Accurate!!! on We Heart It - http://weheartit.com/entry/166167132
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@modernonlinefanculture
Accurate!!! on We Heart It - http://weheartit.com/entry/166167132
Martens, Marianne (2011): ‘Transmedia teens: Affect, immaterial labor, and user-generated content’, Convergence: The international Journal of Research into New Media Technologies, 17(1): 49-68, ISSN: 1354-8568, SDUB-e
Link til ebog - måske brugbar i forbindelse med metode?
Fifty Shades of Grey: A great beggining for a great trilogy.
WHOEVER DID THIS IS MY HERO.
The HP allience nye initiativ
Harry Potter Alliance uses Hunger Games marketing for social justice.
The Odds In Our Favor campaign starts today.
Mockingjay Part 1, the third film in the Hunger Games series, premieres this week. With all eyes on this game-changing story, it’s the perfect time to take back the narrative.
The Hunger Games explores themes of economic inequality and government corruption that parallel issues prevalent in our world. It would do the trilogy a great disservice to disregard that commentary, to gossip about relationships and appearances, to capitalize off the shock value. Unfortunately, that’s exactly what’s happening.
So we’re taking this into our own hands.
We want to hear your stories - the daily realities, the struggles, and the triumphs big and small. The ways race, gender, sexual orientation, bodily status, familial origin, and more intersect and inform how you’re treated. Economic inequality manifests itself in our daily lives and yet even alluding to it is frowned upon. Now is the time to shine a light on it.
Let’s do just that. Share your stories. Own your experiences. See how the catharsis of telling your truth can educate, empower, and effect change. If the gamemakers are going to perpetuate the culture of silence, it’s up to us to raise our voice.
Tell your story here or by tweeting, instragramming, making a video - whatever you do, tag it #MyHungerGames to include it in the discussion. We’ll be highlighting our favorites here and on our We Are The Districts blog.
Let’s shift the odds into our favor.
Casepræsentation - The Surge Movement
Surge (sodavand produceret af Coca-Cola)
1996-2002
Kultfænomen i 90’erne.
Målgruppen var de lidt vilde unge i aldersgruppen 12-29. Med Coca-Colas ord var det sodavanden for de unge “do’ers not dreamers”.
Blev et hit i skater-miljøet.
Relanceret på det amerikanske marked 15. September 2014 efter fan-pres fra The Surge Movement.
The Surge Movement
Facebook fanside med mere end 160.000 likes
Lavede i årene 2011-2014 forskellige former for fanaktivisme:
Video, der opfordrede fans til at henvende sig til Coca-Cola og kræve Surge tilbage
Billboard-annonce med teksten “Dear Coke. We couldn’t buy Surge, so we bought this billboard instead”
Surge Days-telefonopkald
Teoretisk grundlag
Vi arbejder ud fra en idé om at Abercrombie & Longhurst’s fankategorier/fandefinitioner ikke er fyldestgørende for vores case.
Foruden Abercrombie & Longhurst inddrager vi sandsynligvis også Fiske’s fankategorier.
Hvordan passer teorierne på casen?
Specifikt i forhold til Facebook og producentens hjemmeside.
I forbindelse med det 'Blizzard' der blev snakket om sidste gang- eventuelt relevant at finde Crawfords artikel? production. Given these historical, conceptual links between fandom and textual productivity, it is perhaps unsurprising that this Fiskean term has continued to possess currency in contemporary fan studies. In Video Gamers, Garry Crawford suggests that aspects of gamer activity are strongly akin to fans’ textual productivity: ‘The consideration of … textual productivity … aligns the analysis of video gamers with previous research on media audiences and fan cultures’ (2012: 120). Under the banner of textual productivity, Crawford considers such diverse activities as ‘the production of websites, mods and hacks, private servers, game guides, walkthroughs and FAQs, fan fiction and forms of fan art’ (ibid.), distinguishing between gamers’ textual productivity which predominantly focuses on game mechanisms (walkthroughs, hacks, modifications) and video game narratives (fan fiction, fan art). Though this line may be somewhat blurred (Crawford 2012:129 and 132), it is nevertheless apparent that writing fan fiction or creating fan art draws on a rather different skillset, and different forms of competence, compared to ‘modding’ (or modifying) the code of a game.
Matt Hills ”Fiske’s ‘textual productivity’ and digital fandom: Web 2.0 democratization versus fan distinction?”
http://www.participations.org/Volume%2010/Issue%201/9%20Hills%2010.1.pdf
(via whoviandk)
In both the literal and metaphorical senses, it seemed as if 1970s America was running out of gas. The decade not only witnessed long lines at gas stations but a citizenry that had grown weary and disillusioned. High unemployment, runaway inflation, and the energy crisis, caused in part by U.S. dependence on Arab oil, characterized an increasingly bleak economic situation. As Edward D. Berkowitz demonstrates, the end of the postwar economic boom, Watergate, and defeat in Vietnam led to an unraveling of the national consensus. During the decade, ideas about the United States, how it should be governed, and how its economy should be managed changed dramatically. Berkowitz argues that the postwar faith in sweeping social programs and a global U.S. mission was replaced by a more skeptical attitude about government's ability to positively affect society.From Woody Allen to Watergate, from the decline of the steel industry to the rise of Bill Gates, and from Saturday Night Fever to the Sunday morning fervor of evangelical preachers, Berkowitz captures the history, tone, and spirit of the seventies. He explores the decade's major political events and movements, including the rise and fall of dtente, congressional reform, changes in healthcare policies, and the hostage crisis in Iran. The seventies also gave birth to several social movements and the "rights revolution," in which women, gays and lesbians, and people with disabilities all successfully fought for greater legal and social recognition. At the same time, reaction to these social movements as well as the issue of abortion introduced a new facet into American political life-the rise of powerful, politically conservative religious organizations and activists.Berkowitz also considers important shifts in American popular culture, recounting the creative renaissance in American film as well as the birth of the Hollywood blockbuster. He discusses how television programs such as All in the Family and Charlie's Angels offered Americans both a reflection of and an escape from the problems gripping the country.
Angela Ndalianis artikel om tv-seriers udvikling
Snarry = Harry/snape — H.M.S Illegal substances drarry = harry/draco - S.S guns ´n´ handcuffs dramione = hermione/draco - S.S- leather & libraries hermione = harry / hermione - H.M.S. Pumpkin Pie Heron = ron / hermione - the good ship Huna/Lunarry = harry/luna - S.S. Loonies and lions ...
Bare fordi jeg lige synes I skulle have nogle ship-navne Harry og Snape hedder Snarry!- og deres skib H.M.S Illegal Substances
Drarry
Harry potter universtet er i bøgerne 100 % heteroseksuel. Ikke noget homoseksuelt. De her fanfics omtolker canon - og læser det som værende "homo". Tager citater og ting er eksisterer i den originale tekst. Drarry fanfic følger jenkins formel med indledning, hvor deres forhold etableres, dystobia og tilståelse (ikke utopia) . Man tager et bestemt par briller på og læser teksten på den måde - fx efter viden om at Dumbledore er gay.
"Caugt by surprise" - personerne bliver ikke præsenteret på en typisk maskulin måde. Fokus på emotionelle og feminine aspekter.
Case: Drarry fanfic
Først er Harry den maskuline, men senere skifter rollerne.
Teksten er et godt eksempel på, at Slash er gået fra at være en subkultur til at være mainstream (Jenkins).
Teksten er totalt resistance i forhold til primærteksten.
Mary Sue - the dark side
Når man ikke må copy-paste. Beklager tastefejl
DISKUSSION: Celebrity og slash faction
Den første artikel: Cumberbatch bryder sig ikke om fanfiktion. Han synes, at det er åndssvagt. For ham er det latterliggørende og unødvendigt. Han tager det for personligt.
Den anden artikel kritiserer ham. Det handler ikke om ham som person, men om den person, som han spiller. Fanfiktionen er fra fans til fans (gift economy), og ofte handler det om, at fanfiktionen udfylder et tomrum hos kvinderne. Forfatteren mener, at det er helt okay, og at man ikke skal tage det personligt.
Perspektivering til Fifty Shades of Grey og Christopher.
I forhold til sidste gangs litteratur: Ikke al fanfiktion, men noget fanfiktion blander romantiske og pornografiske genrekonventioner.
Konklusion: Fanfiktion er en udfordring af samfundets generelle kønsnormer og seksualitetsnormer. Men det forstår folk som Cumberbatch ikke.