Framing Fan Fiction

Busse, Kristina

doi:10.2307/j.ctt20q22s2

Cited by 70 publications

(8 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Studies have found that it is primarily women who write fan fiction (Busse & Hellekson, 2006). More specifically, research has shown that the majority of users of the two fan fiction archives from which we collected our data are female (FFN Research, 2011; Lulu, 2013).…”

Section: Discussionmentioning

confidence: 99%

Fan fiction as a vehicle for meaning making: Eudaimonic appreciation, hedonic enjoyment, and other perspectives on fan engagement with television.

Vinney

Dill‐Shackleford

2018

Psychology of Popular Media Culture

View full text Add to dashboard Cite

Fan fiction has received minimal attention from psychological researchers. To begin to fill that gap, we analyzed fan fiction about the TV show Mad Men to investigate how fans use fan fiction to make meaning from the source text. A sample of fan fiction stories was coded for the presence of eudaimonic and hedonic story components, the emotions expressed in the stories, the perspectives adopted by the fan writers, and plots that function as wish fulfillment. Findings indicated that fan fiction writers' motivations were more eudaimonic than hedonic, the stories often contained mixed or negative emotional content, the writers frequently took the perspective of a female character in their stories, and in some cases the stories enabled characters to achieve positive resolutions denied them by the source text. Taken together, the results point to the many ways in which fans engage with and make sense of a popular TV show. Future psychological research on fan fiction of additional popular culture texts would be valuable for understanding the ways fans grapple with various elements of those texts.

show abstract

Section: Discussionmentioning

confidence: 99%

Fan fiction as a vehicle for meaning making: Eudaimonic appreciation, hedonic enjoyment, and other perspectives on fan engagement with television.

Vinney

Dill‐Shackleford

2018

Psychology of Popular Media Culture

View full text Add to dashboard Cite

show abstract

“…This theme may offer a way for fanfiction authors to highlight relational and emotional themes while providing narrative tension, for instance, through the popular “hurt/comfort” genre. “Hurt/comfort” is defined as “stories, which, as the name implies, revolve around a character being injured and another character comforting him” (Busse & Helleckson, 2006), and the present analyses might suggest that this genre might warrant more focused attention in future research.…”

Section: Discussionmentioning

confidence: 87%

Strange new worlds: Social content in popular Star Trek fanfiction versus commercial novels.

McCloskey¹,

Ramírez-Esparza²,

Johnson³

2022

Psychology of Popular Media

View full text Add to dashboard Cite

Previous literature has suggested that social cognition benefits of fiction may be related to emotional investment and imaginative engagement with the narrative. Fanfiction, works written by highly invested fans of existing media franchises, might thus demonstrate themes of social cognition, but no studies have yet systematically contrasted the characteristics of fanfiction with comparable commercial works of literature. The present study compares published, commercial Star Trek novels (n = 363) with works of popular Star Trek fanfiction (n = 500) of similar length using 2 methods of language analysis: Linguistic Inquiry and Word Count software and the Meaning Extraction Method. Together, results showed that fanfiction, compared with commercial novels, are characterized by greater prominence of internal character processes (including emotion and cognitive processes) and social relationships (including romantic, familial, and platonic relationships). This study constitutes the largest to-date study on the characteristics of fanfiction and offers insights into how individuals interact with fiction. Public Policy Relevance StatementCompared with licensed Star Trek novels, unofficial Star Trek fanfiction tends to use more language related to relationships, emotions, and cognitive processes. In line with previous literature that has suggested fiction may simulate social situations, the present findings suggest that fanfiction may offer individuals an opportunity to explore social, emotional, and other introspective skills and that the social cognition benefits of fiction may not be limited to literary fiction.

show abstract

“….texts," those who fall outside the intended audience may find relating to popular texts difficult, and thus may be more likely to read resistantly and transformatively (Jenkins 2018, 15;Tosenberger 2014, 7-8). Fan scholars have already highlighted the richness of reader response data available in fan communities, focusing in particular on fan fiction (Busse 2017;Jenkins 2013Jenkins [1992), as fan fiction allows "people [to] share their fantasies, assert their identities, and negotiate change in their cultural environment" (Jenkins 2018, 23). Duncombe (2012) argues that the fictional worlds explored by fans allow them freedom to consider "norms, laws, and structures" and "imagine alternatives" ( ¶ 1).…”

Section: Fan Fiction Genders and Sexualitiesmentioning

confidence: 99%

“…However, while fan scholars characterize identity politics as "the foundational and enduring influence" on fan studies (Click and Scott 2018, 4), a very specific nexus of identities has historically garnered the most attention. This nexus of identities is linked to "slash"-homoerotic and/or genderqueering fan fiction (Busse andLothian 2014, 2018;Hellekson and Busse 2006;Lothian et al, 2007). Slash has arguably gained the most scholarly attention of any fan practice and is the focus of the works said to have founded fan studies (Bacon-Smith 1992;Jenkins 2013Jenkins [1992; Penley 1991;Russ 2014Russ [1985).…”

Section: Fan Fiction Genders and Sexualitiesmentioning

confidence: 99%

“Worlds. . .[of] Contingent Possibilities”: Genderqueer and Trans Adolescents Reading Fan Fiction

Duggan

2021

Television & New Media

View full text Add to dashboard Cite

Cultural studies scholars have long been interested in the nexus between people’s online activities and their identities. One activity that has drawn attention is reading/writing fan fiction (fictions written by and for fans that build upon the characters and worlds depicted in commercial texts). While fan fiction and its surrounding communities have long been understood as resistant to heteronormativity, previous work exploring the fans who produce and consume fan fiction has largely insisted that most of these fans are adult ciswomen. Little has been written about the experiences of trans and genderqueer fans. To remedy this elision, this article explores two trans and genderqueer individuals’ experiences with fan fiction. It closely examines the roles reading, and especially reading fan fiction, has or has not played in their understandings of themselves, their identities, and their places in the world.

show abstract

Framing Fan Fiction

Cited by 70 publications

References 0 publications

Fan fiction as a vehicle for meaning making: Eudaimonic appreciation, hedonic enjoyment, and other perspectives on fan engagement with television.

Fan fiction as a vehicle for meaning making: Eudaimonic appreciation, hedonic enjoyment, and other perspectives on fan engagement with television.

Strange new worlds: Social content in popular Star Trek fanfiction versus commercial novels.

“Worlds. . .[of] Contingent Possibilities”: Genderqueer and Trans Adolescents Reading Fan Fiction

Contact Info

Product

Resources

About