Hogwarts House Merchandise, Liminal Play, and Fan Identities

Godwin, Victoria

doi:10.3998/fc.13761232.0042.206

Cited by 6 publications

(3 citation statements)

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“…This is especially visible given the emphasis on forming allegiances to one of the four Hogwarts houses: Gryffindor, Slytherin, Hufflepuff, or Ravenclaw. Wearing house merchandise "announces a sense of membership in those Hogwarts Houses and associates fans with their attributes" (Godwin 2018). When on-site in the Wizarding World locations, Harry Potter fans can take this material identification further, choosing their own wands, which they can use to create "spells" at sites around the land via RFID technology.…”

Section: Fan Costuming and Contested Corporate/corporeal Controlmentioning

confidence: 99%

“…When on-site in the Wizarding World locations, Harry Potter fans can take this material identification further, choosing their own wands, which they can use to create "spells" at sites around the land via RFID technology. Fannish play is encouraged by such technology; the "interactive wands are not framed as games or competitions to score points or to complete quests, but instead as material parts of the story world, " while clothing offers "playful engagement and immersion without forcing fans into predetermined narratives, framing devices, or roles" (Godwin 2018).…”

Section: Fan Costuming and Contested Corporate/corporeal Controlmentioning

confidence: 99%

“…. [ for being] inauthentic shills for the media industries" (Affuso and Santo 2018) remain common, even as fans "resist industry attempts to fix, limit, or define their experiences and actions, or to channel them solely or primarily into official consumption" (Godwin 2018). The contrast between the Wizarding World and Galaxy's Edge, however, highlights how themed sites may encourage or constrain different fan practices.…”

Section: Fan Costuming and Contested Corporate/corporeal Controlmentioning

confidence: 99%

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Sartorial Fandom

Affuso¹,

Scott²

2023

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Baby" music video (2:04) 9.1. Ape Head hoodie and sneakers as shown off by r/bapeheads member 9.2. BAPE x Marvel Hulk BAPE STA sneaker, 2005 10.1. Threezero's Hannibal Lecter figure with accessories 10.2. The authors wearing their handmade flower crowns 11.1. Harry Potter bachelorette party T-shirts sold on Etsy 12.1. Cosplayer survey responses on selecting characters 14.1. Wakanda Moon cosplayers 15.1. Lisa Ring's "before" measurements 16.1. Promotional images from the rebooted Underoos brand in 2014 16.2. Two examples of "costume lingerie" from online retailer Yandy 16.3. High-end fan lingerie from the Japanese fashion brand SuperGroupiesBringing together an edited collection is always a challenging exercise, and attempting to do so during a global pandemic even more so. First and foremost, we would like to express our deepest gratitude to each and every one of our incredible contributors, who have weathered this long process with equal parts intellectual rigor and understanding. We are so excited to finally be able to share their wonderful work with all of you. Our home institutions, Pitzer College and the University of Texas at Austin, have been essential support systems for us throughout this process. In particular, we would like to express thanks to our colleagues, who are always available to talk through ideas and offer advice.We feel incredibly fortunate to have partnered with the University of Michigan Press for this project, and in particular we could not have asked for a better editor or advocate than Sara Jo Cohen. Sara has championed this project from its inception, and has been a guiding light throughout the process. Wrangling images is often thankless work, yet essential for a project such as this one, and accordingly we also offer our sincerest appreciation to Anna Pohlod for her attentiveness to this component of the manuscript's production. We would also like to thank Jessica Hinds-Bond for being a truly exemplary copyeditor, as well as Melissa Scholke and Marcia LaBrenz for facilitating such a smooth copyediting process. We would also like to acknowledge our cover artist, Jett Allen, who was both a font of creativity and an excellent collaborator throughout the design process.This collection would not have been possible without our dear friends Kate Fortmueller, Kristen Fuhs, and Dave Lerner, who kept us sane and entertained for the duration of this process. You are the only people we still get excited to zoom with. Finally, we offer our deepest appreciation to our partners, Geoff Harris and Luke Pebler, who were forced to eavesdrop on hundreds of hours of calls and strategy sessions. Your love and support, particularly over the past few years, means everything to us.Our tastes as consumers and fans are reflected back to us whenever we open our closets. We immediately see our go-to clothing labels, often representing years of fannish brand loyalty. We rifle through leaning towers of folded T-shirts featuring an eclectic mix of fan-designed and licensed imagery referencing beloved media objects....

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Section: Fan Costuming and Contested Corporate/corporeal Controlmentioning

confidence: 99%

Section: Fan Costuming and Contested Corporate/corporeal Controlmentioning

confidence: 99%

Section: Fan Costuming and Contested Corporate/corporeal Controlmentioning

confidence: 99%

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Sartorial Fandom

Affuso¹,

Scott²

2023

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Pay (to pay) to play: drillable immersion at transmedia theme parks

Moulton

2022

Communication, Culture and Critique

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Weaving together analyses of theme park industry discourses, park experiences, ride architectures, and ticket-price data, this article extends Mittell’s (2013) work on “drillable” textuality to outline three distinct ways in which drillable immersion is being built into the experience of transmedia theme parks. In addition to being a set of forensic-minded exploratory practices and a spatially-layered arena of play, drillable immersion is also being used as an industry strategy to encourage additional capitalistic consumption and to further entrench symbolic conceptions of awe and wonder into commercialized experiences. By outlining how new media and convergence logics are being extended and mapped onto physical spaces, the article opens up new ways of thinking about the relationships between media industries and fans, adjacent cultural sites of experience, tourism, and broader histories of immersive culture.

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18. What’s behind the Mask? Family, Fandoms and Playful Caring around Children’s Masks during the Covid-19 Pandemic

Olusoga

Bannister

2023

Play in a Covid Frame

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Recognition of Covid-19 as an airborne, respiratory virus introduced mask wearing suddenly, and potentially disruptively, into many children and young people’s everyday lives in the UK. Guidance, and later regulations, requiring mask wearing for older children in communal spaces, and the uptake in families of masks for younger children despite age-related exemptions, meant that many families swiftly began developing habitual practices around mask wearing. This chapter goes ‘behind the mask’ as a physical, material object representative of the pandemic, and mask wearing as a focal pandemic practice, to explore mask-related practices within extended families. These practices began reframing masks as playful personal items, so seeking to make the strange familiar and even fun, to reassure children during a difficult period and to offer outlets for expressing children’s identities and interests. The chapter draws mainly on auto-ethnographic observations within the authors’ families based in the UK, where public mask-wearing as a means of infection control was not a broad societal norm prior to the pandemic. It considers mask design and the giving and receiving of masks within extended families as an extension of and expression of caring, protective intergenerational relationships. It explores childrens’ own agency in mask design and how children drew on their own fandoms and digital/literary/media interests, such as the Harry Potter, Star Wars and Marvel franchises. It also considers how masks were even presented to children as a gift or treat, drawing on celebratory tradition. It demonstrates how the underlying relationships within families behind these practices address narratives of children as vulnerable and lacking agency during the pandemic.

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Hogwarts House Merchandise, Liminal Play, and Fan Identities

Cited by 6 publications

References 0 publications

Sartorial Fandom

Sartorial Fandom

Pay (to pay) to play: drillable immersion at transmedia theme parks

18. What’s behind the Mask? Family, Fandoms and Playful Caring around Children’s Masks during the Covid-19 Pandemic

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