In part three of a limited series on Cupcakes, Pinterest, and Ladyporn, contributor Kyra Hunting outlines the anthology's "Bodies" section in order to argue that critical consideration for women's media cultures facilitates a deeper understanding of embodiment in relation to community practices, self-presentation, and technology.
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In the second installment of his two-part series on the state of comic book film adaptations, Mark Gallagher critiques their exploitation of fans' good will, as will as the strain it places on media industry talent and trade coverage.
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In part one of a two-part series on the state of comic book film and television franchises, Mark Gallagher criticizes their exploitation of esoterica and origin stories.
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Mark Lashley notes the rise of fan podcasts within the comedy community by discussing Adam Scott and Scott Aukerman's U Talkin' U2 To Me, and the ways in which performances of fandom are complicated by the hosts' celebrity and industry connections.
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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.
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Peg Lynch, creator and star of Ethel and Albert, recently passed away at the age of 98. Her contributions to radio and early television may not be well known, but materially this forgotten show exists.
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Everybody knows about Kickstarter, which is considered to be world’s most popular crowdfunding platform; however, Kickstarter is only one of an estimated number of over 1,000 platforms worldwide. Patryk Galuszka and Blanka Brzozowska look at MegaTotal, a music-oriented platform implementing a significantly different model than Kickstarter.
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In the third post in our "Digital Tools" series, Elana Levine discusses how she manages audio-visual sources for her extensive research project on the history of U.S. daytime television soap opera.
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Why hasn’t The Wire, which showed us how structural racism and an abusive police department defines black life in Baltimore, translated into collective social action? Why are there only thousands in the streets? Where are the millions of fans of The Wire? And why aren’t they supporting black folks in Baltimore?
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Eleanor Patterson explores the history of hobbyists who collected and traded recordings of classic radio programs in the 1950s, 60s and 70s, considering the cultural significance of a US bootleg radio culture.
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As season five of Downton Abbey airs in the U.S., Twin Cities Public Television’s rebranding efforts inspire an exploration of the expansive U.S. public television phenomenon.
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As a researcher, the rich and creative fandom discursively surrounding a text that does-not-quite-exist yet provides a mélange of data.
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How do forensic fandom practices work when applied to a serialized non-fiction mystery?
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Why do critics claim that only "fanboys" can make sense of Guardians of the Galaxy?
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Beyond the negative discourse generated by the recent DashCon convention are the con's more neglected, productive aspects for female and queer youth.
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