story elements, working them over through their speculations, until they take on a life of their own” (Jenkins 2007).

[brunapiedade]

Reflection - User and Online Persona

After the development of the first project, my interest in the topics of online persona and our presentation of self lead me to further research on the topic. I have realised that with the passing years the common user has begun to present themselves through social media and the way they interact with it much like a celebrity would.

The patterns that celebrities have used in their self-branding has slowly been transposed into the common user, in correlation with the development of media platforms. Celebrities carefully manage and control their image online to keep a consistent self-branding image, and slowly non-celebrity user begun displaying the same behaviours.

“Performance is a critical component in any public figure's identity. (...)“ “(...)What we are witnessing now is the staging of the self as both character and performance in on-line settings.“ (P.David Marshall, 2010)

Much as celebrities have had to adapt to the online forms of parasocial connections between their persona and fan/users,

The development of digital technology has allowed for the users to begin taking part in (most likely) unconscious self-branding and thus benefit from their personal selling points and distinct public image(Khamis S. 2016). This leads to some problems regarding consistency as a regular individual is usually not prepared to be a performative version of themselves, and thus situations like the “cancel culture” phenomenon become more prominent to happen.

They are not aware of how the commercial world of self-branding works, and are often driven by ego and a thirst for fame. This is a new type of performance itself in which the community and the collaborative aspect of media takes a part in, that a user striving for micro-celebrity status through social media doesn’t usually take in account.

To be aware of this evolution is a huge benefit when facing decisions regarding our online persona, as we are more likely to understand why certain uncontrollable situations such as user-generated remix creations or the fandomination phenomenon (e.g fanart, fanfiction etc.).

I will keep this information in mind in my next actions within the online concepts of self-branding and regarding the content I share as well as ‘how’ it is shared.

References:

P. David Marshall (2010) The promotion and presentation of the self: celebrity as marker of presentational media, Celebrity Studies, 1:1, 35-48, DOI: 10.1080/19392390903519057 Khamis,S. Ang, L. Welling, R. (2017) Self-branding, ‘micro-celebrity’ and the rise of Social Media Influencers, Celebrity Studies, 8:2, 191-208, DOI: 10.1080/19392397.2016.1218292

[ao3feed-thearcana]

by fandomine

Aliena really wants this job at Rowdy Raven Productions, but she has no one to put down on the application for her Emergency Contacts. She fudges it, and when her irate production manager starts asking questions, they find that some magic is in the air.

Words: 845, Chapters: 1/?, Language: English

Fandoms: The Arcana (Visual Novel)

Rating: General Audiences

Warnings: No Archive Warnings Apply

Categories: Gen

Additional Tags: Alternate Universe - Modern with Magic, Female Apprentice (The Arcana), Male Apprentice (The Arcana), Alternate Universe - Theatre

[ao3feed-goodomens]

Switching It Up

read it on the AO3 at http://bit.ly/2N30gjy

by fandomine

The angel of the Gate-Next-To-The-Eastern-One-But-Just-Slightly-Over meets his own wily demon.

Words: 1824, Chapters: 1/?, Language: English

Fandoms: Good Omens - Neil Gaiman & Terry Pratchett

Rating: General Audiences

Warnings: Creator Chose Not To Use Archive Warnings

Categories: M/M

Additional Tags: Crossover

read it on the AO3 at http://bit.ly/2N30gjy

[witty-diagnosis]

Witty diagnosis #54: fandomination

Well now that shitty title is out the way since I'm running out of ideas for them, hello again. Since I've just recently hit over 500 followers I'm not quite sure what to cover, I mean I've planned feminism for 1000 so I don't know, fandom's for this one I reckon. So like last time let's summarise a few fandom's based on what I personally have seen, and savour how 500 followers feels because it either drops real quick or some more jump on the train to a very sarcastic moon. #1, Harry potter: well what a way to start, I can think of about 2 million people off the top of my head who seem to enjoy harry potter too much. Now it's perfectly okay to enjoy Mr Potter's wand tomfoolery with maybe 10 or 20 people, y'know your friend group. But a huge shitstorm of harry Potter fans that suddenly came out the woodwork out of fucking no where is quite the surprise. Everywhere you go there's red and yellow scarf's and thick rimmed glasses with girls everywhere saying fucking spells like "wingardium levisoa" and "hocus pocus" like Harry potter saved their cat from dying. And oh, if you don't know tom riddle's father's uncle's name then you're not a real fan, well I'm personally not on this one but I'd rather not be a skinny douche in the friendzone, a fat gay guy or a "I'm not like those others" girl, no you're not you're a fucking nutjob, leave it to them or don't obsess over it. So #2, anime: hey, I like anime, I do, neon genesis evangelion, is this a zombie and love chunibiyo&other delusions is pretty good, quite the contrast I know. But I'm not referring to those, no I'm referring to "I know Japanese by watching anime" yes, and i know bullshit by living with a cow. These are those fans that readily acknowledge they've seen; attack on titan, naruto, akame ga kill, sword art online,death note, black butler... Umm fuck, there's more but that's off the top of my head. Its not a bad thing they watched it, very good in fact, I just wish they'd shut their fucking mouths for a second. And oh boy, if you don't like it or haven't seen it, well you're royally fucked. These are usually about 13 years old and if not are about 20 but still haven't grown up and usually overweight or sporting serious social problems. Probably best to enjoy the anime then acknowledge you watched it, not be a complete pain in the fucking arse and base your personality around a character, and fucking stop saying "Kawaii" for fucks sake. #3, music: here we fucking go. So you like a band, hey good job your ears work, that band consists of four boys, oh dear, and they're pop, well fuck, and they have accents! Well this is a big fucking surprise. So, you're a 14 year old girl, hey cool your taste in music is like Trump or the Torries, full of shit. So here we have a One Directioner, a 5Sos-er and the numerous other bands that were a fad. And just like fads they will fade into obscurity and you'll be embarrassed you listened to them, or you'll never let go, expect everyone to listen to them, be a little bit absolutely fucking nuts, and not understand the idea of letting go. You base boyfriends around them, days around them, fucking synch up periods, and literally breath the same breaths as them, this one is for schoolgirls, or people who love Brits or accents, never got that about Americans. #4, the fandomer: you will put yourself into anything just to fit in, what's the concept you don't understand, oh that's it, being a fucking human. You have no individuality, you are lost without someone guiding you, whether it be a book, a song, a Japanese art style, you cannot develop a personality that doesn't grind like two drunks in a bar. One day a realisation sinks in that you do not know who you are because you never developed that far and so you continue being a jack of all bollocks and master of none until you give it all up, usually when the children arrive. This one should probably be avoided. #5, the anti-fandomer: what are you, a hipster? You like something, oh you don't, so you're also a shitty terminator, why would they make the terminator a bitch? This is what I call an arsehole, also to be avoided, usually sporting jeans to small, shit facial hair, parent's money and a clearly hypocritical appearance. #6, you don't have one: the one I'm sure I fit into and probably some others. You enjoy stuff, some maybe a lot but you're not obsessive about it, you acknowledge you enjoy it but don't actively search out those others who do. You also have a personality which some like and some others don't (subtle hint) but at least you've got one. alright to speak to but would much rather prefer their own company, just a general mix of everything, does not require attention from douchebags or many at all preferring to get on with it. Alright in general regardless of age. So that was just a few examples of fandom's that I see on a day to day basis, probably missed a few out but I've probably wrote stuff about them already (cough MLP cough) thanks for 500+ followers guys, see you all soon.

[ao3feed-thearcana]

by fandomine

Words: 885, Chapters: 1/?, Language: English

Fandoms: The Arcana (Visual Novel)

Rating: General Audiences

Warnings: No Archive Warnings Apply

Categories: Gen

Additional Tags: Female Apprentice (The Arcana), Male Apprentice (The Arcana), Alternate Universe - Modern Setting

[ao3feed-thearcana]

by fandomine

Words: 565, Chapters: 1/?, Language: English

Fandoms: The Arcana (Visual Novel)

Rating: General Audiences

Warnings: No Archive Warnings Apply

Categories: F/M, M/M

Additional Tags: Female Apprentice (The Arcana), Male Apprentice (The Arcana), Multiverse

[ao3feed-thearcana]

by fandomine

Words: 647, Chapters: 2/?, Language: English

Series: Part 1 of I Wish I Knew You Better

Fandoms: The Arcana (Visual Novel)

Rating: General Audiences

Warnings: Major Character Death

Categories: F/M

Additional Tags: Female Apprentice (The Arcana), Male Apprentice (The Arcana), hanahaki