Pakizer 1 Victoria Pakizer Professor Grajeda ENG 3073:0002 11 December 2012 The Good, the Bad, the Future,

and the Past: Internet and Fandom Cultural populism is John Fiskes answer to the Frankfurt theory. The Frankfurt theory believes consumers digest whatever the cultural producers tell them too and that mass culture has made slaves of everyone. Theodor Adorno and Max Horkheimer, the Frankfurt theorys founders, state this inescapable force is processed by commercial agencies so that they give an artificial impression of being in command (125). They believe cultural producers only give the illusion of choice. John Fiske, however, believes consumers are not slaves to mass culture but are selective in their consumption of culture and are cultural producers. According to Fiske, If the cultural resource does not offer points of pertinence through which the experience of everyday life can be made to resonate with it, then it will not be popular (129). Fiske argues that not everything companies produce becomes popular; the text must be relevant to the consumers life. He gave examples to prove his theory. One of his examples involved the television show Prisoner. Students drew parallels between the inmates and prison guards relationship and their relationship with teachers (132). The students were interpreting the show in a way that was relevant to their own lives, not just the way the cultural producers presented it. Another point Fiske made was the productiveness of fandoms (147). He argued that, because of fan art, filk (fan-made music), and fanfiction, the consumers became producers. Fans took the original text and interpreted it as they desired, creating a whole new text. Fandoms and their produced texts have begun to receive mainstream attention with the emergence of the cultural phenomena

Pakizer 2 Fifty Shades of Grey. E. L. James erotica novel started as a piece of Twilight fan fiction. While this is not the only case of someone starting as a consumer and becoming a published producer, it is one of the most successful and well-known examples. Fandom seems to have taken over. With TV shows such as The Big Bang Theory, the success of Marvels superhero movies, and Doctor Who shirts in every other store, fans and their culture are proving they are here to stay. The Internet has caused an explosion of fan culture and fan created works. However, fandom did not begin with the Internet. While the Internet did not create fandoms, it caused many changes both positive and negative and may continue to change fandoms fundamentally. However, the heart of what a fandom is will most likely remain the same through the changes. Fandoms existed before the Internet. The origins of fandom are traced back to the early 19th century when people gathered by the thousands to view sports events (Ohmann 18). These were not the regularly scheduled sports of today, but single events such as a horse race between two champions. Richard Ohmann, a well-known scholar in mass culture studies, stated these sports events were more comparable to the public feats of Eviel Knievel than a true mass culture (18). He claims the first example of mass culture were dime novels because the experience could be repeated indefinitely (22). These dime novels were formulaic and genre specific. One of these genres was science fiction. The science fiction fandom began when science fiction did (Gooch 14). Betsy Gooch, a professor at Berkley Community School, believes the fandom became noteworthy in the late 1920s when pulp magazines were introduced (14). These magazines, commonly known as fanzines, were the main way fans communicated during the beginnings of fandom. The first fanzine was called The Time Traveler and was produced around 1930 (Southard 19).

Pakizer 3 The science fiction fandom only grew larger, and in 1934 the Science Fiction League was founded and helped organize a fanbase (19). It became even more organized in 1937 when Donald Wollheim began the Fantasy Amateur Press Association (FAPA) (20). This association gathered fanzines and distributed them to other members. Usually, fanzines published fan fiction. However, in 1938, Sam Moskowitz decided to write a different kind of fanzine (20). His fanzine, New Fandom, included articles and letters about science fiction. This caused producers and publishers to pay more attention to fan concerns (20). Another way fans communicated before the Internet was through science fiction conventions or cons. When the first con was held is debated (Gooch 15). Some fans argue a meeting on October 1936 in Philadelphia was the first convention. Another group argues that meeting was not officially a convention and that a meeting in Leeds in January of 1937 was first (15). Either way, the first convention was held in the late 1930s. The science fiction fandom only grew larger. Henry Jenkins, a well-respected media scholar, notes that by the 1960s, science fiction had grown to include more and more topics (Media and Imagination). Clearly, through fanzines and conventions, fandom existed before the Internet. Despite the growing popularity of fandom, people who were fans of genres that attracted fandoms such as science fiction, fantasy, or anime, still felt like outcasts. Charles D. Reed, a graduate student at the University of Nebraska, describes a fans struggle to find other fans, Akane had to rely on a lot of face-to-face interaction in order to keep up with the anime community in the mid 1990s. Unlike today where people can order or even watch movies over the Internet, Akane had a bit more difficulty in finding things she would be interested in (30). Not only was finding what she wanted difficult, but Reed states she had difficult finding people who liked the same shows she did (22). This was not the story

Pakizer 4 of one fan but many. Because of this, members of a fandom were some of the first people to use the Internet. According to Nancy K. Baym, a professor at the University of Kansas, the Internet was built around communities at first and social networks came later (n.p.). Fandoms were some of those first communities built on the Internet. Because of the Internet, there are myriads of positive changes within fandom. One of the most prominent changes is the new level of connectivity. According to Joseph Chaney, a professor at Indian University South Bend, before the rise of the WWW, making the right connections and working ones way into a network of fans and those who know things, could be difficult and time consuming. The Internet and the WWW have had a profound impact on television fandom by facilitating the making of connections between fans (n.p.). Because of the Internet, fans are able to incorporate themselves into their fandom faster and more thoroughly. The Internet has also made it easier to be in multiple fandoms (Gooch 21). Before the Internet, fans had to focus on one or two fan communities because of economic and time constraints. However, due to the Internet, fans are able to access several fandoms from the same outlet: their computer when they used to have to buy multiple fanzines and attend various conventions (21). In addition, exhibiting a fan-created work, such as a piece of fanfiction or fan art, is easier than ever (21). Anyone with an Internet connection, email, and password can create an account on websites such as FanFiction.net or DeivantArt.com where fans are allowed to post their creations. The anonymousness of the Internet is also an improvement (22). Fans can participate in whatever fan activities they desire more covertly and avoid judgment. One commonly sited example of this is slash fanfiction. Written primarily by women, most slash fanfiction is about two heterosexual male characters written in a homosexual relationship. Many of

Pakizer 5 these works are sexually graphic and most fans would be, understandably, embarrassed to admit to writing or reading such works. Gooch states, the internet, however, allows female fans a means in which to explore their sexuality without risk of this exploration negatively affecting aspects of their everyday or mundane lives (23). The Internet allows these fans to enjoy this fan practice, despite the fact society has not accepted it yet, and not face ridicule. This is just one example of many fan practices that are more enjoyable when society is not aware which individuals are practicing due to the anonymousness of the Internet. Another improvement due to the Internet is the participation of women in fandom (9). Most fanzine articles were written by and for men (9). However, since the Internet era, women have surpassed males in some fandom areas such as fan fiction writers and readers (9). According to Gooch, Passing online is extremely easy, and yet women are highly visible and accepted in cyber-fandom (22). While the Internet is not the sole reason for the increased acceptance of women, it was one of the factors through exposure to other cultures and ideas. Women are not the only demographic that has benefited from the fandoms new acceptances. Exposure to Japanese anime and other cultural works has caused a larger acceptance of homosexual relationships within fandom (10). Another positive addition to fandom because of the Internet is more variation. Baym discussed that without the Internet the Swedish indie music fandom could arguably not exist outside of Sweden (n.p.). She explains how the Swedish indie music fandom shared information and promoted bands through the Internet, which included large music sharing websites such as Lastfm.com and blogs dedicated to providing MP3s of various Swedish bands. This is just one example of how the Internet provides fandoms with variety, in this case the indie music fandom. A higher level of connectivity, allowing fans to participate in multiple

Pakizer 6 fandoms, the ease of which fans can exhibit their works based on the original text, the anonymousness of the Internet, the participation of more types of people, new formed acceptances, and a larger variety are only some of the ways the Internet has improved fandom. While there were many positive changes, not everything about the Internets changes are beneficial. The openness and anonymousness of the Internet has had positive affects, but there have been negative consequences as well. More people means more arguments. While fans would love to paint fandoms as a tight-knit community of accepting people where someone can be whoever they want, that is not always the case. Fandom arguments are commonly referred to as fan wars, fandom wank, and flame wars. According to Jenkins, Often, so-called flame-wars erupt over places where opposing interpretive communities rub against each other (qtd. in Gledhill and Williams 176). Due to the openness of the Internet, people from all over the planet and all walks of life participate in fandom. This leads to more variety in interpretation, and more arguing (176). Jenkins reports that some fans may go underground to protect themselves from harsh response (177). Before the Internet fans did not have the means to communicate as freely as they do now. Most fans would not get in a screaming match in the middle of a public convention, but under the cover name of FireflyForever26, they can argue all they want without ever having to take responsibility in real life. Therefore, the openness and anonymousness of the Internet has chased some fans right out of the fandom. Another issue that arose due to the Internet is the legal status of fanfiction. This has caused wars between fans and the original creator in some cases. One such case took place in 2000 when Anne Rice, author of The Vampire Chronicles, stated she did not condone fan fiction

Pakizer 7 and even went as far as sending fans who had written fanfiction about her characters emails asking to remove their stories (Gooch 26). Authors are not the only people fans have to argue against. Companies who own the copyright of the original material force fan websites to shut down. Jenkins claims, Foxs lawyers took down dozens of Buffy the Vampire Slayer fan sites, and nobody even blinked because such saber rattling has become a regular occurrence (Digital Land Grab). Some fans, such as those who started Harry Potter websites called Defense Against the Dark Arts and PotterWar, are dedicated to fighting off the companies trying to limit what fans are allowed to do with copyrighted characters (Ranon 442). There are two sides to the argument. Those who support fan fiction and other fan practices claim fans are just upholding the traditional folk practice of retelling stories. Jenkins states, The difference is not that fans adopt narratives from other sources and retell them in their own terms. Shakespeare did that. So did Homer. The difference is that fans operate in an age where corporations claim exclusive ownership over core cultural narratives (qtd. in Gledhill and Williams 175). Those who support fanfiction believe corporations are hindering the creative process. Those against fanfiction argue fans are breaking copyright rules (Ranon 431) and that companies are losing money because fans are reading fanfiction instead of original works (450). Despite all this, there have been no court cases featuring fanfiction (Jenkins Digital Land Grab). Legality has not been the only concern brought about by fanfiction. The ease of access to fanfiction does not just apply to adults. Minors can easily read NC-17 rated works. This is a huge problem in the Harry Potter fandom because the books were written for children, but adults participate in the fandom as well (Gooch 27). Usually, author J. K. Rowling is a supporter of fandom. However, she has stated this aspect was a matter of concern for her (27). She even

Pakizer 8 asked a website containing sexually explicit works about her characters, restrictedsection.org, to shut down (27). Websites and authors have responded to this complaint by banning explicit works, forcing warning labels on restricted works, and removing such works from general searches (27). Most believe the attempts at limiting access to pornographic fan work have been ineffective (28). Some, such as Jenkins, believe the Internet should be left alone. He believes that, by restricting the Internet, children will no longer see it as a safe place to express their concerns and will look to other outlets to express them instead (Kids Are All Right). There is no visible solution in the near future. While the Internet has brought numerous positive changes to fandom, negative side-effects such as more inter-fandom arguing, copyright fights against authors and companies, and minors participating in NC-17 fan practices have occurred as well. The Internet has changed fandom in positive and negative ways. Because of the Internet, the future of fandoms may look vastly different. The lines between fan and producer are growing smaller because of the Internet. The TV show Supernatural has broken the fourth-wall multiple times, having the characters read books about themselves and attending a Supernatural convention. The show has portrayed fan practices such as fan fiction and cos playing (dressing and acting as characters) as well. While some fans thoroughly enjoyed watching the producers poke fun at them, others felt that the fandoms safe space was threatened (Larsen qtd. in Jenkins Part Four). Katherine Larsen, a professor at George Washington University, states during her interview with Henry Jenkins, As far as protecting the safe space of fandom, I dont think it was ever really in jeopardy. She believed the fan anxiety was over others who watched the show finding out that they wrote fan fiction or cos played and the judgment that would ensue. Others seem

Pakizer 9 to think differently and that, the more TV shows break the fourth wall, the more lines will become blurred between fans and producers (Jenkins Part Four). Another concern about fandom brought about by the Internet is the ease of which fans communicate with producers and actors because of websites like Twitter and Facebook (Jenkins Part Four). When asked about the new forms of communication Larsen responded, I would caution against reading too much into the personal exchange or the power of Twitter and Facebook. The technology is quicker, more immediate, and gives the illusion of intimacy, but by and large there are still anonymous exchangesthe 21st century version of the snail mail fan letter. However, she stated this right after discussing how close the relationship between the fans and producers of Supernatural is. She states, What we found most surprising was how appreciative the production side was of the fans and how normalizing the encounters were between fans and producers at ever level (qtd. in Jenkins Part Four), a sentence that could not have been said about fandom prior to the Internet. Only time will tell how close the relationships between fans and producers will become and what effects it may have if any at all. While fans have always had a voice, they have almost never had personal relationships with producers. Between that and fourth-wall breaking threatening the destruction of the safe space of fandom, what it means to be in a fandom may be fundamentally different in a few years. Despite the Internets changes, at its heart, fandom remains the same. The Internet has changed how fandom works, not what fandom means. Jenkins states fandom is an interpretive community and that one way to understand what we mean by an interpretive community would be to think about net discussion groups as a place where people exchange their views on a common topic (qtd. in Gledhill and Williams 176). This

Pakizer 10 summary of fandom applies to pre-internet fandom and post-internet fandom. What fans did in letters to fanzines and at conventions in the 1930s, fans do on the Internet today. People were writing fanfiction as long as fandom has existed. The only difference is in the 1930s it was published in fanzines and in the 2000s online. The same logic applies to all other fan practices. Fandom is still comprised of a group of people who are devoted to one text or object. In some cases, they are still devoted to the exact same shows such as Star Trek and Doctor Who. The reasoning behind joining fandoms remains the same as well. Gooch states, the main reason fans participate in fandom is to find a place where they will be accepted for their activities that are considered fanatic by the normative society (20). Fan fiction, cos playing as, and the level of time given to thinking about and debating texts was considered strange in the 1930s and it still is today. Even if nerdy is the new cool in some circles, fans still create fandoms because of a longing for acceptance and finding people who enjoy the same things they do. Fandom still has the same sense of community. If anything, the Internet has just enhanced the feeling of community because fans can communicate more quickly with one another. If the fundamentals of fandom can remain the same despite something the Internet, it will, most likely, remain the same despite some shows breaking the 4th wall and closer relationships with producers. Even though the Internet has brought many changes, both positive and negative, fandom has, for the most part, retained its core values. Fandom existed before the Internet did. The Internet has changed fandom in both positive and negative ways. As of right now, the core beliefs of what it means to be a fan remain the same but, with online communication techniques, the fundamentals of fandom may change. No one can predict the future, not even science fiction fans. There is no way to

Pakizer 11 predict what is the next big thing to happen in fandoms. But, as history shows, at its core, fandom will, most likely, remain the same.

Pakizer 12 Works Cited Adorno, Theodor and Max Horkheimer. Dialectic of Enlightenment. NY: Continum, 1986. Print. Baym, Nancy K. The New Shape of Online Community: The Example of Swedish Independent Music Fandom. Kuscholarworks.ku.edu. The University of Kansas. 2007. Web. 9 Nov. 2012. Chaney, Joseph. Sci Fi TV Fandom: The Influence of the Internet. unm.edu. The University of New Mexico. 15 Feb. 2002. Web. 15 Nov. 2012. Fiske, John. Understanding Popular Culture. Boston: Unwin Hyman, 1989. Print. Gledhill, Christina and Cinda Williams eds. Reinventing Film Studies. NY: Oxford UP, 2000. Print. Gooch, Betsy. Communication of Fan Culture: The Impact of New Media on Science Fiction and Fantasy Fandom. smartech.gatech.edu. Georgia Institute of Technology. 6 May 2008. Web. 9 Nov. 2012. Jenkins, Henry. Digital Land Grab: Media Corporations are Stealing Our Cultural Heritage. Can We Take it Back?. technologyreview.com. MIT Technology Review. 1 March 2000. Web. 12 Nov. 2012. ---. Fan Studies at the Crossroads: An Interview With Lyn Zubernis and Katherine Larsen (Part Four). henryjenkins.org. Henry Jenkins. 12 Sept. 2012. Web. 13 Nov. 2012. ---. Media and Imagination: A Short History of American Science Fiction. web.mit.edu. Massachusetts Institute of Technology. 7 July 1997. Web. 12 Nov. 2012. ---. The Kids Are All Right Online: The Web Offers Many Teens a Refuge. Adult Attempt to Make This Haven Safer Will Diminish Its Value. technologyreview.com. MIT Technology Review. 1 Jan. 2001. Web. 12 Nov. 2012.

Pakizer 13 Ohmann, Richard. Selling Culture: Magazines, Markets, and Class at the Turn of the Century . NY: Verso, 1996. Print. Ranon, Christiana Z. Honor Among thieves: Copyright Infringement in Internet Fandom. Law.hofstra.edu. Maurice A. Deane School of Law. 2006. Web. 13 Nov. 2012. Reed, Charles D. Who are the Otaku? Exploring the Evolution of Fandom from a Narrative Perspective. academia.edu. University of Nebraska. n.d. Web. 9 Nov Southard, Bruce. The Language of Science-Fiction Fan Magazines. American Speech 57.1 (1982): 19-31. JSTOR. Web. 13 Nov. 2012.