Claire Keane
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The Truth is Still Out There: Thirty Years of The X-Files
Well, it’s official. My book on The X-Files (something I’ve dreamed of writing since I was a kid) is available for preorder! In September 1993, a TV show like no other appeared on our screens, asking us to consider the essence of truth and belief, to think about the nature and roles of science and humanity, and to question what we were told by those in power. Combining horror, science fiction,…
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I'm writing my PhD on cult television, fandom and nostalgia and my focus is the The X-Files and TwinvPeaks revivals. Following season 11 of The X-Files I've released a questionnaire asking for viewers' thoughts on the season, Chris Carter and the possibility of The X-Files continuing without Gillian. I'd love to hear your thoughts. https://docs.google.com/forms/d/e/1FAIpQLScHSiydPFMHfP6_M36_PsUSjnPmNllN6qvMoZDU5mSCEvrZVw/viewform?usp=sf_link
Ok, I know we’re all bit upset about the X-Files series finale that aired last week, so I made my own headcanon alternate ending to the episode. I hope you like it.
I haven't posted for ages, and this isn't at all fandom related, but my friend's family is going through the mill at the moment. Not only is my friend's sister, who has cerebral palsy, scoliosis and a lessening disability, in hospital with a spinal fracture after falling down two stairs, her mum has been staying at the hospital with her and because of all the snow we've had in the UK a pipe burst in their loft and their home had been ruined. I'm trying to raise some money to help them out with finding accommodation and trying to replace some of their belongings.
MARs Session 4FANDOM AS METHODOLOGY Organised by Catherine Grant ([email protected])with guests including Giulia Damiani, Owen Parry, Alison Jones and Kate Random Love In this series of seminars we will take fandom seriously. We will ask: What does it mean to be a fan, and what might that mean for art practice and art writing? We will explore how artists and art writers can draw on models taken from fan cultures. With prep sessions featuring writing together, re-enactment and reading, we will prepare for the main session where invited writers and artists will share their fan-based methodologies. MAIN SESSION: Friday, 23 March @ 14.00-17.00 Prep Session 1: Tuesday, 27 February @ 10.00-12.00 Prep Session 2: Tuesday, 6 March @ 10.00-12.00Prep Session 3: Tuesday, 13 March @ 10.00-12.00 PLEASE NOTE: STRIKE ACTION IS PLANNED FOR THE PERIOD COVERED BY THE THREE PREP SESSIONS, SO THESE MAY BE CANCELLED. THE MAIN SESSION DOES NOT FALL ON A STRIKE DAY AND WILL GO AHEAD AS PLANNED. Notes for Participants Participants may sign up for all sessions, or just the main session. The sessions are open to all postgraduate research students as well as academic staff researchers. Each of these four sessions has set reading. The reading list can be accessed here: https://gold.rl.talis.com/lists/F72BD55B-1788-195B-5BF6-264DF2C3FF9C.html If you don’t have a Goldsmiths log-in, please get in touch with Catherine Grant so you can get access to the set readings (if you are from Goldsmiths, log-in on the top left hand corner of the reading list and then you’ll be able to access the scans of the set reading). Prep Session 1: READTuesday, 27 February @ 10.00-12.00 In this first prep session we will be reading texts that critically explore fandom. Please bring a paragraph from a text that really moves you. It can be theory, poetry, fiction.... We will think about what it means to be a fan in an academic context. Prep Session 2: RE-ENACTTuesday, 6 March @ 10.00-12.00 In this second prep session we will re-enact a play together. Researcher Giulia Damiani will share a translation she has made of a play originally written in Italian by the feminist group Le Nemesiache. We will draw on Bertolt Brecht's theory of the learning-play to see how re-enactment can be an embodied form of learning, foregrounding rehearsal and discussion. Prep Session 3: WRITETuesday, 13 March @ 10.00-12.00 In this third prep session we will write together. Drawing on ideas from Della Pollock's essay "Performing Writing", as well as Holly Pester's reflections on writing archival fanfiction, we'll think about how to write critically and creatively. To do this, please bring along something that you are a fan of – an artwork, a book, an image, an idea. Main Session: FANDOM AS METHODOLOGYFriday, 23 March @ 14.00-17.00 In this seminar we will explore the idea of "Fandom as Methodology" in the company of writers and artists who have embraced fandom in their academic and creative practice. There will be presentations from: Owen Parry, Kate Random Love and Alison Jones. Biographies Giulia Damiani is a writer, curator, translator and tutor at Goldsmiths University in London. She’s currently completing her PhD (AHRC scholarship) focusing on writing, prophecies, un/translatability, a feminist archive from Napoli and collaborations with performers. She disseminates her research widely through publications and talks. Her curated exhibitions include Coated in Pre-existence (The Cob Gallery, London 2016) and Infinite Unica (The Studio, Amman, 2015). In May 2017 she presented her performance How to Sing a Prophecy at Santarcangelo dei Teatri (Italy) and during her writing project at the centre Pivô in São Paulo. In 2018 her writing will be published in the book Over and Over and Over Again: Re-Enactment Strategies in Contemporary Arts and Theory (ICI, Berlin). www.giuliadamiani.eu Catherine Grant is Lecturer in the Art and Visual Cultures Departments at Goldsmiths, University of London. She is currently working on the re-enactment of feminist histories in contemporary art. The project began with the essay “Fans of Feminism: re-writing histories of second-wave feminism” (2011), which tried to theorise her long-standing interest in passionate attachments to political ideas and queer sexualities. She has also recently published the article “A Time of One’s Own” in the Oxford Art Journal, December 2016 and is the co-editor of Girls! Girls! Girls! (2011) and Creative Writing and Art History (2012). With Kate Random Love she is working on an edited collection Fandom as Methodology. Alison Jones' paintings are figurative physical and gestural, and are imbued with questions of feminism and criticality. Her imagery is drawn from international art and culture magazines, and she uses a range of painterly languages from expressionism through fashion illustration, cartoons and graphics. Her methodology involves willfully muddling the discourses of contemporary art, hagiography, Marxism, feminism and journalism, misquoting theory and getting it wrong as a deliberate strategy for exploring the ideologies of the art world. She has also been engaged in a long-standing collaboration with Milly Thompson which erupts now and again for a rethinking and reiteration of art, feminism, showing off, luxury, distinction and BEING HOT. Dr Owen G. Parry (b.1983, Wales) is an artist, researcher and fan working across live art, theatre, installation, moving image, sound and writing, exploring subjects including gay sex, trash, biopolitics, fandoms, online cultures and Yoko Ono. Owen initiated the Fan Riot project in 2015 (http://fanriot.tumblr.com/) exploring the relationship between participatory art and fan cultures, which includes a fan club series with contributing artists and fans, publications, artworks and performances. Owen completed a PhD at Goldsmiths in 2013, and is currently an associate lecturer in Fine Art at Goldsmiths and Central Saint Martins. His work has been included in shows, programmes and publications internationally. http://owengparry.com Kate Random Love is a lecturer in Fine Art Critical Studies at Glasgow School of Art and Contextualising Practice at Manchester School of Art. She is interested in fandom and adolescence in contemporary art, especially in relation to difficult feelings about straight white dead boys.
I will be contributing to this fantastic research series ‘Fandom as Methodology’ organised by my colleague Catherine Grant at Goldsmiths on 23 March.
Aw, you all are so kind. I like @doctornerdington‘s three main bullet points approach, so I’ll do that but tweak it a bit to be about my main thoughts coming away from the finale, the show, and the Hannibal/Sherlock comparisons. This is just me, in all my flawedness (autocorrect just suggested flaccidness - pick whichever you prefer). I can’t really divorce things I’ve been thinking about for research with my fan thoughts, so if any of this sounds IDK ‘elitist’, I yam what I yam and that’s all what I yam.
(You’ll probably have to zoom your text - it’s so small, but so far I can’t seem to change it in the html)
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SCMS Fan Studies Panels & Papers
This is the inaugural year for the Fan & Audience Studies Special Interest Group within the Society for Cinema and Media Studies, and I’m very pleased to say that the SIG is sponsoring several panels throughout the upcoming Atlanta conference. Fan studies tends to be heavily tweeted; I can only out myself here, but if you’re interested in following along, I’ll likely be tweeting at @lorimorimoto; if I’m not, I’ll definitely be retweeting those who are.
SIG-sponsored panels:
Wednesday, March 30, 4:00 - 5:45 pm
Sites of Digital Resistance
Michela Ardizzoni: “Ambivalent Spaces of Protest: Media Practices of Matrix Activism” HyeRyoung Ok: “Fan Girls on Street: K-Pop Fandom and Youth Digital Activism in Korea” Sarah Juliet Lauro: “Speaking Freedom: Slave Revolt in Film and Videogames” Jason Buel: “Mere Footage into Argument: #BlackLivesMatter and Algorithmic Montage”
Sherlock, SuperWhoLock and Transfandom
Matt Hills: “Different Authors, Different Canons: Transfan Readings of Sherlock in Relation to Doctor Who and Conan Doyle” Paul Booth: “SuperWhoLock and Transfandom” Lori Hitchcock Morimoto: “Sherlock and Global Transfandom”
Thursday, March 31, 11 am - 12:45 pm
A World of Frontiers: 50 Years of Star Trek
Ina Hark: “On the Fan Spectrum: The Fictionalized Trekkie” Bob Rehab: “Building a Playable Universe: Reference Materials, Tabletop Miniatures Games, and Grassroots Transmedial Adaptation in 1970s Star Trek Fandom” Matt Yockey: “Return to Tomorrow: Star Trek Continues and the Afterlife of Star Trek”
Thursday, March 31, 1:00 - 2:45 pm
Data Mining and Fandoms: Quantitative and Qualitative Approaches
Deborah Castro: “Fans and Series Finales: Analyzing Internet Users’ Discourse” Shawn Shimpach: “Only in This Way is Social Progress Possible: The Social Survey Movement and Early Film Audiences” Jeremy Butler: “Data Mining TV Comedy: Laugh Tracks and Sitcom Production Modes” Josh Stenger: “Canon Fodder: Fan Fiction Metadata, and What Mining It Can Tell Us about Fandom”
Fans, Videogames, and the Archive: Collection, Preservation, and Exhibition
Jennifer deWinter: “Repacking My Library: The Divestment of Game Collections and the Building of Archives” Melanie Swalwell: “Working with Game Fans for Preservation Outcomes” Helen Stuckey: “Replaying and the Past: Museums and Retro Gamer Sites Collecting and Exhibiting the Intangible”
Thursday March 31, 5:00-6:45 pm
Framing Nollywood’s Global Audiences from Above and Below
Anouk Batard: “Nigerian Uses of a Stigmatized Movie Culture, Nollywood” Alessandro Jedlowski: “The Time of Responsibility: Female Audiences’ Responses to Nigerian Video Films about Prostitution in Italy” Jade Miller: “iROKO in Nigeria: Digital Distribution and Transparency in Nollywood’s Domestic Market”
Saturday, April 2, 11:00 - 12:45 pm
Disney’s Star Wars: Forces of Production, Promotion, and Reception
Matthew Freeman: “Promoting Transmedia Star Wars: Strategies of Branding and Unbranding a Galaxy Far, Far Away” Andrew Myers: “A Certain Point of View: Authorship, Authenticity, and Materiality in Behind-the-scenes Discourse for Star Wars: The Force Awakens” Richard McCulloch: “When You Wish upon a Death Star: Disney, Star Wars, and Transfandom at the 2015 D23 Expo” William Proctor: “’A Disturbance in the Force’: Hyperdiegetic Genocide, Online Fan Activism and the Fate of the Star Wars Expanded Universe”
Saturday, April 2, 1:00 - 2:45 pm
WORKSHOP: Ethics and Fan Studies
Kristina Busse, Bob Rehak, Francesca Coppa, Gregory Steirer
Sunday, April 3, 9:00 - 10:45 am
Real People: Celebrity, Performance, and Reality
Kristina Busse: “Community, Fiction, and Reality: Real People Fiction as Historiography” Frankie Mastrangelo: “Neon Balaclavas and Nonprofit Spectacles: Media Compression and Pussy Riot’s Convergence with Amnesty International” David McGowan: “Nicholas Cage as Meme: Celebrity and Performance in the Age of the Internet” Janet Staiger: “Mailer and Maidstone: When Cinema Verite Fiction Becomes Real”
Not sponsored by the SIG, but of fan studies interest:
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CC for CC (Concrit for Chris Carter)
So, I actually really liked the core idea–presented as a homily–in “Babylon”: at some point, in our mythological past, we humans operated in harmony, but were also full of pride. Because of that, an “angry god” splintered humanity and made us stop understanding one another, resulting in human anger and hatred. It’s our job, then, to overcome this curse: not to worship the “angry god” but to restore our original harmony by truly listening to one another, understanding one another, and loving one another unconditionally.
So, in the spirit of truly listening and attempting to understand I hereby present:
Top Ten Things Chris Carter (or his editors) Could Have Done to Improve “Babylon” (aside from completely trashing it and starting over)
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Chris Carter’s DVD commentary on Babylon:
I believe that some people were, uh, taken aback by some of the controversial ideas we, uh, we, uh, uh, delved into in this episode, but I think by the end they would have seen that it’s all about love, uh, and the love between the jihadist and his mother, and the love between Scully and her mother, and Scully and her son, named William, whose parentage was uncertain and maybe alien and who was given away for his own safety, and uh, the love between Miller and Einstein, who are, you know, who present a kind of mirrored version of young Mulder and Scully, which I’m not sure all viewers picked up on on the first watch, and finally, uh, the special love between Mulder and Scully, as you can see in this scene here, and I, uh, I heard this song by The Lumineers a few years back on a commercial, and the whole time I thought, you know, “when I make more X-Files, I’ve got to be sure to use that somehow.” My musical tastes, like all my other tastes, have free rein on this show, you know. And going back to what might be controversial to some, I think, you know, people aren’t used to seeing issues of faith and God addressed on television in this way, you know, uh, in conjunction with paranormal phenomena and political current events that make it such a hospitable mood in this country for discussing the machinations of those in power. But I’ve always, you know, I love episodes about Christians who are fundamentalist miracle-workers but actually running a cruel hoax, and I love episodes about wacky Christian cultists who live underneath Civil War battlefields and kill women, and I love episodes about Christian millenialists who try to kidnap children or at least raise the dead, and I love episodes about fundamentalist Christian snake-handlers, but really, uh, I think, uh, that those episodes explored questions like IS GOD REAL and IS GOD AROUND HERE SOMEWHERE and these kinds of controversial ideas, with our believer, Mulder, and our skeptic, Scully, and as you can see, they, uh, they have different points of view on those fundamental questions. But in my latest two works, I think I’ve dug even deeper by asking questions like, “What kind of person becomes a pedophile?” and the answer there, clearly, is “a Catholic priest,” but also provocative questions like, “Are nuns in hospitals all part of a conspiracy to kill children?” which, I think, you know, you can see what a truly controversial question that might be. But my work has culminated now in this new episode, which I think you’ll find, after sufficient viewings, is not bizarre and revoltingly silly and offensive, but actually a consideration of fundamental questions like, “Is that Muslim on TV a terrorist?” the answer being, of course, “yes,” or perhaps, “Whence cometh hate unto the world?” the answer being, “by faith, or maybe suggestion, or I’m not sure, but that is something to do with the theme of this episode.”
And here, uh, here is, uh, my favorite scene of the episode, and here are Mulder and Scully really digging in to some of these controversial questions about faith, which are important to them because, as, uh, Mulder is the skeptic here, and Scully the believer, it offers, uh, a rich palette on which to ask the real questions, and here’s the dialogue–
MULDER: I saw things, though, Scully. Powerful things. I saw deep and unconditional love. SCULLY: I saw things, too. I witnessed unqualified hate that appears to have no end. MULDER: How to reconcile the two? The extremes of our nature. SCULLY: That’s the question. Maybe the question of our times.
And there you have it… The question of our times. Not many television writers today will address such controversy. And I think viewers who, uh, who are looking for something in today’s television landscape that asks these real questions during this mood in the country will find something, uh, something of interest here.
Help. There are good reviews of ‘Babylon’ out there:
[link 1] [link 2] [link 3]
How did this episode get some higher ratings than ‘Home Again’?!
This is why Chris Carter remains a writer on the show. Because TV critics have no idea what is going on because they don’t do their homework and watch the original show. Also, how can you love something so racist?
Why is it racist?!? Because it dealt with Islamic terrorism?! Newsflash…there are Islamic terrorists in the world. They do horrible things. They hurt people and hate Americans. This isn’t gratuitous portrayal of the “other” in a bad light. This is, unfortunately, a portrayal of reality.
Were you up in arms over “Kaddish”, or did everyone just accept an episode about bad Jews?…Yeah, that’s what I thought…
Are you actually serious? It’s not about it dealing with current events, it is about how it dealt with it. Are you happy with the fact that indeed people kill and are killed but the issues of ‘why’ are covered in an episode with country line dancing?
It’s funny you assume I have religious prejudice when I’m an agnostic but whatever. It’s not because people were lenient in the 1990s about how religion and extremism were portrayed that they still need to be today. Because look where we are.
I actually don’t think the episode was racist. I think it was meant to be critic about that racism and prejudice. Unfortunately it was handled with very poor taste by adding funny stunts into it like Mulder doing the honky tonk (?!) Those things didn’t belong in the same episode.
Yes. I don’t believe Chris Carter is racist or at least, not intentionally (which is still bad). I think the chat between that nurse and Einstein is proof of that but like you said, the whole episode was not fitted to discuss such serious issues in a satisfying way.
I think Chris isn’t the kind of mouth-frothing Donald Trump style racist most of us think of. He’s the kind of Regular White Guy who has enjoyed so much privilege his entire life that he can just carelessly pick and choose bits of other cultures to appropriate while congratulating himself for “diversity.”
Babylon Theory
Alright, so I suck at waiting. There’s A LOT going on in this episode, specifically the last scene, that I want to talk about.
*spoilers under the cut*
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http://www.inquisitr.com/2792271/harry-styles-and-louis-tomlinson-is-larry-the-most-important-gay-icon-of-our-time/
A discussion on Larry, fandom and lgbtq issues.
I Still Want To Believe: A Love Letter To The X-Files
New blog: I Still Want To Believe: A Love Letter To The X-Files (Spoilers)
Last night the first new X-Files episode in almost 14 years aired. This morning I watched that episode, and felt like a teenager again.
It feels like a rollercoaster, this last year. The last few years, in fact, with the XF3 campaign and hints that new work had been written. And then the new series was announced and everywhere my friends – many of whom I met through our love of the show – were…
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I’m going through my lit review at the moment, turning a conference paper into a journal article, and the section I’m reading along with a tweet from a friend reminded me that I’ve been meaning to write about actor intertextuality for a while. Given the focus of the PhD has shifted a bit since 2013 I thought I’d write this up here for anyone who might be interested.
During one of the #tweetmythesis hashtags on Twitter I tweeted the following:
The concept of actor intertextuality, which I’d only coined to fit the 140 character limit on Twitter, generated some interest and to elaborate on what I meant by it I said:
What I was thinking about in particular when I wrote this was the attitudes of fans and the media to Gillian Anderson’s portrayal of Stella Gibson in the BBC series The Fall, and to a lesser extent David Duchovny’s performance as Hank Moody in Californication. Anderson and Duchovny are best known for playing FBI agents Dana Scully and Fox Mulder on The X-Files, and they are roles which are credited with turning the two actors into global icons. Duchovny has often talked about his role on the series being a once in a lifetime success, as in this interview with The Express:
I guess at some point, I came to grips with the fact that The X-Files is my unicorn and I’m not going to have another success like that – nor do I really want to. It’s enough to have one phenomenon, I don’t need two. One unicorn is fine.
And Anderson, while she would choose Gibson as her favourite role over Scully, has also acknowledged the role the series playing in her career. Despite both finding success in other areas, the press very much emphasis their roles in The X-Files in pretty much all press discourse. Articles about the two refer to their time on the X-Files, almost always by saying “who found success as so-and-so on The X-Files” or “best known for playing so-and-so on The X-Files“. So when Anderson took the role as Gibson in The Fall it wasn’t much of a surprise to see the press proclaim that ‘Scully’s back!’ Indeed, the same thing happened when she joined Hannibal as Lector’s psychologist.
What I’m particularly interested in, both in terms of press and fan discourse, is how positioning a character in relation to the actor’s previous characters affects how the new character is understood (or decoded, to use Stuart Hall’s model). There are some similarities between Scully, Gibson and Bedelia. Most obviously there’s the fact that Scully and Gibson are both investigators, and that Scully and Bedlia are linked extra-textually by the influence the Silences of the Lambs‘ Clarisse Starling had on Chris Carter when he came up with the character of Scully. But beyond that there are few similarities. What alluding to Anderson’s previous work as Scully does, though, is create comparisons between the characters. So both Scully and Gibson are ‘badasses’, ‘intelligent’ and ‘feminist even if there are clear differences between the two (and not simply that one is red-headed and American and the other is blonde and British). Anderson has said of Scully: “Whenever I think of that show, I think of a 12-year-old pretending to be an agent. Scully felt quite childlike for a long time and a part of that was because I was only in my early 20s when I started to play her. Audiences got to see us both grow up” and fans have appeared to draw similar comparisons between Scully and Gibson.
In an article for The Sydney Morning Herald Marion Hume writes
It is a mistake, of course, to confuse character with actor, yet Gillian Anderson so utterly inhabits her blisteringly intelligent and fiercely sexy detective that when the series ran on the BBC last June, it provoked an internet meme called “What would Stella do?”
And while I agree that it is a mistake to confuse character with actor it is a mistake that many of us make, with mutliple characters and actors. What I would suggest, though, is thatAnderson’s depiction of both characters creates an intertextuality, with the actor rather than the character shaping the texts in relation to each other. Jonathan Gray, in Watching With The Simpsons: Television, Parody and Intertextuality proposes a model of intertextuality that “involves a more complex interaction between texts, seeing texts working on each other’s ground, setting up shop in each other’s offices and working through and sometimes against one another” (2006, p.24) and I think this model applies nicely to actor intertextuality as well, particularly given we can imagine Stella and Scully literally “working on each other’s ground, setting up shop in each other’s offices and working through and sometimes against one another” (much fanfic of this exists).
I’ve talked a fair bit about Anderson but a similar thing happened when Duchovny took on the role of Hank Moody, and again now that The X-Files has been renewed. I remember a friend of mine, in X-Files fandom, lament that she couldn’t watch Californication because Hank Moody was nothing like Fox Mulder. Of course, he wouldn’t be – Hank is a pot-smoking, whisky-drinking, semi-successful novelist while Mulder with his, to paraphrase from Season 2’s ‘Humbug’ “all-America features, dour demeanour and unimaginative necktie” is the quintessential FBI agent. Duchovny’s character record has mirrored Anderson’s in some respects. In addition to Mulder he has played novelist Hank Moody and FBI agent Sam Hodiak. Comparisons have been drawn between Mulder and Hodiak for obvious reasons – both are FBI agents, if agents in markedly different time periods – but few have been drawn between Hank and Mulder, at least when Californication began.
More comparison were drawn between Duchovny and Moody, particularly when Duchovny entered a clinic for sex-addiction, but since promos for the new series of The X-Files started airing the press, and fans, have been comparing Mulder to Hank. In an article for Deadline, Ross A. Lincoln notes
Fittingly, David Duchovny’s Fox Mulder looks worn the hell out and gone to seed, almost as if he spent several years hiding, pretending to be Hank Moody.
And fan discussion on Twitter also conflates the two characters.
Following Gray’s explaination of intertextuality, intertextuality works via texts including references to other texts, and so joining a network, becoming only part of a broader meaning. Duchovny as text joins the network of the characters he has played, but – as with Anderson – only specific characters. Duchovny functions as an intertext for and between Mulder, Hank Moody and Sam Hodiak in ways that he doesn’t for Twin Peaks‘ Denise Bolton, even though she is also a DEA agent. Similarly, Anderson functions as an intertext for and between Scully, Stella Gibson and Bedelia du Maurier in ways that she doesn’t for Mrs. Havisham or Blanche DuBois. In a similar way Mimi Rogers, who played Diana Fowley on The X-Files, is seen as Fowley by Philes who hated the character in almost every other role she plays.
Another particularly interesting example of actor intertextuality and fan decoding that I want to end with, though, is that of Jamie Dornan. Dornan is known for playing Phil Spector alongside Anderson in The Fall as well as Christian Grey in Fifty Shades of Grey. The characters are, in some respects similar, but responses to both texts have mirrored responses to Anderson and Duchovny.
The conflation between Spector and Grey relies on Dornan as he plays both characters, but it also means that viewers decode the texts different, having seen both The Fall and Fifty Shades because of his involvement.
These are only some preliminary thoughts when I’m arguing for actor intertextuality in this blog then, and there are still things that need to be considered. This doesn’t apply to all actors or all roles, but why not? Would viewers who weren’t familiar with Mulder and Scully feel the same way about Gibson and Moody, and if not what role does familiarity with a text or actor play? And what effect does actor intertextuality have on the different texts – in what ways might season 10 Mulder be seen differently after Hank Moody’s existence that he would be without it?
New blog: On actor intertextuality and fan decodings. #xilfes #hannibal #thefall #fiftyshades I'm going through my lit review at the moment, turning a conference paper into a journal article, and the section I'm reading along with a tweet from a friend reminded me that I've been meaning to write about actor intertextuality for a while.
2015: Year in Review
New Blog: 2015: Year in review #phdchat #blog #fanphd #review
Once again it’s the 31st of December and once again I can’t believe how quickly this year has gone. It’s odd, in some ways, writing a year in review post at the end of the year because there’s so much to forget, and so much of what you write and say is coloured by the last few weeks of the year (which in my case have involved my mother’s surgery, illness and death in friends’ families and a busy…
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We’ll see you January 24.
Shabby Geek Anime Box Review
New blog! Shabby Geek Anime Box Review
I’ve been following a few geek subscription boxes on Facebook for a while now, while I debated whether to sign up, and one of those is Shabby Geek. They posted about a deal where if you paid for six months you’d get another two months free, and the photos they’ve posted of their personalised boxes looked great so I thought I’d give it it a go. I have ordered a personalised box off them as well…
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