Crowdfunding: A Spimatic application of digital fandom

Abstract

The digital environment has opened up new spaces for fans to engage with the production process of their favoured texts. However, fan studies have largely neglected the larger temporal structures undergirding this engagement. In this article, I augment studies of digital fandom by utilizing Bruce Sterling’s technosocial concept of the Spime as a means of investigating the relationship forged between the technology of crowdfunding and the affect of particular audiences. The successful Kickstarter campaigns for Rob Thomas and Kristen Bell’s Veronica Mars film and Zach Braff’s film Wish I Was Here, and the failed Kickstarter campaign for Melissa Joan Hart’s film Darci’ s Walk of Shame, each illustrate how the entertainers drew (or did not draw) on specific support from the lineage of his or her own fan communities to generate funds and word-of-mouth publicity. These campaigns ultimately illustrate the consequential powers of the fan at multiple nodes within the production process.

Os scans e seu entorno subcultural-colaborativo

“…Dos que responderam nossos questionários, 87% se disseram colecionadores de HQs e, além disso, implicados pelo domínio dos scans, porque o ato de colecionar e os interesses compartilhados (Booth, 2010) acompanham a experimentação do artefato quando tal se expande -já que a ambiência volátil de um artefato ampliado tecnologicamente representa um estímulo às possibilidades tecno-culturais que atravessam algo ressignificado e que brinda o sujeito com novas formas de experimentá-lo (Manovich, 2001).…”

The Shakespearean films of the 90s: Afterlives in transmedia in the 21st century

“…As Richard Burt has argued, 5 these remediations contributed to displacing Shakespeare's "centre" from English theatre to American film since what is adapted is not only Shakespeare's playtext but Shakespearean films. , with the development of videogames and TV series as prominent aesthetic and narrative forms, the Shakespearean films of the 90s are now fragmented, quoted and deconstructed not only in other films but in a variety of media, by institutions such as theatre companies or broadcasting networks, or by individuals who interact parasocially 6 and performatively with the materials to create videos that become sites of cultural negotiations. 7 The films are "poached" (Henry Jenkins' expression, borrowed from Michel de Certeau's notion of "braconnage" 8 ) as if they had become as canonical as Shakespeare's plays, as if they were Shakespeare's plays.…”

“…The reframing of pre-9/11 film adaptations speaks of how cultures now confront the third millennium in a more and more connected, capitalist and military world, at war less against a so-called "terror" than against citizens. 6 In Jasper Fforde's Thursday Next series of comic-fantasy novels, characters from famous books and those in "real life" can jump in and out of fiction. In Something Rotten (2004), the fourth book in the series, Hamlet is accompanying Literary Detective Thursday Next on an excursion to the "Outland", out of his play's fictive universe, to find out what people in the "real world" think of him.…”

Transportation em narrativas transmídia: estudo sobre os efeitos cognitivos e sociais da exposição dos fãs a um universo ficcional multiplataforma contemporâneo

“…Desse modo, denomina-se fã todo sujeito que está emocionalmente comprometido e que demonstre um certo engajamento regular com um determinado objeto (pessoas, narrativas, textos) (Sandvoss, 2013), que investe tempo e energia interagindo com um objeto de mídia existente e que lhe encante (Booth, 2010), ou seja:…”