Squee From The Margins

Rukmini Pande’s examination of race in fan studies is sure to make an immediate contribution to the growing field. Until now, virtually no sustained examination of race and racism in transnational fan cultures has taken place, a lack that is especially concerning given that current fan spaces have never been more vocal about debating issues of privilege and discrimination. Pande’s study challenges dominant ideas of who fans are and how these complex transnational and cultural spaces function, expanding the scope of the field significantly. Along with interviewing thirty-nine fans from nine different countries about their fan practices, she also positions media fandom as a postcolonial cyberspace, enabling scholars to take a more inclusive view of fan identity. With analysis that spans from historical to contemporary, Pande builds a case for the ways in which non-white fans have always been present in such spaces, though consistently ignored.

Fandom, Now in Color gathers together seemingly contradictory narratives that intersect at the (in)visibility of race/ism in fandom and fan studies. This collection engages the problem by undertaking the different tactics of decolonization—diversifying methodologies, destabilizing canons of “must-read” scholarship by engaging with multiple disciplines, making whiteness visible but not the default against which all other kinds of racialization must compete, and decentering white fans even in those fandoms where they are the assumed majority. These new narratives concern themselves with a broad swath of media, from cosplay and comics to tabletop roleplay and video games, and fandoms from Jane the Virgin to Japan’s K-pop scene. Fandom, Now in Color asserts that no one answer or approach can sufficiently come to grips with the shifting categories of race, racism, and racial identity. Contributors: McKenna Boeckner, Angie Fazekas, Monica Flegel, Elizabeth Hornsby, Katherine Anderson Howell, Carina Lapointe, Miranda Ruth Larsen, Judith Leggatt, Jenni Lehtinen, joan miller, Swati Moitra, Samira Nadkarni, Indira Neill Hoch, Sam Pack, Rukmini Pande, Deepa Sivarajan, Al Valentín

Australia holds a unique place in the global scheme of fandom. Much of the media consumed by Australian audiences originates from either the United States or the United Kingdom, yet several Australian productions have also attracted international fans in their own right. This first-ever academic study of Australian fandom explores the national popular culture scene through themes of localization and globalization. The essays within reveal how Australian audiences often seek authentic imports and eagerly embrace different cultures, examining both Hollywood’s influence on Australian fandom and Australian fan reactions to non-Western content. By shining a spotlight on Australian fandom, this book not only provides an important case study for fan studies scholars, it also helps add nuance to a field whose current literature is predominantly U.S. and U.K. focused. Contributors: Kate Ames, Ahmet Atay, Jessica Carniel, Toija Cinque, Ian Dixon, Leigh Edmonds, Sharon Elkind, Jacqui Ewart, Lincoln Geraghty, Sarah Keith, Emerald L. King, Renee Middlemost

"In 2007, while giving a book talk, Harry Potter author J. K. Rowling revealed an interesting fact about beloved character Albus Dumbledore's love life. "Dumbledore is gay, actually," she said as the audience erupted in cheers. She added: "I would have told you earlier if I knew it would make you so happy." Though most fans initially praised the announcement, LGBTQ fans in particular questioned why the author chose to make it informally, while never actually writing explicitly gay characters into the storylines. As it turns out, this type of bait-and-switch is fairly common between fans and creators; there's even a term for it: "queerbaiting." In this first comprehensive examination of queerbaiting, fan studies scholar Joseph Brennan and his contributors examine cases like Rowling's to shed light on the exploitative industry practice of teasing homoerotic possibilities that, while hinted at, never materialize in the program narratives. Looking at everything from popular TV series to video games to children's programs, and more, these essayists--some of the biggest names in the emerging field of fan studies--explore the consequences of the misleading practice, both for fans and creators. The result is a first-of-its-kind collection that is sure to appeal equally to fan, queer, and media studies students and scholars"--

"Film tourism-travel associated with a movie or television show-is big business. Whether it is a filming location such as the Game of Thrones set in Northern Ireland, a newly-created themed area like The Wizarding World of Harry Potter, or the myriad of "pop-ups" that have become part of television marketing such as FriendsFest and The Seinfeld Experience, film tourism is booming. In Placing Fandom, Abby Waysdorf presents an in-depth investigation of contemporary film tourism, drawing on both fan studies and tourism studies perspectives. Its overall focus is on the tourist experience, building on previous research in that direction, but with a stronger focus on the relationship that tourists have with what they are traveling to visit. It asks, what role do film-related places play in contemporary fandom? By looking at film tourism from both the perspective of the tourist and the effects of this experience on broader fan ecologies, Waysdorf presents a more holistic understanding of film tourism today, looking at not only its appeal and meaning to tourists, but considering the structures that underlie it as it becomes a recognized, and potentially lucrative, part of contemporary fandom. Incorporating dozens of fan interviews, Placing Fandom provides case studies of today's biggest fandoms and the sites they frequent. The monograph is set apart by its comparative approach that engages with multiple forms of film tourism, from filming locations to simulated locations, frequent visitors to one-off tourists, and at the same time presents a new overarching theoretical framework for the practice"--

"In 2012, Disney purchased production studio Lucasfilm, which meant it also inherited the beloved Star Wars franchise. This corporate marriage sent media critics and fans into a frenzy of speculation about what would happen next with the hugely popular series. Disney's Star Wars gathers twenty-one noted fan and media studies scholars from around the world to examine Disney's revival of the franchise. Covering the period from Disney's purchase through the release of The Force Awakens in December 2015, these essays examine the significance of this transitional period from the intertwined perspectives of the studios, storytellers, marketers and audiences involved. For many, Star Wars is a vitally important cultural text. How did these fans anticipate, interpret, and respond to the steady stream of production stories, gossip, marketing materials, merchandise, and other sources in the build-up to the movie's release?"--

A Companion to Media Fandom and Fan Studies offers scholars and fans an accessible and engaging resource for understanding the rapidly expanding field of fan studies. International in scope and written by a team that includes many major scholars, this volume features over thirty especially-commissioned essays on a variety of topics, which together provide an unparalleled overview of this fast-growing field. Separated into five sections—Histories, Genealogies, Methodologies; Fan Practices; Fandom and Cultural Studies; Digital Fandom; and The Future of Fan Studies—the book synthesizes literature surrounding important theories, debates, and issues within the field of fan studies. It also traces and explains the social, historical, political, commercial, ethical, and creative dimensions of fandom and fan studies. Exploring both the historical and the contemporary fan situation, the volume presents fandom and fan studies as models of 21st century production and consumption, and identifies the emergent trends in this unique field of study.

"This study is about ardent Korean female fans of gay representation in the media, their status in contemporary Korean society, their relationship with other groups such as gay men, and, above all, their contribution to reshaping the media's portrayal of gay people, as well as the public attitude toward sexually marginalized groups. Kwon calls the female fandom of gay portrayals "FANtasy culture" and argues that it enables the present growing visibility of the gay body in Korean mainstream media. She also argues that fandom has functioned as a catalyst to ameliorate a harsh reality for a marginalized group. The FANtasy subculture started forming around text-based media, such as yaoi (or "boys' love" manga, a Japanese genre), fan fiction, and U.S. gay-themed dramas, and has been influenced by diverse social, political, and economic conditions, such as the democratization of Korea, an open policy toward foreign media and cultural products, the diffusion of consumerism, government investment in Korean culture, the Hollywoodization of the film industry, and the popularity of Korean culture abroad. While much scholarly attention has been paid to the female fans of homoerotic cultural texts in other countries, Kwon explores both the understudied Korean case and another aspect of the subculture that has been relatively neglected: its location in and influence on the society at large"--