Journal articles: 'Science fiction fan culture'

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Yeates, Robert. "Serial fiction podcasting and participatory culture: Fan influence and representation in The Adventure Zone." European Journal of Cultural Studies 23, no. 2 (August 29, 2018): 223–43. http://dx.doi.org/10.1177/1367549418786420.

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New media affords significant opportunities for audience feedback and participation, with the power to influence the creation and development of contemporary works of fiction, particularly when these appear in serialized instalments. With access to creators permitted via social media, and with online platforms facilitating the creation and distribution of audience paratexts, fans increasingly have the power to shape the fictional worlds and diversity of the characters found within the series they enjoy. A noteworthy and understudied example is fiction podcasting, an emerging form that draws on conventions of established media such as radio and television. Despite the recent surge in the popularity of podcasts, little scholarly attention has been given to the format, except to discuss it as either a continuation of radio programming or part of a transmedia landscape for texts which are centred in media such as television and film. This article argues that fiction podcasting offers unique affordances for creating serial works of fiction, taking The Adventure Zone as a case study which demonstrates the power of successful participatory culture. The podcast has grown from modest beginnings to acquire a considerable and passionate fan network, has diversified into other media forms, and, though available for free, is financially supporting its creators and raising substantial amounts of money for charities. Crucial in its success is the creators’ cultivation of an inclusive environment for fans, and a constant attempt to feature characters representative of a diversity of gender and sexual identities, particularly those typically excluded from other science fiction worlds. This article argues that The Adventure Zone and the format of fiction podcasting demonstrate a shift in contemporary culture, away from established mass media programming and towards a participatory, transmedia, fan-focused form of storytelling which utilizes the unique advantages of new media technologies in its creation, development, and distribution.

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Siuda, Piotr. "Cierpliwość fana fantastyki. O tym, czy fan to marionetka czy partyzant." Kultura i Społeczeństwo 54, no. 2 (June 17, 2010): 75–91. http://dx.doi.org/10.35757/kis.2010.54.2.5.

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The article discusses a specific group of the recipients of the media — fans of science-fiction. The author describes two research approaches to sci-fi fans — a pathological approach and a warlike approach. The pathological one shows fans as infantile puppets. According to the representatives of this approach the science-fiction genre is kitsch. Fans are completely tasteless, dumb and easily yield to manipulation by the producers. The second approach opposes this notion. According to the representatives of the warlike approach, fans are quite impatient when it comes to kitsch. Fans often reject a part of a text producers present. Fans are selective — they choose what they think is good and valuable. One could say that the fans are fighting with producers, that they are a guerillas involved in a war. Fans try to pick something up out of a text and create a new fan culture. The author of the article characterizes both approaches, indicates their main assumptions and recognized representatives. It is possible to accept the thesis that a fan is a warlike guerrilla without any reservations? If a cultural industry is currently changing to accommodate the most engaged and participatory audiences, researchers should come up with a new approach. It could portray sci-fi fans rather as engaged in war with producers (but recapitulate ideas of fannish opposition) or once again manipulated. In the near future it is important to decide which way the new approach should take — researching fans of science fiction genre is crucial to understanding audiences in general.

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Smith, Dina, Casey Stannar, and Jenna Tedrick Kuttruff. "Closet cosplay: Everyday expressions of science fiction and fantasy fandom among women." Fashion, Style & Popular Culture 7, no. 1 (January 1, 2020): 29–50. http://dx.doi.org/10.1386/fspc_00004_1.

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Abstract Some American science fiction and fantasy (SF&F) female fans participate in Cosplay or costume play, the global practice of dressing in costume and performing fictional characters from popular culture. Cosplay is typically only socially sanctioned at conventions and other fan events, leaving fans searching for new ways to express their fandom in everyday life. Closet cosplay is one solution in which everyday clothing and accessories can be worn to express fandom. The motivations for wearing everyday fan fashion have been only briefly mentioned by other authors or studied within limited social contexts. Therefore, the purpose of this research was to explore SF&F female fans' participation in closet cosplay as it is worn in everyday contexts. An exploratory qualitative study was conducted using a social interactionist perspective, and Sarah Thornton's concept of subcultural capital and Pierre Bourdieu's theory of cultural capital. Semi-structured, online interviews were conducted with sixteen participants who wore closet cosplay related to SF&F films and/or television series, which included Star Wars, Marvel Comics, DC Comics, Disney films, Harry Potter and anime fandoms like Sailor Moon (1995‐2000). The interview data were analysed using NVivo qualitative analysis software and the constant comparison method. Two themes emerged from the data: the definition of closet cosplay and motivations for wearing closet cosplay. Through examining these themes, it was evident that female SF&F fans used closet cosplay to express a salient fan identity, which enabled them to simultaneously gain subcultural capital and feminized cultural capital.

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Halpin, Jenni G. "You’re an Orphan When Science Fiction Raises You." American, British and Canadian Studies 35, no. 1 (December 1, 2020): 68–85. http://dx.doi.org/10.2478/abcsj-2020-0017.

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Abstract In Among Others, Jo Walton’s fairy story about a science-fiction fan, science fiction as a genre and archive serves as an adoptive parent for Morwenna Markova as much as the extended family who provide the more conventional parenting in the absence of the father who deserted her as an infant and the presence of the mother whose unacknowledged psychiatric condition prevented appropriate caregiving. Laden with allusions to science fictional texts of the nineteen-seventies and earlier, this epistolary novel defines and redefines both family and community, challenging the groups in which we live through the fairies who taught Mor about magic and the texts which offer speculations on alternative mores. This article argues that Mor’s approach to the magical world she inhabits is productively informed and futuristically oriented by her reading in science fiction. Among Others demonstrates a restorative power of agency in the formation of all social and familial groupings, engaging in what Donna J. Haraway has described as a transformation into a Chthulucene period which supports the continuation of kin-communities through a transformation of the outcast. In Among Others, the free play between fantasy and science fiction makes kin-formation an ordinary process thereby radically transforming the social possibilities for orphans and others.

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Latham, Rob. "New Worlds and the New Wave in Fandom: Fan Culture and the Reshaping of Science Fiction in the Sixties." Extrapolation 47, no. 2 (January 2006): 296–315. http://dx.doi.org/10.3828/extr.2006.47.2.9.

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Marshall, Andrea. "Our stories, our selves: Star Wars fanfictions as feminist counterpublic discourses in digital imaginaria." Journal of Fandom Studies 8, no. 3 (September 1, 2020): 277–88. http://dx.doi.org/10.1386/jfs_00024_1.

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Fanfiction has a long and varied history in the Star Wars franchise since it began in 1977 with the debut of the first film, Star Wars Episode IV: A New Hope. The decade of the 1970s created new possibilities for science fiction multiverses and metanarratives; science fiction became an adaptive film genre that could be reimagined with seemingly infinite narrational results. The myriad of genre films that were released in the mid-to-late 1970s revealed dynamic syntheses with horror (e.g. Alien, Invasion of the Body Snatchers and Close Encounters of the Third Kind), franchises that previously had existed solely on television (Star Trek: The Motion Picture) and musical theatre (The Rocky Horror Picture Show). Cinematic audiences became increasingly accustomed to science fiction tropes and themes in film; audience participation in the theatre (e.g. The Rocky Horror Picture Show) expanded to print zines (often with fanfiction) for multiple franchises as well as fan conventions. Fanfiction’s beginnings as an analogue culture dramatically changed with the advent of the internet and the evolution of fandoms as digital cultures. Web-based platforms such as FanFiction.net and Archive of Our Own (AO3) host sundry fan communities’ creative outputs including podcasts, art and, most frequently, fanfiction stories. The release of Star Wars: The Force Awakens in 2015 immediately captured the fandom’s imagination; the animosity and tension between the new villain Kylo Ren (Ben Solo) and protagonist Rey of Jakku particularly fascinated the young adult fans who were lately converted to the Star Wars fandom due to this pairing (known as Reylo within the fandom and within cinematic circles). The newest generations of fans were acclimated to audience participation and paratextual interactions due to their positions as digital natives. The Reylo fan phenomenon particularly erupted into fanfictions as critical data artefacts, even predicting Reylo as a romantic pairing years before the second and third films in the franchise trilogy Star Wars: The Last Jedi and Star Wars: The Rise of Skywalker. The Reylo pairing is just one example of how online Star Wars fanfiction communities expand audience participation to autonomous collective identity formation. This article examines feminist fanfictions in the Star Wars fandom as gendered critical data artefacts, as collaborative communities of practice, and as counterpublic discourses that apply feminist critiques to conventional gender roles within the most recent film trilogy and the fandom itself.

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Collinson, Patrick. "Elizabeth I and the verdicts of history*." Historical Research 76, no. 194 (October 22, 2003): 469–91. http://dx.doi.org/10.1111/1468-2281.00186.

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Abstract Archbishop Matthew Parker feared that Elizabeth would be ‘strangely chronicled’. From her death to the screening of the film ‘Elizabeth’, the life of ‘Gloriana’ has been a subject for all kinds of imaginative fiction. History, too, has traded as much in myth as fact. Elizabeth's first historian, William Camden, was not responsible for the myth, although his translators were. The nineteenth century invented a ‘whiggish’ Elizabeth who identified herself with the destiny of her people, although the leading Tudor historian, A. J. Froude, was not a fan. Post-J. E. Neale and A. L. Rowse, Froude's critical interrogation of the reign has been revived in the latest Elizabethan historiography.

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Ryu, Dongwan. "Play to Learn, Learn to Play: Language Learning through Gaming Culture." ReCALL 25, no. 2 (April 8, 2013): 286–301. http://dx.doi.org/10.1017/s0958344013000050.

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AbstractMany researchers have investigated learning through playing games. However, after playing games, players often go online to establish and participate in the online community where they enrich their game experiences, discuss game-related issues, and create fan-fictions, screenshots, or scenarios. Although these emerging activities are an essential part of gaming culture, they have not attracted much attention from researchers and only a few empirical studies have been done on learning through beyond-game culture. Language learning in particular has not been extensively researched despite the proliferation of game players who speak English as a foreign language within this community. To address how non-native English speaking (NNE) game players participate in language learning through game play and beyond-game culture, three generations of activity theories and a multiple-case study design were employed in this study. The asynchronous computer-mediated discourses were repeatedly reviewed, and email interviews with participants were conducted over three stages. The discourse analysis of interaction data and interview scripts showed how participants were engaged in language learning through gaming culture. First, words or phrases used in game play could be learned while playing games. Second, sentences or discourses could be practiced through interaction with native or more fluent peers in the online community after playing games. Third, these two types of engagement in gaming culture were closely related to influencing language learning through repeated practices and collaborative interactions. In conclusion, language learning through gaming is appropriately understood when ecological perspectives are adopted to look at both sides of gaming culture.

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Korolev, Cyril. "“Tell it to Harry Potter, would you suddenly meet him”: Sf&F Fan Fiction as a Post-Folklore Genre of the WWW Age." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 281–300. http://dx.doi.org/10.31860/2304-5817-2021-1-19-281-300.

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The article examines the current situation in the modern Russian net-literature, where, along with the predominance of romantic fantasy and theso-called Lit-RPG (stories based on computer role-playing games), there is a rise of fan fiction, i. e. amateur fiction based on milestones (literary and cinematic — books, films, TV series, anime, computer games, etc.) of popular culture. As a special subgenre of amateur creativity, fan fiction has emerged in the English-speaking culture in the 1930s, then the emergence of the Internet has contributed to its spread and further development, and in the 1999-2000s a Russian-speaking segment of fan fiction has been formed, significant in volume and diverse in topics. This work examines the genesis of this kind of neterature and reveals the post-folklore nature of modern fan fiction, defines fan fiction as a specific phenomenon of modern popular culture, characterizes the peculiarities of fan fiction as a subject of scientific research, and provides some quantitative characteristics of the corpus of Russian-language fan fiction. The article presents outlines and prospects for further study.

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Samutina, Natalia. "Emotional landscapes of reading: fan fiction in the context of contemporary reading practices." International Journal of Cultural Studies 20, no. 3 (January 28, 2016): 253–69. http://dx.doi.org/10.1177/1367877916628238.

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This article focuses on fan fiction as a literary experience and especially on fan fiction readers’ receptive strategies. Methodologically, its approach is at the intersection of literary theory, theory of popular culture, and qualitative research into practices of communication within online communities. It characterizes fan fiction as a type of contemporary reading and writing. Taking as an example the Russian Harry Potter fan fiction community, the article poses a set of questions about the meanings and contexts of immersive reading and affective reading. The emotional reading of fan fiction communities is put into historical and theoretical context, with reference to researchers who analysed and criticized the dichotomy of rational and affective reading, or ‘enchantment’, in literary culture as one of the symptoms of modernity. The metaphor of ‘emotional landscapes of reading’ is used to theorize the reading strategies of fan fiction readers, and discussed through parallels with phenomenological theories of landscape. Among the ‘assemblage points of reading’ of fan fiction, specific elements are described, such as ‘selective reading’, ‘kink reading’, ‘first encounter with fan fiction texts’ and ‘unpredictability’.

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Zdenkowska, Marcelina. "The comics as an example of fan culture." Kultura Popularna 60, no. 2 (January 31, 2020): 136–47. http://dx.doi.org/10.5604/01.3001.0013.7340.

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In this article I analyze the chosen examples of fan comics. In the first part of the article I describe the history of comics, how and by whom they were created. Then I show the comic’s role as part of Transmedia Storytelling. In the second part I introduce the term fan fiction and I describe the circumstances of the creation of this specific form of fan art. Moreover I write about the most important fan fiction theories. In the last part of the article I analyze 3 selected authors of comics who publish their works on social media platform Deviant Art. Also I describe their style, inspirations and references to original works. Fan comics are a very specific phenomenon. However the many possibilities given by this art is not used by the fans. There are no experiments with a form contrary to the fan fiction literature. On the other hand the selected comics are an exception. Maybe the authors are not very innovative. But the interesting thing is that they use humor and autobiographical themes in an unusual way.

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Abbott, Stacey, Dave Hipple, Catherine Johnson, and Robin Nelson. "Reviews: Why Buffy Matters: The Art of, Sex and the Slayer: A Gender Studies Primer for the Buffy Fan, British Science Fiction Television, British TV and Film Culture in the 1950s: Coming to a TV near You, Selling Television: British Television in the Global Marketplace.bfi." Critical Studies in Television: The International Journal of Television Studies 1, no. 2 (September 2006): 105–19. http://dx.doi.org/10.7227/cst.1.2.15.

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Fang, Jieling. "Functional Character in Fan Fiction: A Case Study of The Lord of the Rings’ Alternative Universe Fan Fiction For Every Evil." Studies in Linguistics and Literature 5, no. 1 (February 5, 2021): p70. http://dx.doi.org/10.22158/sll.v5n1p70.

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From Henry Jenkins onwards, fan fiction study has walked pass almost 30 years and has covered a relatively large field including feminism, queer theory and mass culture, but many scholars still seem to miss the point that fan fiction is firstly a literary text and thus leave its literariness unexamined. In fact, with a high intertextuality and a “poacher” nature, fan fiction can serve as an ideal text to narratology study. This paper, through conducting a case study of The Lord of the Rings’ alternative universe fan fiction For Every Evil, is attempting to unfold fan authors’ literary talent in constructing functional character in the text and use it as a way to deliver personal interpretation to the canon. By applying characters’ known behavior as a method to resolve instability in fan fiction narrative and complete its narrative progress, authors who write alternative universe fan fiction show that this kind of “amateur” writing is worth a closer literary review. It is hoped that through the analysis, the literary merit of fan community can be better recognized, and fan fiction can be treated more as a genre rather than a cultural phenomenon in the future.

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Pérez, Héctor J., and Rainer Reisenzein. "On Jon Snow’s death: Plot twist and global fandom inGame of Thrones." Culture & Psychology 26, no. 3 (April 24, 2019): 384–400. http://dx.doi.org/10.1177/1354067x19845062.

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The death of Jon Snow at the end of the fifth season of the TV serial Game of Thrones prompted an intense reaction among the fans of the serial on social media. Thousands of viewers all over the world contributed to the discussion of the meaning and implications of this event, turning it into a global event in the participatory culture of contemporary seriality. In this article, we propose an explanation of this remarkable cultural phenomenon. Based on a theory of plot twists as surprise structures, we argue that the reactions of fans can be understood as concrete, contextually adapted realizations of the characteristic cognitive reactions evoked by the emotions of surprise and shock caused by unexpected negative events. Our analysis focuses in particular on the contributions of viewers to the establishment of the beliefs disconfirmed by the plot twist and on the cognitive activities that served to adapt their minds to the new reality revealed by the twist, which also included reflections on the aesthetic aspects of the plot twist and the narrative in which it was embedded. By providing a public platform for these reflections, the fan forums allowed the individual attempts to adapt to the plot twist to become a collective endeavor. The study illustrates how universal cognitive mechanisms interact with culturally produced contents to generate similar reactions to a fictional event across the globe.

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Zoriana, Hodunok. "The Physical Discourse of Fan Fiction." PSYCHOLINGUISTICS 24, no. 2 (October 3, 2018): 11–28. http://dx.doi.org/10.31470/2309-1797-2018-24-2-11-28.

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The research of physical discourse, typical characters, stereotypical gender roles of fan fiction’s texts, based on “Harry Potter”, “Supernatural”, “The Song of Ice and Fire”/“The Game of Throne”, is realized in the article. The author uses Psycholinguistics (Frame Method and Free Associative Experiment), Hermeneutics, some elements of Comparative analysis to describe the main characteristics of the personages and explain peculiarities of their sexual interactions. Fan fiction prose is a kind of virtual mass literature, so it has special features inherent to mass literature in general, for example, comfort reading, typical personages in typical dramatic plot, often – happy end etc. The physical discourse is the most important part of fan fiction’s texts, because the experience of sexual interactions is desirable for a person and it is a base of human’s life. The frame “body” covers not only sex, but also love and security (for example, to be safe in one’s hands). The most frequent nouns of the frame are “hands/fingers” and “eyes/ gaze”. It is important to note that man’s hands and eyes often show his character. But woman’s eyes and hands realize her emotions and feelings. It depends on stereotypical gender roles of mass culture: man has a function to interact with the world, and woman has a function to safe life inside (to give birth), which is confirmed by the free associative experiment. Physical damages (scars, injuries, deceases – for man; rapes – for woman) make the personages more emotionally close to a reader of fan fiction; show an act of initiation (transition from the fandom text to fan fiction text).

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Bowness, James. "Fictional representations of English football and fan cultures." Soccer & Society 21, no. 2 (October 30, 2019): 253–55. http://dx.doi.org/10.1080/14660970.2019.1687143.

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Jamar, Steven D., and Christen B’anca Glenn. "When the Author Owns the World." 2013 Fall Intellectual Property Symposium Articles 1, no. 4 (March 2014): 959–78. http://dx.doi.org/10.37419/lr.v1.i4.7.

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Fan fiction is amateur writing that imaginatively reinvents a work in pop culture while maintaining the identifiable aspects of the preexisting work. Fans of various books, films, and television series write their own versions of the stories and post them online in fan fiction communities. Fan fiction as practiced today is a way for fans to creatively express themselves and become integrated into the story and world they love. The stories range from highly derivative works, where relatively few plot points are changed, to entirely new plot lines using the same world and characters of the original, underlying work. Some provide backstories about existing characters, and some are more in the nature of sequels. Some are quite original works more in the nature of “inspired by” than “derived from.”

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Hudoshnyk, Oksana, and Valeriia Iarovkina. "FAN FICTION AS ALTERNATIVE MEDIA: MODERN COMMUNICATIVE PRACTICES." Bulletin of Lviv Polytechnic National University: journalism 1, no. 1 (2021): 43–48. http://dx.doi.org/10.23939/sjs2021.01.043.

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The modern directions of development of fan fiction as a media system that has acquired the characteristics of self-organization are actualized. Three stages of development of scientific views on the formation of the process of collective authorship are presented: from narrative criticism and isolation of media features of fandoms to comprehension of the facts of the reverse influence of fan fiction on culture and communication processes. On the example of the development of modern fan fiction space, the phenomena that express the communicative nature of the fan fiction community, as well as the network nature of its organization are proposed for analysis: creation of podcast systems; according to the logic of canonical blockbuster universes, the development of complex multi-story stories with the involvement of a large number of participants. The paradoxical phenomena that arise in this media system - the growth of original works not related to rethinking and implementing alternative lines of the canon, the emergence of the phenomenon of the passive spectator - are explained by the influence of general cultural trends and local national practices. Indirectly, the influence of fan-fiction activity is presented in various manifestations and trends: the phenomena of secondary and tertiary communication, the transformation of the fan into canonical texts for further fiction, the active departure of fans outside closed communities and the impact on modern cultural practices. Examples of the latter are illustrated by the use of fan fiction in writing scripts for series; creation of spin-products; taking into account fan thoughts when developing the plots of TV series and books. The prospects of communication research are motivated by the dynamics of growth of the object of study and the complexity of modern methods of analysis. The presence of contradictory tendencies and manifestations problematizes the finality and immutability of already established scientific approaches, forces to turn to technical approaches using big-date methods.

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LIm, Jae-Min, and Dai-Hyun Kim. "Research on the Production and Acceptance of How Fandom Culture ; Focusing on Fan Fiction and Fan Illustration." Cartoon and Animation Studies 42 (March 31, 2016): 315–35. http://dx.doi.org/10.7230/koscas.2016.42.315.

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Kempfert, Kamila, and Wolfgang Reißmann. "Copyright Disclaimers in Fan Media: Cultural Practice and Legal Relevance." UFITA 84, no. 1 (2020): 191–235. http://dx.doi.org/10.5771/2568-9185-2020-1-191.

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Disclaimers are used in diverse contexts of popular culture and for a wide range of purposes. With digitisation in general and the rise of participatory fan culture in particular, copyright disclaimers have become a familiar and common means of communication. In this paper, we define them as paratextual media of cooperation. The practice of disclaiming seeks to establish mutually accepted conditions for publishing works that owe their existence to different stakeholders. Embedded in empirical legal studies, our paper is based on our own empirical research and a thorough legal assessment of findings through the lens of German copyright law. Our qualitative study on disclaimers in fan fiction highlights a distinction between “vertical” forms of disclaimer usage addressing the copyright holders and creators of a reference work, and “horizontal” forms directed to either the potential readers or other fan fiction authors. While in general fan-made disclaimers are of no significant relevance from the perspective of German law, a closer look reveals a stronger impact in cases where creators and copyright holders publicly articulate attitudes towards fan production and/or set specific conditions. Beyond the law, as a practice, disclaiming is part of the nexus of informal rules and community ethics which guide users’ actions.

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Reißmann, Wolfgang, Moritz Stock, Svenja Kaiser, Vanessa Isenberg, and Jörg-Uwe Nieland. "Fan (Fiction) Acting on Media and the Politics of Appropriation." Media and Communication 5, no. 3 (September 22, 2017): 15–27. http://dx.doi.org/10.17645/mac.v5i3.990.

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Fanfiction is the creative appropriation and transformation of existing popular media texts by fans who take stories, worlds and/or characters as starting points and create their own stories based on them. As a cultural field of practice, fanfiction questions prevalent concepts of individual authorship and proprietary of cultural goods. At the same time, fanfiction itself is challenged. Through processes of mediatization, fanfiction grew and became increasingly visible. Third parties, ranging from the media industry (e.g., film studios) and copyright holders to journalism and academia, are interested in fanfiction and are following its development. We regard fanfiction communities and fan acting as fields for experimentation and as discursive arenas which can help understand what appropriating, writing and publishing in a digital culture and the future of writing might look like. In this paper, we outline important debates on the legitimacy and nature of fanfiction and present preliminary results of current research within Germany.

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Scodari, Christine. "Resistance Re-Examined: Gender, Fan Practices, and Science Fiction Television." Popular Communication 1, no. 2 (May 2003): 111–30. http://dx.doi.org/10.1207/s15405710pc0102_3.

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Uzun, Mehmed. "Culture: the nature of fiction." Index on Censorship 30, no. 4 (October 2001): 198–204. http://dx.doi.org/10.1080/03064220108536995.

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Popova, Milena, and Bethan Jones. "Sex and Sexualities in Popular Culture: A Networking Knowledge Special Issue." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 3 (October 17, 2017): 1–5. http://dx.doi.org/10.31165/nk.2017.103.513.

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In November 2015, we held a symposium on the theme of Sex & Sexualities in Popular Culture at the Watershed, Bristol. Having met at a conference on popular music fandom and the public sphere, earlier that year, the symposium was a result of our shared interest in, and work on, sex and sexualities in popular culture. Bethan has worked extensively on antifandom of Fifty Shades of Grey and the moral panics surrounding the ‘irrational’ behavior of One Direction and Twilight fans. Milena’s research focuses on sexual consent in erotic fan fiction, and they have a keen interest in how media and culture interact with the discursive construction of sex, sexualities, and consent. Through the symposium, then, we wanted toafford a platform for postgraduate researchers and creative practitioners exploring the nuances of sex and sexualities within popular culture to meet and share ideas. Of course, the terms ‘sex’, ‘sexualities’ and ‘popular culture’ are not fixed or immutable and while we included suggestions for what papers might examine, the abstracts we received covered a range of topics, from literature and computer games to social media and fan fiction, and advertising to social activism. The symposium was well received both in person and online. We encouraged attendees to live tweet using the hashtag #popsex15, and discussions took place both at the Watershed and on Twitter about consent, the normative depictions of sex andrelationships in popular culture, misogynistic hate speech and intersex characters in literature. The amount of engagement with the ideas and themes coming out of the symposium suggested that a deeper analysis was needed, and this special issue of Networking Knowledge - Journal of the MeCCSA-PGN attempts to engage in more detail with some of these.

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Belmonte Avilés, J. A. "Astronomy. Science or culture? Fact and fiction." EAS Publications Series 16 (2005): 3–28. http://dx.doi.org/10.1051/eas:2005058.

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Tapper, Michael. "Projecting Tomorrow: science fiction and popular culture." Historical Journal of Film, Radio and Television 34, no. 1 (December 23, 2013): 180–81. http://dx.doi.org/10.1080/01439685.2013.872479.

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Fowler, Bridget, Richard Handler, and Daniel Segal. "Jane Austen: The Fiction of Culture." British Journal of Sociology 44, no. 2 (June 1993): 352. http://dx.doi.org/10.2307/591233.

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Brown, Alan S., and Brittany Logan. "How Fiction Puts the Science in Engineering." Mechanical Engineering 137, no. 02 (February 1, 2015): 32–39. http://dx.doi.org/10.1115/1.2015-feb-1.

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This article elaborates how science fiction can inspire innovators in their lives. Adam Steltzner, Curiosity Lead Engineer at NASA Jet Propulsion Lab, reveals that he was a big fan of Larry Niven’s Lucifer’s Hammer, Ringworld, and his Known Space stories. Steltzner says he was intrigued by having a job where somebody might put him in a helicopter and send him somewhere exotic. Science fiction gave him models of smart people using their smarts, usually in some technical way, to figure out problems and exploit that. That model of a smart guy as a hero motivated Steltzner. Science fiction also allows him to ponder what might be. His favorite stories inspire him to figure out what is far out and what might actually be possible. Steltzner says if he could have any sci-fi invention, it would be a flying car. It would give him the ability to use all the three-dimensionality of the world to get around all the bumps and wrinkles and curves.

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Szczepkowska, Ewa. "Recepcja Jane Austen w polskojęzycznym Internecie na przykładzie stron internetowych poświęconych pisarce." Przegląd Humanistyczny 63, no. 2 (465) (October 25, 2019): 105–14. http://dx.doi.org/10.5604/01.3001.0013.5511.

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The subject of the article is the reception of Jane Austen in the sphere of e-culture – its fragment connected to websites and discussion forums concerning the writer. The phenomenon of “Austen mania” starts in Poland mainly because of the popularity of the movies based on Jane Austen prose. These sites and forums played not only a popularizing role, spreading the knowledge about the writers’ biography, work, film adaptations, or Regency, but they also grouped the society of fans who felt the need of being close to the other readers of Austen and some virtual companion in a feminine sphere created by numerous, common interpretation of the behaviour of the heroes of her prose, and also fans’ creativity in the area of gadgets, Regency costumes and literary tourism. The other form of activity is fan fiction, slightly represented on the forums and sites, especially in the comparison to fan fiction around the work of Austen in the English-speaking circle. They are most frequently the translations from The Republic of Pemberley, not prepared, unfinished, fragmentated, or personal attempts of a romance kind, in a style of Harlequin literature and a sentimental tone.

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Park, HyunJu. "Value of Education with Science Fiction for Science Culture." Jounal of Cultural Exchange 10, no. 4 (July 30, 2021): 167–91. http://dx.doi.org/10.30974/kaice.2021.10.4.7.

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Komissarov, Vladimir. "SCIENCE FICTION FAN MOVEMENT IN THE PROVINCIAL SOVIET TOWN IN THE 1980s (Exemplified by “Aelita” Fan Club in Ivanovo)." Vestnik of Northern (Arctic) Federal University. Series "Humanitarian and Social Sciences", no. 2 (April 20, 2015): 22–27. http://dx.doi.org/10.17238/issn2227-6564.2015.2.22.

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Kuzeev, S. E. "ON XENOPHOBIA IN SCIENCE FICTION." Juvenis scientia, no. 1 (2019): 52–55. http://dx.doi.org/10.32415/jscientia.2019.01.12.

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The article deals with how the notion of xenophobia is re-iterated in contemporary science fiction. First, the author provides a brief analysis of xenophobia as a cognitive phenomenon that is, on the one hand, built into the mass culture as an archetypal attitude and, on the other hand, symbolically disguised following the two prototypic scenarios-those of alienation and of appropriation. One of the central arguments of the article is that the quintessential sci-fi “alien” is based on the reinvented image of a Jew in the Western culture, while the narrative of “androids” draws on the historical and emotional experience of black slavery.

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Skelton, Shannon Blake. "Alternate Americas: Science Fiction Film and American Culture." Journal of Popular Culture 40, no. 1 (February 2007): 192–93. http://dx.doi.org/10.1111/j.1540-5931.2007.00372.x.

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Lee, Hye-Kyung. "Between fan culture and copyright infringement: manga scanlation." Media, Culture & Society 31, no. 6 (November 2009): 1011–22. http://dx.doi.org/10.1177/0163443709344251.

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Irmadani, Azara Nafia, Supiastutik Supiastutik, and Irana Astutiningsih. "THE REPRESENTATION OF WOMAN’S OPPRESSION IN LISA SEE’S SNOW FLOWER AND THE SECRET FAN." SEMIOTIKA: Jurnal Ilmu Sastra dan Linguistik 20, no. 1 (February 27, 2019): 14. http://dx.doi.org/10.19184/semiotika.v20i1.12832.

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Snow Flower and The Secret Fan is one type of fiction novel written by Lisa See in 2005. Snow Flower and The Secret Fan tells about the lives of Chinese women in the nineteenth century where women's position was lower than men. In that era, there was a tradition that required women to tie their legs when they were young then caused them to endure unbearable pain because of a leg tie. By tying their legs, they can get married and improve their social status and bring them to a better life. Legs bound are to be sexually pleasure for men to achieve sexual satisfaction. In addition, in that era women were not permitted to get education like men. This problem was the impact of the Patriarchal culture. In the Patriarchal culture, there is a Confucian teaching that is used as a way of life for Chinese people. The teaching requires women to obey men: Father, husband, and later their sons. Therefore, Chinese women live as a second-class. In conducting this research, the author uses Representation Theory by Stuart Hall. Research shows that female oppression is clearly illustrated in the novel through a leg tie. Lisa See realistically describes the real conditions of women's oppression in China in the Snow Flower novel and The Secret Fan.

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Artamonov, D. S. "Media Memory in the Fanfiction Culture: the Image of Peter the Great in Online Literature." Tempus et Memoria 2, no. 1 (2021): 24–33. http://dx.doi.org/10.15826/tetm.2021.1.004.

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The article is devoted to the consideration of the image of Peter I in the online literature. The author uses the concept of media memory to describe the phenomenon of the existence of collective ideas about the past in the media environment. He considers the culture of fanfiction as one of the practices of constructing media memory. Analysis of amateur art texts on the crowdsourcing platform "Book of Fan Fiction" (ficbook.net) revealed the ways in which Internet users build their attitude to history. The review of historical texts about the Peter the Great era showed that the user's ideas about Peter the Great are extremely mythologized, based on stereotypes that are overcome by the free interpretation and actualization of the facts of the past, with the help of images of modern mass culture.

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Nile, Richard. "Pulp fiction: Popular culture and literary reputation." Journal of Australian Studies 22, no. 58 (January 1998): 66–74. http://dx.doi.org/10.1080/14443059809387403.

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Sey, J. "The terminator syndrome: Science fiction, cinema and contemporary culture." Literator 13, no. 3 (May 6, 1992): 13–20. http://dx.doi.org/10.4102/lit.v13i3.760.

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This paper examines the impact of contemporary technology on representations of the human body in American popular culture, focusing on James Cameron’s science fiction films The Terminator (1984) and The Terminator II - Judgment Day (1991) in both of which the key figures are cybernetic organisms (cyborgs) or a robot which can exactly imitate the human form . The paper argues that the ability of modern film technology’ to represent the human form in robotic guise undercuts the distinction between nature and culture which maintains the position of the human being in society. The ability of the robot or cyborg to be ‘polygendered’ in particular, undermines the position of a properly oedipalized human body in society, one which balances the instinctual life against the rule of cultural law. As a result the second Terminator film attempts a recuperation of the category of the human by an oedipalization of the terminator cyborg.

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Nuruddin, Yusuf. "Science fiction as popular culture: A sense of wonder." Socialism and Democracy 20, no. 3 (November 2006): vii—viii. http://dx.doi.org/10.1080/08854300600950194.

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Knight, Graham, and Jennifer Smith. "High-Tech Feudalism: Warrior Culture and Science Fiction TV." Florilegium 15, no. 1 (January 1998): 267–82. http://dx.doi.org/10.3138/flor.15.014.

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"Richard III with aliens" is how Cornell (102) describes "Sins of the Father," an episode of Star Trek: The Next Generation (hereafter TNG) in which the Klingon warrior Worf, son of Mogh, seeks to restore his family's honour by exposing and challenging those responsible for falsely accusing his dead father of treason to the Klingon Empire. Worf is only pardy successful in his quest, and he remains a perpetually marginal figure whose identity is divided by his Klingon heritage, his childhood as a Klingon orphan raised by humans, and his current status as the only Klingon in Starfleet, the military arm of the Federation of Planets, an alliance of Earth and other worlds whose relationship with the Klingon Empire is marked by tension, suspicion and, at times, open hostility. As a result of these divisions and struggles, Worf's family is eventually stripped of its wealth and rank on the Klingon home-world, and Worf's brother Kurn seeks a ritual death as the only way to absolve his own and his family's disgrace.

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Whitaker, Mark P., Richard Handler, and Daniel Segal. "Jane Austen and the Fiction of Culture." Man 27, no. 2 (June 1992): 426. http://dx.doi.org/10.2307/2804084.

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Visočnik Gerželj, Nataša. "Dancing with the Fan." Asian Studies 9, no. 3 (September 10, 2021): 199–221. http://dx.doi.org/10.4312/as.2021.9.3.199-221.

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The article addresses several issues concerning a Japanese fan and the kimonos found in the collection of Ivan Skušek from Slovene Ethnographic Museum. They belonged to Ivan Skušek’s Japanese wife Marija Tsuneko Skušek, and were after her death donated to the museum together with other objects from the Skušek collection. With analysing these items and researching the life of Marija Tsuneko Skušek the article discusses the roles these objects had in transmitting Japanese culture to Slovene audience with a focus on the Japanese dances as one way of transmission. During her life in Ljubljana, Marija Skušek in one way adopted to the Slovene society very quickly, but on the other hand she presented Japanese culture and her identity in several lectures along with Japanese songs, dances and a tea ceremony. With researching the roles and values of these object in the museum collection, the article also discusses the importance of understanding not only the physical appearance of the items and their life, but also the wider background of items and collection, focusing also on the owner of these items in the relation to the collector. It is also important to stress how these objects transformed from daily objects of use to rarefied art after they were handed over to the museum, and within this process their value also changed.

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Andrew Pilsch. "Self-Help Supermen: The Politics of Fan Utopias in World War II-Era Science Fiction." Science Fiction Studies 41, no. 3 (2014): 524. http://dx.doi.org/10.5621/sciefictstud.41.3.0524.

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Parker, Ian. "Psychology, Science Fiction and Postmodern Space." South African Journal of Psychology 26, no. 3 (September 1996): 143–49. http://dx.doi.org/10.1177/008124639602600303.

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This article traces the development of postmodern spaces in psychology and its wider culture through a consideration of new forms of virtual reality represented in science fiction writing. Psychology is a thoroughly modern discipline which rests upon the fantasy of observing behaviour directly. Recently, however, postmodern debates in the discipline have drawn attention to the construction of behaviour and experience in language organized through discourse. A correlative shift toward a postmodern sensitivity to language has also occurred in the neighbouring discipline of psychoanalysis, and discourse analysis thus provides the opportunity to link these two hitherto divided approaches to subjectivity. It is argued that discourse analysis combined with psychoanalysis can be employed to comprehend changes in culture which are anticipated and expressed in science fiction. Psychoanalytic theory is used alongside discourse analysis to read the film Total Recall and stories by Philip K. Dick. The analytic device of the ‘discursive complex’ is used to draw out patterns of meaning that structure the text. It is argued that this form of analysis is particularly appropriate to the subject matter, and to the new forms of subjectivity that necessarily escape the gaze of modern psychology. Virtual reality understood by way of a psychoanalytic discourse reading is able to make explicit the forms of subjectivity that inhabit varieties of postmodern space.

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Morehead, John W. "Theology Engaging Science Fiction: Reflections on Culture as Gender Host." Cultural Encounters 9, no. 1 (June 1, 2013): 75–80. http://dx.doi.org/10.11630/1550-4891.09.01.75.

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McCullough, John. "A Los Angeles Science Fiction Sublime." Space and Culture 17, no. 4 (November 2014): 410–20. http://dx.doi.org/10.1177/1206331214543872.

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This article discusses representations of Los Angeles in science fiction films in the context of the aesthetic tradition of the sublime. The article argues that a Los Angeles science fiction sublime is achieved through representations that feature nature and culture hybrids, elaborate design and special effects (including the destruction of Los Angeles monuments), and detective narratives that provide labyrinthine investigations that challenge our understanding of identity, history, and being. Given that these tendencies have gained prominence only since 1980, the article considers postmodernism as an aesthetic category that can help us understand how Los Angeles spaces are integrated in the neoliberal world system.

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Lucas, Peter. "Bacon’s New Atlantis and the Fictional Origins of Organised Science." Open Cultural Studies 2, no. 1 (July 1, 2018): 114–21. http://dx.doi.org/10.1515/culture-2018-0011.

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Abstract It is a commonplace that science fiction draws inspiration from science fact. It is a less familiar thought-though still widely acknowledged-that science has sometimes drawn its inspiration from science fiction. (Arthur C. Clarke’s idea of geostationary communications satellites is a well-known example.) However, the debt of science to science fiction extends beyond such specific examples of scientific and technological innovations. This essay explores the paradoxical-sounding thesis that science itself, as we now know it, was originally the product of a science fiction vision. At a time when the collective endeavours of early modern researchers amounted to something less than science, Francis Bacon’s New Atlantis (1627) helped show what wonders might be achieved by organised and methodical state-sponsored scientific research. Bacon’s vision was highly prescient: many of the scientific possibilities he sketched have since become realities. It was also highly influential: early modern science bears the characteristic stamp of Bacon’s vision, and that same influence is discernible right down to the present day.

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Vine, Elaine W. "We love to hate each other: mediated football fan culture." Soccer & Society 16, no. 4 (June 24, 2014): 582–84. http://dx.doi.org/10.1080/14660970.2014.931713.

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Pope, Stacey. "English national identity and football fan culture, who are ya?" Soccer & Society 18, no. 1 (August 22, 2016): 154–58. http://dx.doi.org/10.1080/14660970.2016.1223371.

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Pastourmatzi, Domna. "Researching and Teaching Science Fiction in Greece." PMLA/Publications of the Modern Language Association of America 119, no. 3 (May 2004): 530–34. http://dx.doi.org/10.1632/003081204x20613.

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In the dreams our stuff is made of, Thomas M. Disch talks about the influence and pervasiveness of science Fiction in American culture and asserts the genre's power in “such diverse realms as industrial design and marketing, military strategy, sexual mores, foreign policy, and practical epistemology” (11-12). A few years earlier, Sharona Ben-Tov described science fiction as “a peculiarly American dream”—that is, “a dream upon which, as a nation, we act” (2). Recently, Kim Stanley Robinson has claimed that “rapid technological development on all fronts combined to turn our entire social reality into one giant science fiction novel, which we are all writing together in the great collaboration called history” (1-2). While such diagnostic statements may ring true to American ears, they cannot be taken at face value in the context of Hellenic culture. Despite the unprecedented speed with which the Greeks absorb and consume both the latest technologies (like satellite TV, video, CD and DVD players, electronic games, mobile and cordless phones, PCs, and the Internet) and Hollywood's science fiction blockbuster films, neither technology per se nor science fiction has yet saturated the Greek mind-set to a degree that makes daily life a science-fictional reality. Greek politicians do not consult science fiction writers for military strategy and foreign policy decisions or depend on imaginary scenarios to shape their country's future. Contemporary Hellenic culture does not acquire its national pride from mechanical devices or space conquest. Contrary to the American popular belief that technology is the driving force of history, “a virtually autonomous agent of change” (Marx and Smith xi), the Greek view is that a complex interplay of political, economic, cultural, and technoscientific agencies alters the circumstances of daily life. No hostages to technological determinism, modern Greeks increasingly interface with high-tech inventions, but without locating earthly paradise in their geographic territory and without writing their history or shaping their social reality as “one giant science fiction novel.”

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Journal articles on the topic 'Science fiction fan culture'

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