Fandom As Methodology

An illustrated exploration of fandom that combines academic essays with artist pages and experimental texts. Fandom as Methodology examines fandom as a set of practices for approaching and writing about art. The collection includes experimental texts, autobiography, fiction, and new academic perspectives on fandom in and as art. Key to the idea of “fandom as methodology” is a focus on the potential for fandom in art to create oppositional spaces, communities, and practices, particularly from queer perspectives, but also through transnational, feminist and artist-of-color fandoms. The book provides a range of examples of artists and writers working in this vein, as well as academic essays that explore the ways in which fandom can be theorized as a methodology for art practice and art history. Fandom as Methodology proposes that many artists and art writers already draw on affective strategies found in fandom. With the current focus in many areas of art history, art writing, and performance studies around affective engagement with artworks and imaginative potentials, fandom is a key methodology that has yet to be explored. Interwoven into the academic essays are lavishly designed artist pages in which artists offer an introduction to their use of fandom as methodology. Contributors Taylor J. Acosta, Catherine Grant, Dominic Johnson, Kate Random Love, Maud Lavin, Owen G. Parry, Alice Butler, SooJin Lee, Jenny Lin, Judy Batalion, Ika Willis. Artists featured in the artist pages Jeremy Deller, Ego Ahaiwe Sowinski, Anna Bunting-Branch, Maria Fusco, Cathy Lomax, Kamau Amu Patton, Holly Pester, Dawn Mellor, Michelle Williams Gamaker, The Women of Colour Index Reading Group, Liv Wynter, Zhiyuan Yang

"The discipline of fan studies is famously undisciplined. But that doesn't mean it isn't structured. A Fan Studies Primer: Methods, Research, Ethics will be the first comprehensive primer for classroom use that shows students how to do fan studies, in practical terms. The expansion of fan studies as an academic field and the growing visibility of fandom and fan activities in popular culture have led to more instructors using students' fandom in the classroom, and teaching fan studies as a disciplinary focus. Teaching fandom and fan studies means drawing from a multidisciplinary spectrum of methodologies and foci. Yet, as fan studies itself is often a "moving target," it is imperative to have a volume that approaches the various contributions, methodologies, ethics, and lacunae of the field in a classroom setting. With contributions from many of the biggest names in fan studies, co-editors Paul Booth and Rebecca Williams pull together case studies that demonstrate the wide array of methodologies available to fan studies scholars, such as auto/ethnography, immersion, interviews, online data mining, historiography, and textual analysis. They also probe the ethical questions that are unique to fan studies work and that continue to crop up as the field develops, such as use of online fan content for research, interview methods, consent, and privacy. Both experienced scholars and new students alike will find a useful overview of the diverse research topics in fan studies, whether it's Harry Potter, superheroes, or celebrities, as well as a catalog of conscientious and effective techniques for those who want to join in"--

This book offers a media ethnography of the digital culture, conventions, and urban spaces associated with fandoms, arguing that fandom is an area of productive, creative, and subversive value.

Fans used to be seen as an overly obsessed fraction of the audience. In the last few decades, shifts in media technology and production have instead made fandom a central mode of consumption. A range of ideas has emerged to explore different facets of this growing phenomenon. With a foreword by Matt Hills, Understanding Fandom introduces the whole field of fan research by looking at the history of debate, key paradigms and methodological issues. The book discusses insights from scholars working with fans of different texts, genres and media forms, including television and popular music. Mark Duffett shows that fan research is an emergent interdisciplinary field with its own key thinkers: a tradition that is distinct from both textual analysis and reception studies. Drawing on a range of debates from media studies, cultural studies and psychology, Duffett argues that fandom is a particular kind of engagement with the power relations of media culture.

Leisure time today is driven by fandom. Once viewed as a social pariah, the fan and associated fandom as a whole has transformed into a popularized social construct researchers are still attempting to understand. Popular culture in the modern era is defined and dominated by the fan, and the basis of fandom has established its own identity across several platforms of media. As some forms of fandom have remained constant, including sports and cinema, other structures of fandom are emerging as the mass following of video games and cosplay are becoming increasingly prominent. Fandom has been established as an important facet in today’s society, and necessary research is required for understanding how fandom is shaping society as a whole. Multidisciplinary Perspectives on Media Fandom is a pivotal reference source that provides vital research that reviews some of the most exigent facets of today’s fandom and highlights understudied cultures of fandom as well as emerging intricacies of established fandom. While promoting topics such as esports, influencer culture, and marketing trends, this publication explores both qualitative and quantitative approaches as well as the methods of social science and critical perspectives. This book is ideally designed for marketers, media strategists, brand managers, consumer behavior analysts, researchers, academics, and students.

Providing ways to engage students through their popular culture interests, this collection brings together several essays, across disciplines, to show how fan practices such as writing fan fiction, creating vids, communicating via Tumblr, and participating in film tourism can invite students to invest more of themselves into their education. Both scholarship and fandom encourage passionate engagement with texts—rather than passive consumption in isolation— and editor Katherine Anderson Howell and her contributors find that when students are encouraged to partake in a remix classroom that encourages their fan interests, they participate more in their education, are more critical of experts and authorities, and actively shape the discourse themselves. Creating this remix classroom requires thoughtfulness on the instructor’s part, and so the chapters in this volume come from teachers who have carefully constructed such courses, including several invaluable appendices that provide examples of methodologies, course assignments, teaching practices, and classroom setup. Each chapter also includes student responses that offer a sense of what students gained from each course. The result is an exciting and entertaining new way to motivate students and teachers alike, and it is sure to be a popular reference guide for instructors teaching classes from high school to graduate levels.

This book follows the ways in which women negotiate and navigate between their feminist identities and their belonging to science fiction fandoms that at times disregard or dismiss them. It explores frictions and discords, including those between feminist women fans and other members in their communities, and between the fan and the object of her fandom. This book examines the intersection of fandom and feminism through the lenses of gender, ethnicity and age, and provides an in-depth and intersectional perspective on fan communities and the layered discrimination and marginalization enfolded in them. Based on 40 in-depth interviews with women fans of Star Wars and Doctor Who, this book highlights the different aspects of a feminist woman fan’s identity: becoming, being, belonging, representing, and reconciling. Each chapter in this book unravels the complexity, ambivalence, and contradictions between feminism and fandom, and reveals the tactics women develop to overcome and harmonize them.

Reveals the systematic marginalization of women within pop culture fan communities When Ghostbusters returned to the screen in 2016, some male fans of the original film boycotted the all-female adaptation of the cult classic, turning to Twitter to express their disapproval and making it clear that they considered the film’s “real” fans to be white, straight men. While extreme, these responses are far from unusual, with similar uproars around the female protagonists of the new Star Wars films to full-fledged geek culture wars and harassment campaigns, as exemplified by the #GamerGate controversy that began in 2014. Over the past decade, fan and geek culture has moved from the margins to the mainstream as fans have become tastemakers and promotional partners, with fan art transformed into official merchandise and fan fiction launching new franchises. But this shift has left some people behind. Suzanne Scott points to the ways in which the “men’s rights” movement and antifeminist pushback against “social justice warriors” connect to new mainstream fandom, where female casting in geek-nostalgia reboots is vilified and historically feminized forms of fan engagement—like cosplay and fan fiction—are treated as less worthy than male-dominant expressions of fandom like collection, possession, and cataloguing. While this gender bias harkens back to the origins of fandom itself, Fake Geek Girls contends that the current view of women in fandom as either inauthentic masqueraders or unwelcome interlopers has been tacitly endorsed by Hollywood franchises and the viewer demographics they selectively champion. It offers a view into the inner workings of how digital fan culture converges with old media and its biases in new and novel ways.