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Intro -- Title Page -- Table of Contents -- Notes on Contributors -- Editor Biography -- Contributor Biographies -- Acknowledgments -- Introduction -- Structure of the Book -- References -- Part I: Histories, Genealogies, Methodologies -- Chapter 1: Fandom, Negotiation, and Participatory Culture -- Negotiated Readings -- Interpretive Communities, Subcultures, and Imaginative Publics -- Fandom as Participatory Culture -- References -- Chapter 2: Foundational Discourses of Fandom -- Mental Intoxication -- Peopling the Self -- Managing the Multitude -- Conclusion -- References -- Chapter 3: Literature Fandom and Literary Fans -- Fandom in Literary Scholarship -- The Birth of US Media Fandom: An Alternate History -- Literary Fandom in The Saturday Review of Literature -- Literary Fan Studies: Moving Forward -- References -- Chapter 4: The Fan Experience -- Founding Fandom: Hugo Gernsback and the Science Fiction League -- Media Fandom and Fan Advocacy -- Fans and Technology: Medium and Message -- Fans and Producers: Beyond Gift Culture -- Conclusion -- References -- Chapter 5: Soap Fans, Revisited -- Fan‐Industry Relations -- Fan‐Object Specificity -- Identities, Practices, and Communities -- Conclusion -- References -- Chapter 6: Not My Lifeblood: Autoethnography, Affective Fluctuations and Popular Music Antifandom -- Autoethnography‐as‐Method and Studying Life Fandoms -- Accounting for Affective Fluctuations -- Lifeblood as Antifandom Object -- Conclusion -- References -- Chapter 7: Representations of Fans and Fandom in the British Newspaper Media -- Fans and Media Representation -- Methodology -- January 2000 -- January 2005 -- January 2010 -- Discussion -- Conclusion -- References -- Chapter 8: Ethics in Fan Studies Research -- Institutional and Organizational Parameters -- Establishing Your Research: Common Ethical Considerations

In this completely revised and updated version of Digital Fandom, Paul Booth extends his analysis of fandom in the digital environment. With new chapters that focus on the economics of crowdfunding, the playfulness of Tumblr, and the hybridity of the fan experience, alongside revised chapters that explore blogs, wikis, and social networking sites, Digital Fandom 2.0 continues to develop the «philosophy of playfulness» of the contemporary fan. Booth's analysis reveals the many facets of the digital fan experience, including hybrid fandom, demediation, and the digi-gratis economy. With a foreword from noted fan scholar Matt Hills, Booth's new Digital Fandom 2.0 shows the power of the fan in the digital age

'Booth's Crossing Fandoms is an original and highly engaging new addition to fan studies scholarship. In analysing the three fan communities that comprise SuperWhoLock fandom Booth offers the reader real insight into what being a fan is all about and the importance of technology, conventions and social media in bringing fans together. Focussing on this fascinating example of a crossover fan community, Booth highlights the continuing affection fans feel and reminds us that 21st century fandom is an industry with financial and cultural clout.' - Lincoln Geraghty, University of Portsmouth, UK This book examines the fan-created combination of Doctor Who, Sherlock, and Supernatural as a uniquely digital fan experience, and as a metaphor for ongoing scholarship into contemporary fandom. What do you get when you cross the cult shows Doctor Who, Supernatural, and Sherlock? In this book, Paul Booth explores the fan-created crossover universe known as SuperWhoLock-a universe where Sherlock Holmes and Dean Winchester work together to fight monsters like the Daleks and the Weeping Angels; a world where John Watson is friends with Amy Pond; a space where the unique brands of fandom interact. Booth argues that SuperWhoLock represents more than just those three shows-it is a way of doing fandom. Through interviews with fans and analysis of fan texts, Crossing Fandoms: SuperWhoLock and the Contemporary Fan Audience also demonstrates how fan studies in the digital age can evolve to take into account changing fan activities and texts

"Fans are everywhere: from Fifty Shades of Grey to Veronica Mars, from Comic-Con to sitcom, from niche to Geek Chic, fans are becoming the most visible and important audience of the twenty-first century. For years the media industries ignored fans and fan activities, but now they're paying attention and a lot of money to develop a whole new wave of products intended to harness the power of fandom. What impact do such corporate media efforts have on fan practice and fan identities? And are the media industries actually responding to fans as fans want them to? In Playing Fans, Paul Booth argues that the more attention entertainment businesses pay to fans, the more mainstream fans have become popularized. But such mainstreaming ignores important creative fan work and tries to channel fandom into activities lucrative for the companies. Offering a new approach to the longstanding debate about the balance between manipulation and subversion in popular culture, the author argues that we can understand the current moment best through the concepts of pastiche and parody. This sophisticated alternative to conceiving of fans as either dupes of the media industry or rebels against it takes the discussion of "transformative" and "affirmative" fandom in a productive new direction. With nuanced analyses of the Doctor Who Experience in Cardiff, the representations of fans in TV shows like Community and films like Fanboys, SuperWhoLock fans' use of gifs, and the similarities in discussions of slash fandom and pornographic parody films, this book reveals how fans borrow media techniques and media industries mimic fan activities. Just as the entertainment industry needs fans to succeed, so too do fans need-and desire-the media, and they represent their love through gif fics, crowdfunding, and digital cosplay. Everyone who wants to understand how consumers are making themselves at home in the brave new world being built by the contemporary media should read this book."--

Abstract
The digital media environment encourages critical engagement with games and fandom. This article examines two media texts that exist at a nexus point between fandom, the media industries and gaming in order to develop an interpretation of ludic fandom. Storium is a collaborative storytelling system reliant on individuals writing characters and situations in a digital storyworld. The managed, ludic properties of Storium mean that while the collaboration is unrestricted, the actual story being told is limited to only certain actions and situations. Investigating Storium stories that develop around (un)licensed media properties, I show how the unfolding storyworld becomes a form of collaborative fan fiction, harnessing and channelling the creative power of fans. Star Wars Rebellion is an officially licensed Star Wars board game developed by Fantasy Flight Games. Like Storium, Star Wars Rebellion illustrates a ludic perception of an official media franchise storyworld. Unlike Storium, Star Wars Rebellion presents an officially licensed world that develops original storylines depending on how it is played. Star Wars Rebellion represents the media industries making a type of fan fiction. Ultimately, this article argues that a corporate hand in ludic fandom means that however playful fandom seems, it is always constrained by corporate interests as fans must 'play by the rules' to engage with playful, digital texts.

The digital environment has opened up new spaces for fans to engage with the production process of their favoured texts. However, fan studies have largely neglected the larger temporal structures undergirding this engagement. In this article, I augment studies of digital fandom by utilizing Bruce Sterling's technosocial concept of the Spime as a means of investigating the relationship forged between the technology of crowdfunding and the affect of particular audiences. The successful Kickstarter campaigns for Rob Thomas and Kristen Bell's Veronica Mars film and Zach Braff's film Wish I Was Here, and the failed Kickstarter campaign for Melissa Joan Hart's film Darci' s Walk of Shame, each illustrate how the entertainers drew (or did not draw) on specific support from the lineage of his or her own fan communities to generate funds and word-of-mouth publicity. These campaigns ultimately illustrate the consequential powers of the fan at multiple nodes within the production process.

Abstract
Fan studies as a discipline is still in its infancy. But even given this nascence, there have been significant shifts in the ways that it has theorized, studied and investigated fans over the first two and a half decades of research. As scholarship, fan studies has moved away from ethnographic investigations of fans as the main object of study to focus instead on the output of fan discourse as the key mode of examination. At the same time, scholars like Henry Jenkins and Matt Hills, both central to the discipline, have opened dialogue about the nature of the fan/academic, often called the 'aca-fan'. This article uses the lens of aca-fandom to analyse fan answers to interview questions at a large Midwestern Doctor Who convention. Fans were asked about the role that fan studies has played in their life, how they perceive the study of fans and whether fan studies as an academic discipline has an effect on their fandom. The fans' answers reflect a critical awareness of fandom but a general ignorance of fan studies. This article argues three points to take away from this. First, fan studies needs to refocus attention back onto fans themselves through ethnographic work. Second, the discipline needs to refocus its output less on esoteric academic titles and more on popular venues. Finally, fans and academics should engage in specific dialogue to open up avenues for new fannish and academic exploration.

Wikis, websites designed for the communal creation of media content, have previously been theorized using the work of Levy (1997) as knowledge communities. In this conception, wikis are seen as storehouses of data that communities can use to organize and explicate their encyclopedic "communal intelligence." In this paper, I expand on Levy's argument to examine the narratological possibilities of wikis. Using as examples fan-created wikis for the cult television shows Lost and Heroes, I show that these media-based wikis highlight the fan community's interactive construction of a narratological database. Using the interactivity omnipresent in wikis, fans articulate a new conception of narrative construction, a conception I term "narractivity."

At a moment when fandom is becoming more visible to mainstream audiences and fan studies interrogates the media industry's appropriation of fannish behavior, it is important not to neglect the local and independent aspects of fan activity. In a rhetorical reading of two independent geek-themed stores, the Who Shop and Alien Entertainment, I analyze the way they appear to harness, market, and generate feelings of fan alterity, a deliberate self-othering of the fan. Fan studies has discussed the mainstreaming of fandom through the lens of major media corporations and marketing campaigns. However, fan studies has rarely addressed the impact of independent, local geek stories on fan experiences. The experience of visiting the stores reinforces a discourse of fan marginality, (re)establishing a uniqueness to the fan identity that the discourse of mainstreaming elides and enlivening the fan experience through historicity and face-to-face activity.

What is the role of the fan scholar in the age of the fan-scholar? I explore fandom as the classroom of the future—that is, as a space and as a culture that may be one of the few places where people are encouraged to think critically, to write, and to make thoughtful and critical judgments about hegemonic culture once formal schooling is complete. The type of critical thinking that can happen in fan environments could benefit our formal educational system. As fans, scholars, fan-scholars, and educators, we need to be more assertive against the encroaching normalization of commercialization, market forces, and neoliberal control over affect, both in education and out of it. We need to teach not just fan studies, but how fandom itself encourages how to be thoughtful fans in a world increasingly hostile to expressions of affect.