The Zine Project: Innovation or Oxymoron?

Jacobi, Tobi

doi:10.2307/30047164

Cited by 6 publications

(5 citation statements)

References 2 publications

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“…She donated zines to the resource library at Colorado State University's Community Literacy Center in Fort Collins so that students could check them out. 8 Aneil Rallin and Ian Barnard in 2008 discussed zines in composition courses. 9 Faculty in other academic disciplines and professions produced and studied zines as well.…”

Section: Literature Reviewmentioning

confidence: 99%

Zines for Teaching: A Survey of Pedagogy and Implications for Academic Librarians

Thomas¹

2018

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Zines have begun to gain a place in higher education as pedagogical tools studied or made by students, and many academic libraries maintain zine collections. The library literature reveals little about how nonlibrarian faculty use zines in their classrooms. This paper describes the results of a survey of faculty from a range of academic disciplines and professions who teach with zines and other booklet forms. Survey results reveal the extent to which faculty zine pedagogies include collaboration with librarians and use of library collections. Faculty describe instructional activities and attitudes that many library professionals, including reference and instruction librarians, directors or deans, catalogers, acquisition and special collections librarians, and archivists, may find useful. Zines, Chapbooks, and Pamphlets Zines are defined as do-it-yourself publications. Those who create them are often called zinesters. Zine content varies, and Stephen Duncombe's taxonomy of zines is useful for understanding the range of subject matter: there are fanzines, political zines, personal zines (sometimes referred to as perzines), identity zines, religious zines, vocational zines, and zines about health, sex, travel, comics, literature, and art. 2 What distinguishes zines in general is the personal nature of the content, whether the subject matter be diaristic or political. Zines, chapbooks, and pamphlets share the booklet form. Publishers manufacture paperback books with a form of bookbinding called perfect binding, in which their pages are glued together to form a spine. Booklets are not perfectly bound but are saddle stitched, a printer's term for stapled or wire stitched, or saddle sewn, bound with a needle and thread or string. A "foldy" zine consist of several pages folded together without any binding. Booklets tend to be produced in small runs, sometimes in numbered editions. The most conservative definition of a zine is a self-published, black-and-white photocopied booklet. The number of copies is usually determined by the resources available. Historically, zines have been made by hand-the pages typed, drawn, written, collaged, glued, and taped-and then reproduced on a photocopier. Today, most zines are still made by hand but may be scanned and printed at home. Some zinesters now make zines via desktop publishing, yet many continue to work in analog environments. Other zinesters work in both digital and analog environments. Pre-Internet, people exchanged zines via the postal service. More recently, zinesters sell or trade them in person at zine fairs or sell them through "distros" (distributors) in stores or online. The higher the production cost, the higher the sale price. The rise of art and design zines, with features such as silk screen and letterpress printing, has led to an acceptance of some zines as moderately priced artist's multiples. Defined as an artwork produced in an edition of two or more, multiples challenge the definition of art as a unique creation. 3 Such zines are usually sold at fairs of artist...

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Section: Literature Reviewmentioning

confidence: 99%

Zines for Teaching: A Survey of Pedagogy and Implications for Academic Librarians

Thomas¹

2018

portal

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“…Another body of research has a decidedly less material and aesthetic bent. Instead, these scholars have focused on how zine writers pose critiques of existing power structures and norms, subvert traditional gender norms, and create spaces of expression and resistance for women, girls, LGTBQ-identified persons, and youth of color (see e.g., Buchanan, 2009;Chu, 1997;Gustavson, 2002;Harris, 2003;Jacobi, 2007;Sinor, 2012;Starr, 1999). Feminist zines, which stem from a long history of women as artists and makers (Stankiewicz, 2003), explore the fluidity of gender and sexuality, reflect intersectional identities, and excavate the invisible histories of queer women of color such as Josephine Baker and Alice Walker (Licona, 2005;Piepmeier, 2009).…”

Section: Zines As Aesthetic Political and Educative "Shocks"mentioning

confidence: 99%

The Spaces in which We Appear to Each Other: The Pedagogy of Resistance Stories in Zines by Asian American Riot Grrrls

Goulding

2015

Journal of Cultural Research in Art Education

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The early 1990s marked the onset of Riot Grrrl, a grassroots feminist movement which galvanized in women-driven punk scenes in cities like Olympia, Washington, and Washington, D.C. Riot Grrrl was a new kind of feminism, one that was unapologetically aggressive and forthright in its responses to patriarchy, mass media, and consumerist culture. The message of the movement was, in part, disseminated through the use of zines—the small stapled booklets in which grrrls asserted their feminist ethos, shared personal stories, and reviewed bands and shows. In this paper, I report on a study of one subgenre of zines—those by Asian American riot grrrls. Zines used in the study were sampled from the Barnard Zine Library, a library dedicated to the presentation and preservation of feminist zines by women and girls living and working in the New York metropolitan area. Building on Maxine Greene’s (1995; 2001) theories of aesthetic encounters and Lee Ann Bell’s (2010) concept of “resistance stories,” I examine the pedagogical possibilities of Asian American riot grrrl zines.

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“…Others have written about teaching with zines as well: Varty (2009) used zines to promote rhetorical awareness with a pre-freshman, accelerated college writing class. Jacobi (2007) writes about The Zine Project, an extracurricular, community-based writing project designed to promote civic engagement. Wan (1999) describes zines as a "valuable source of left-of-center information, as well as a stunning example of what can be created by anyone with an idea and the desire to do a little writing and designing" (p. 15), which educators can use in the classroom as a means of encouraging students to challenge corporate publication models and the "monotone drone of mainstream media" (p. 17).…”

Section: Methodsmentioning

confidence: 99%

Engaging the "Othered": Using Zines to Support Student Identities

Lonsdale¹

2015

Language Arts Journal of Michigan

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The Zine Project: Innovation or Oxymoron?

Cited by 6 publications

References 2 publications

Zines for Teaching: A Survey of Pedagogy and Implications for Academic Librarians

Zines for Teaching: A Survey of Pedagogy and Implications for Academic Librarians

The Spaces in which We Appear to Each Other: The Pedagogy of Resistance Stories in Zines by Asian American Riot Grrrls

Engaging the "Othered": Using Zines to Support Student Identities

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