Suchergebnisse

A look to the past: reality and Star trek's multiple histories -- Telling tales of the future: Star trek's examplary narratives -- Creating and comparing myth: Star trek and Star wars -- 'For we must consider that we shall be as a city upon a hill, the eyes of all people are upon us': the American Jeremiad and Star trek's puritan legacy -- 'A reason to live': Star trek's utopia and social change -- Help when times are hard: coping with trauma through the Star trek community -- The pleasure of the trek: confessions of self-improvement and individualism -- Poles apart: future time, Deep space nine and Enterprise's 'faith of the heart' -- 'Oh my God, it's real!': crossing the frontiers of Star trek fandom in Galaxy quest.

Popular Media Cultures explores the relationship between audiences and media texts, their paratexts and interconnected ephemera. Authors focus on the cultural work done by media audiences, how they engage with social media and how convergence culture impacts on the strategies and activities of popular media fans

"Popular Media Cultures seeks to explore the relationship between audiences and media texts, their paratexts and interconnected ephemera, and the related cultural practices that add to and expand the narrative worlds with which fans engage. The book discusses how audiences make meaning out of established media texts such as Doctor Who, Made in Chelsea and Star Trek, the Sherlock Holmes and Harry Potter franchises, and infamous examples of the horror genre by writing and creating new ones. Authors focus on the cultural work done by media audiences, how they engage with new technologies and how convergence culture impacts on the strategies and activities of popular media fans. This collection brings together leading academics in the fields of film, television, fan and cultural studies to open up and take further the debates surrounding popular media, its producers, its audiences, and the cultures in which they are ultimately located"--

part I. Stereotypes: 1. Contesting Comic Book Guy : stereotypes of the nerd, fan and cult collector in film and television ; 2. Movie magic : collecting, authenticity and the enduring fandom of Hollywood memorabilia -- part II. People: 3. Masculine pursuits? : gender, generation and the fan collector ; 4. Repackaging generation one : genre, memory and the remediation of the Transformers in contemporary fan culture -- part III. Places: 5. From convention space to fan heterotopia : popular fandom and the cult geographies of the San Diego Comic-Con ; 6. Playing with the Force : fan identity, cultural capital and Star Wars toy collecting -- part IV. Spaces: 7. Trading on the popular : shops, megastores, online spaces and the culture of fan consumption ; 8. (Re)constructing childhood memories : nostalgia, narrative and the expanded worlds of Lego fandom.

Abstract

Pokémon, Nintendo's globally recognized transmedia video game franchise, has an established international fan community. Regular releases of new toys, games, trading cards, books, television series, feature length films and now the Pokémon Go mobile app introduce new characters, creatures and extend the Pokémon narrative universe. Although, a consideration of the transmedia aspects of the Pokémon franchise is important, this article focuses more on the relationship between the narrative (the story of Ash's travels meeting new characters and pokémon) and an ever-growing and creative fan culture online. I explore how fans use the narrative structure of the games and television series to create their own fanfic to fill in blanks and gaps in the backstories of characters and develop their own theories behind mysteries surrounding different versions of the games. The prevalence and popularity of these conspiracy theories suggest that fans are in a constant struggle to seek some sort of control over the Pokémon story, finding understanding within the universe of the games. While the Pokémon canon is expanded and routinely added to with new characters and regions created for new games, fan-created content and conspiracy theories serve to weave a more complex narrative web that highlights the importance of fan agency within the gaming community.

Previous studies of music fan culture have largely centered on the diverse range of subcultures devoted to particular genres, groups, and stars. Where studies have moved beyond the actual music and examined the fashion, concerts, and collecting ephemera such as vinyl records and posters, they have tended to remain closely allied to notions of subcultural distinction, emphasizing hierarchies of taste. This paper shifts the focus in music fan studies beyond the appreciation of the music and discusses the popular fan practice of collecting souvenir pins produced and sold by the Hard Rock Café (HRC) within a framework of fan tourism. Traveling to and collecting unique pins from locations across the globe creates a fan dialogue that centers on tourism and the collecting practices associated with souvenir consumption. Collectors engage in practices such as blogging, travel writing, and administration that become important indicators of their particular expression of fandom: pin collecting. Membership requires both time and money; recording visits around the world and collecting unique pins from every café builds fans' cultural capital. This indicates an internationalization of popular fandom, with the Internet acting as a connective virtual space between local and national, personal and public physical space. The study of HRC pin collecting and its fan community suggests that HRC enthusiasts are not so because they enjoy rock music or follow any particular artist but due to the physical ephemera that they collect and the places and spaces they visit.

The Star Trek mission, to go where no one has gone before, has returned us to our own inner spaces. One could see the latest question raised by explorations in terms of how to respond when confronted by an awareness of irreducible difference concerning that which bounds and blinds individuals however they are conceived of and wherever they are. (Blair 1997, 88)

This volume considers world-making as the intersection of the fan pilgrimage experience and the responses of destinations. It examines the emerging field of popular culture tourism and its connection with fan studies and placemaking. It integrates theory and practice and provides evidence-based recommendations for popular culture destinations