In positioning the series as fan fiction, Hannibal show runner Bryan Fuller and his team claim the identity and ethos of the feminine-gendered fan, a position that allows them to intertextually and ardently acknowledge both the practices and the affect of its primarily female fandom.
Adrienne Shaw explores how academics, fans, and industry professionals are all laborers of love and how a coalitional attitude could benefit all parties in our quest to engage with our beloved media objects.
In the end, while individual plot points, objects, and places are important for fans to recognize, the most successful approach seems to come about when the writer extrapolates the character’s underlying identity, exploring those aspects that remain the same in the new setting, and how they will manifest.
I like active viewers/readers, and while I don’t think that authors are dead, I don’t think they should run after their texts telling us what they mean. A good text should show me its myriad meanings, and great texts tend to contain multitudes.
For the most part, fan fiction is like porn—we know it when we see it. And yet when asked to delineate its boundaries, the genre is surprisingly hard to categorize.