what katie did

This is my slightly more professional tumblr. (Right now its mostly just a place where I save useful things and try to keep track of my thinking/reading.) My personal tumblr is here. My website is here.

[katiedidn-t]

Feminist Open Access and Internet Publishing Event at Berkeley Center for New Media

Feminist Open Access and Internet Publishing with Francesca Coppa, co-founder Organization for Transformative Works and Kristina Busse and Karen Hellekson, co-founders Transformative Works & Cultures. Featuring respondents Katherine Morrissey and Melanie Kohnen.

Discover how the Organization for Transformative Works built a Hugo award-winning model for for non-corporate, user-driven, online participatory cultures.

The OTW was founded as a wholly fan organized and fan run media organization, specifically to provide a safe space for women and queer users. In working towards their mission of building a future in which all fannish works are recognized as legal and transformative, and accepted as legitimate creative activity, the OTW developed and now manages Archive of Our Own (recently nominated for a Hugo Award), the world’s fastest growing fan works online archive, which is completely open access and free from advertising and corporate ownership. They also support Transformative Works and Cultures, which is an open access journal, freely available at https://journal.transformativeworks.org. Transformative Works and Cultures is a subsidiary project of the OTW and shares their mission to be a home for feminist, anti-racist, and pro-LGBTQIA scholarship on cultural adaptations and appropriations and fan cultures and fan productions.

The OTW offers valuable lessons in advancing radical infrastructures for feminist, open-access publishing.

Due to precautions around public events and COVID-19, this event has been moved to an online presentation format. Everyone is invited to log-in and join the event via Zoom. See event page for more information.

Feminist Open Access and Internet Publishing Event at Berkeley Center for New Media was originally published on katherine morrissey

[katiedidn-t]

Interviewed on Wisconsin Public Radio

Has The Rom-Com Been ‘Reborn’ Or Has It Never Gone Away?

After the success of the movie “Crazy Rich Asians,” some people have said the romantic comedy is having a comeback. We talk to a film scholar who says the rom-com never really went away, but it has been changing a lot since the 1980s and ’90s.

Listen to my conversation with Rob Ferret on WPR’s Central Time about romantic comedy films.

Interviewed on Wisconsin Public Radio was originally published on katherine morrissey

[katiedidn-t]

From Crazy Rich Asians to Netflix: The “Rebirth” of Romantic Comedies (part 2)

From Crazy Rich Asians to Netflix: The “Rebirth” of Romantic Comedies (part 2)

Part two of my series on rom-coms is up on Flow! Katherine E. Morrissey explores the evolution of the romantic comedy and its audience since the 1980s in order to understand the contemporary “rebirth” of these films. [Read article here.]

From Crazy Rich Asians to Netflix: The “Rebirth” of Romantic Comedies (part 2) was originally published on katherine morrissey

[katiedidn-t]

From Crazy Rich Asians to Netflix: The “Rebirth” of Romantic Comedies

From Crazy Rich Asians to Netflix: The “Rebirth” of Romantic Comedies

New piece up on Flow! Katherine E. Morrissey explores the evolution of the romantic comedy and its audience since the 1980s in order to understand the contemporary “rebirth” of these films. [Read article here.]

From Crazy Rich Asians to Netflix: The “Rebirth” of Romantic Comedies was originally published on katherine morrissey

[katiedidn-t]

in visual media, fatness is presented as a problem to be fixes. Fatness becomes the subject of the show rather than the people themselves, and anything deemed 'fat' cannot exist without its accompanying value judgement. In short, media represents bodies as either adequate, or in the process of becoming adequate-- and there is very little in between.

Jocelyn L. Bailey (“The Body Police: Lena Dunham, Susan Bordo, and HBO’s Girls,” 2015, pg. 31)

[fansplaining]

Visit Original Link

Episode 49: Defining Fanfiction: The Results. Elizabeth and Flourish discuss the results of the Fansplaining Definitions Survey, in which more than 3,500 respondents offered a variety of perspectives on what fanfiction is—and isn’t—to them. They explore a variety of themes: is fanfiction derivative? Is it written by and for fans? Must it include shipping and fannish tropes? And they talk about other trends in the survey data, from different ways to use the word “fandom” to fannish perceptions of fiction, nonfiction, and canon. (show notes | transcript)

[elizabethminkel]

Come for the analysis, stay for my extended description of the Romantic Ideal of a Writer, a bearded widower in a cardigan by the sea.

[unjapanologist]

Do not attempt to compete with Pinboard.

This is the funniest thing ever. I’m dying

[katiedidn-t]

This is glorious. 

[katiedidn-t]

SEUNGRI - STRONG BABY M/V

Today I’m... writing about Tumblr and listening to Big Bang circa 2009. Feels appropriate?

[katiedidn-t]

Katie Morrissey (@_katiedidnt [on twitter]) presented a paper called ‘Digital Romance: Crowdfunding & Multiplatform Love Stories’ on romance stories distributed online. These stories, known for their interaction and the specific media platforms they use – are an example of convergence culture – ‘where old and new media collide’ (to borrow a phrase from Henry Jenkins, whom Morrissey cites). Focusing on Check, Please! by Ngozi [Ukazu], a story about two male hockey players falling in love disseminated on Tumblr and Twitter, and Fresh Romance, a multi-author serial comic which has appeared online and in print. Morrissey described Check, Please! as difficult to define and analyse. She noted that it is difficult to know what terms to use for these texts – are they romances? Fiction? Chick lit? These texts also self-define as not romance – they label themselves as more diverse, savvy and sex-positive, defining themselves against a monolithic idea of romance. Morrissey proposed that such romance could be labelled ‘born digital’ – a term she applies to romances that began online but have now moved to print (although she does wonder what might we ‘lose’ by calling something ‘born digital’?). She argued that, as scholars, we look at romance in very fixed contexts and that we need to expand out methods to include convergence items like these. She proposed three strategies for this and asked for feedback: Focus on a single text and trace its development through different media forms Conduct a macro/micro level genre analysis Look at individual readers and patterns of how they read

Amy Burge, “#ConferenceReport: PCA 2017,” Pink Heart Society, May 3, 2017.

I would really love to hear what other people think regarding the concept of a “born digital” romance, as well as on these ideas for methods. Also, I’m trying to collect more examples different of “born digital” romances. Do you have any you’d like to send my way?

[stitchmediamix]

This is a narrated PowerPoint of the presentation I gave at the last Fan Studies panel at PCAACA 2017 April 15, 2017 since many people missed out on a chance to attend!

(I’ll update this with links to relatively required reading material!)

[katiedidn-t]

#ConferenceReport: Popular Romance at PCA 2017

"Every year, the Popular Culture Association (PCA) conference hosts the second-biggest gathering of popular romance scholars in the world (the biggest being the biennial conference of the International Association for the Study of Popular Romance which is next taking place in Sydney in June 2018. In April 2017, in a warm (but windy) San Diego, a group of romance scholars gathered to share their latest research, to discuss the state of the field, to meet new (and old) friends and colleagues, and possibly to have a couple of beers in the process (San Diego is famous for its beer, after all)..."

Report on the Popular Romance area at year’s PCA/ACA. Written by the fabulous Dr. Amy Burge. 

[katiedidn-t]

Women are sexual scavengers: we cobble arousal out of things not intended to stimulate us because we’re not considered worth stimulating.

Lili Loofbourow, (“‘Game of Thrones’ fails the female gaze: Why does prestige TV refuse to cater erotically to women?” Salon, 6/2014)

[katiedidn-t]

If nudity is here to stay, and at least on “Game of Thrones,” that seems likely, there is no legitimate reason to limit access to that pleasure to men. And the thing worth noticing here is that it actually takes a huge amount of work to limit that pleasure to men. If we reflect on how the show specifically and slavishly caters to penises and their blood flow—if we think of that as a positive choice rather than a lazy but innocent default—it becomes a truly pernicious choice. (Try taking a picture of a naked couple and exclude the penis. It’s work!) We like to think of men as perpetual horndogs, which is hopelessly unfair to men when you think about how hard HBO is trying to turn them on. It’s weird how much effort goes into tantalizing penises with unnecessary naked women, and it’s weird how much effort goes into not showing any male parts in turn. None of that is natural, or realistic, or even slightly sane; it is not The Way Things Are. Producing those specific effects and no others takes extraordinary effort. The show is revolutionary in the painstaking care it takes to push the boundaries on (female) nudity and to provoke (male) arousal.

Lili Loofbourow, (“‘Game of Thrones’ fails the female gaze: Why does prestige TV refuse to cater erotically to women?” Salon, 6/2014)

[katiedidn-t]

I’m far from the first person to say we need more manparts on “Game of Thrones.” But this isn’t just about penises vs. breasts—seeing Tywin on the john in the finale had certain charms, but not the kind I mean. It’s about situation and camera angle. It’s about who has the right to be turned on. It’s about whose genitals are worth catering to.

Lili Loofbourow, (“‘Game of Thrones’ fails the female gaze: Why does prestige TV refuse to cater erotically to women?” Salon, 6/2014)

[katiedidn-t]

Seriously, I can't even with this song. Best. Writing Music. Evah. #NowPlaying Accelerate by Susanne Sundfør

[katiedidn-t]

Romance fiction is porn, but it's a particular type of women-oriented feminist porn with a telos, or narrative goal. Romance fiction is teleological, building and driving toward this climax of the narrative. This narrative goal, I argue, is the happily-ever-after moment best encapsulated in the hero's declaration of love. In other words, the moment where one most sees romantic fiction as pornography is, paradoxically, not in the sex scenes themselves... Instead, one sees romantic fiction as porn in the happily-ever-after ending, especially in that key moment of climax when the hero declares his love.

Catherine M. Roach (Happily Ever After, pg 101)

[katiedidn-t]

A feminist is a woman (or person of any gender) who dares in writing to explore thoughts, desires, and fantasies that run contrary to traditional descriptions of how a woman is supposed to be.

Catherine M. Roach (Happily Ever After, pg 99)