Racebending and Prosumer Fanart Practices in<i>Harry Potter</i>Fandom

Seymour, Jessica

doi:10.1002/9781119237211.ch21

Cited by 9 publications

(6 citation statements)

References 16 publications

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“…Otro tipo de producción hecha por fans son los denominados "fanarts", un término nacido de la cultura contemporánea (Seymour, 2018), que da a los fans una forma de expresar su afición y creatividad. Este concepto que vendría a ser "arte creado por fans", se usa para denominar las obras de arte de personajes, escenarios u otros basados en universos que no han sido creados por ellos mismos.…”

Section: Marco Teóricounclassified

“…En cuanto a los "fanvids", se denomina así a los videos creados por fans a partir de una o más fuentes (Seymour, 2018) y usan continuidad temática que suele corresponder a una canción que acompaña el video. El fan-vidding es una práctica que tiene al menos una historia de treinta años y es una forma importante de arte en su propio derecho (Coppa, 2011); además, el fanvid, descrito a menudo como "fanfiction visual", es una práctica que reinterpreta y altera la narrativa canónica para hacerla calzar en sus intereses y proveer nuevas discusiones para las fan-audiencias y los creadores digitales (Freund, 2018).…”

Section: Marco Teóricounclassified

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De consumidores a prosumidores: la narrativa transmedia en dos juegos móviles para adolescentes y jóvenes

Yucra-Quispe

Espinoza-Montoya

Núñez-Pacheco

et al. 2022

RCom

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En las últimas décadas, los juegos digitales se han convertido en parte esencial de la cultura de los adolescentes y jóvenes. Los consumidores de contenidos de estas plataformas se han incrementado notablemente, así como los estudios en torno a ellos. El objetivo de esta investigación consiste en analizar los contenidos generados por los usuarios en los juegos móviles Episode: Choose Your Story y Choices: Stories You Play, los cuales poseen una gran cantidad de usuarios jóvenes que difunden y expanden las historias a través de las redes sociales más importantes. Se realizaron dos estudios de casos sobre la estructura de las narrativas transmedia de estos juegos y se empleó una metodología cualitativa basada en el análisis narrativo y el análisis de contenido. Los resultados indican que, si bien ambos juegos expanden las historias en diversas plataformas, la presencia de un laboratorio de escritura por parte de Episode genera un comportamiento más delimitado en los usuarios en comparación con Choices, el cual brinda una mayor posibilidad de convertir a los consumidores en prosumidores. La enorme comunidad de fans en torno a estos juegos, corrobora la importancia de las narrativas expandidas en distintos medios.

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Section: Marco Teóricounclassified

De consumidores a prosumidores: la narrativa transmedia en dos juegos móviles para adolescentes y jóvenes

Yucra-Quispe

Espinoza-Montoya

Núñez-Pacheco

et al. 2022

RCom

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“…Some scholars have taken on a feminist lens, examining and arguing for the validity of fanart, particularly as it pertains to female sexuality [11,12]; others have described how fanart production can creatively empower its artists [88]. Scholars such as Jessica Seymour and Suzanne Scott have analyzed fanart at a somewhat deeper level, considering the artistic intent of fanart and the ways that its outputs can be used to critique its source material [89,91,92]. Beyond media studies, art education scholar Marjorie Cohee Manifold has studied fanart creation as a form of informal art education, especially in young and novice artists [20,71,72].…”

Section: Return Of the Zine: Fanart's Parallel Historymentioning

confidence: 99%

"Be Gay, Do Crimes": The Co-Production and Activist Potential of Contemporary Fanzines

Allred

Gray

2021

Proc. ACM Hum.-Comput. Interact.

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Online creative communities are increasingly a space for marginalized groups to build solidarity and engage in activist work, encouraging the exploration and articulation of intersectionally-marginalized identities through processes of creative production. One such context for creative production includes community-driven sites such as Archive of Our Own, which by their design are intended to leverage and effectively support voices that are marginalized on other social platforms. In this paper, we build upon work on creative production and fan communities to further describe the work of fanart and fanzine collectives. We share the results of 1) an interview study with fanzine producers and 2) a two month remote co-design study where we further explored fanzine culture and the potential of future archival support. We used a range of qualitative methods to investigate themes of activism co-production in relation to the fanzine work of these producers, seeking to identify characteristic barriers and opportunities for community support as these artists seek to promote their work, encourage the co-production of work with other artists, and navigate the constantly shifting legal landscape associated with fanart. We conclude with implications for creative community support that amplify marginalized voices and facilitate archival work at the intersection of visual art, folksonomy, and legality.CCS Concepts: • Human-centered computing → Collaborative and social computing design and evaluation methods; Empirical studies in collaborative and social computing.

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“…This scholarship has diagnosed the ways both fandom and fan studies have long tended to center whiteness (Stanfill 2018; Woo 2017). Researchers also show how fans of color contest default whiteness in fan spaces, with Jessica Seymour (2018, 334) noting that “fans of media that fail to reflect their world beyond the harmful stereotypes traditionally perpetuated in mainstream media have begun combatting this lack of diversity by producing their own works” that center people of color and Rukmini Pande (2016, 214) arguing that social media like Tumblr and Twitter “offer greater visibility, both in terms of a willingness of individual fans to ‘claim’ a non-white identity within a fannish space and, in doing so, find others who share or understand their experiences.” There is also an important and growing body of literature on the particular experiences of fans of color. Rebecca Wanzo (2015, sec.…”

Section: Fandom Is (Sometimes) Uglymentioning

confidence: 99%

Introduction: The Reactionary in the Fan and the Fan in the Reactionary

Stanfill

2019

Television & New Media

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This special issue explores the intersection of reactionary politics and fandom. Fandom has traditionally been thought of as progressive, but this has been limited and limiting. Moreover, considerations of the relationship between politics and fandom have especially focused on democratization and new media–enabled participation. However, it is important to expand our understanding to other aspects of politicization. This introduction situates the issue in relation to foundations of fan studies, examinations of political fandom and fannish politics, and growing recognition of inequality and conflict in fandom. These considerations are important in an era in which fandoms have increasingly overtly embraced reactionary politics and reactionary politics has increasingly taken fannish forms. It is this intersection of the reactionary and the fannish that this special issue seeks to unravel.

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Racebending and Prosumer Fanart Practices inHarry PotterFandom

Cited by 9 publications

References 16 publications

De consumidores a prosumidores: la narrativa transmedia en dos juegos móviles para adolescentes y jóvenes

De consumidores a prosumidores: la narrativa transmedia en dos juegos móviles para adolescentes y jóvenes

"Be Gay, Do Crimes": The Co-Production and Activist Potential of Contemporary Fanzines

Introduction: The Reactionary in the Fan and the Fan in the Reactionary

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