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This book will be of interest to all those who have engaged with hypertext either as creators or as users. They will discover that screen writing has a history going back to a number of avant-garde practices which already incorporated a screen imaginary into the creative work. Readers of this volume will be offered a privileged insight into a debate between detractors and advocates of the new modes of writing and reading and the new means of cultural transmission (CD-ROM, the Internet, digitisation); they will thus be able to weigh up for themselves the assets and illusions, the heuristic merits and politico-commercial issues at stake. May these reflections convert the globe-trotters of hyperspace into knowledgeable navigators!Cet ouvrage intéressera quiconque est confronté à l'hypertexte, que ce soit en tant que concepteur ou en tant qu'usager. Il découvrira ici que l'écrit d'écran a une histoire qui remonte à certaines pratiques avant-gardistes qui avaient déjà intégré un imaginaire de l'écran dans leurs créations. Il entrera de plain-pied dans un débat entre détracteurs et partisans des nouvelles modalités d'écriture/lecture et des nouveaux supports de transmission culturelle (cd-rom, Internet, digitalisation), afin qu'il puisse lui-même faire la part entre les atouts et les leurres, entre les mérites heuristiques et les enjeux politico-mercantiles. Que ces réflexions puissent convertir les globe-trotters de l'hypersphère en navigateurs avertis!

For decades, we've been warned that video killed the radio star, and, more recently, that social media has replaced reading. Nerdfighteria, a first-of-its-kind online literary community with nearly three million members, challenges these assumptions. It is the brainchild of brothers Hank and John Green, who provide literary themed programming on their website and YouTube channel, including video clips from John, a best-selling author most famous for his young adult book, The Fault in Our Stars. These clips not only give fans personal insights into his works and the writing process writ large, they also provide unique access to the author, inspiring fans to create their own fan art and make connections with one another. In the twenty-first century, reading and watching videos are related activities that allow people to engage with authors and other readers. Whether they turn to The Fault in Our Stars or titles by lesser-known authors, Nerdfighters are readers. Incorporating thousands of testimonials about what they read and why, Jennifer Burek Pierce not only sheds light on this particular online community, she also reveals what it tells us about the changing nature of reading in the digital age. In Nerdfighteria, we find a community who shows us that being online doesn't mean disinterest in books.

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com.Over the past half century, computing has profoundly altered the ways stories are imagined and told. Immersive, narrative, and database technologies transform creative practices and hybrid spaces revealing and concealing the most fundamental acts of human invention: making stories.The Digital Imaginary illuminates these changes by bringing leading North American and European writers, artists and scholars, like Sharon Daniel, Stuart Moulthrop, Nick Montfort, Kate Pullinger and Geof Bowker, to engage in discussion about how new forms and structures change the creative process. Through interviews, commentaries and meta-commentaries, this book brings fresh insight into the creative process from differing, disciplinary perspectives, provoking questions for makers and readers about meaning, interpretation and utterance. The Digital Imaginary will be an indispensable volume for anyone seeking to understand the impact of digital technology on contemporary culture, including storymakers, educators, curators, critics, readers and artists, alike.

Rukmini Pande's examination of race in fan studies is sure to make an immediate contribution to the growing field. Until now, virtually no sustained examination of race and racism in transnational fan cultures has taken place, a lack that is especially concerning given that current fan spaces have never been more vocal about debating issues of privilege and discrimination. Pande's study challenges dominant ideas of who fans are and how these complex transnational and cultural spaces function, expanding the scope of the field significantly. Along with interviewing thirty-nine fans from nine different countries about their fan practices, she also positions media fandom as a postcolonial cyberspace, enabling scholars to take a more inclusive view of fan identity. With analysis that spans from historical to contemporary, Pande builds a case for the ways in which non-white fans have always been present in such spaces, though consistently ignored.

Quando il nostro modo di navigare online (e non solo) ha cominciato a essere condizionato da Amazon, Google e Facebook?Chi ha permesso una crescita senza precedenti di queste potentissime aziende con grosse conseguenze per tutti noi (dalla pirateria in ambito editoriale, musicale e cinematografico alla riduzione della nostra privacy)?Perché oltre 50 miliardi di dollari all'anno sono passati dalle mani di artisti, editori, scrittori, musicisti a quelle delle piattaforme digitali monopolistiche di proprietà di questi colossi?E come mai nessuno si è opposto a questi cambiamenti generando così uno squilibrio di potere che ha portato Amazon, Google e Facebook a godere di un'influenza in campo politico pari a quella dei colossi petroliferi (Big Oil) e farmaceutici (Big Pharma)?Jonathan Taplin in questo suo libro - in America noto come'Move Fast and Break Things'- descrive in maniera chiara e appassionante queste grandi aziende, come sono nate, chi le controlla, quali sono i loro veri obiettivi e soprattutto si chiede se è il caso di fermarle e come.L'AutoreJonathan Taplin è Direttore emerito del Laboratorio Annenberg per l'innovazione dell'Università della California del sud ed è stato in passato organizzatore dei tour musicali per Bob Dylan e la Band, oltre che produttore cinematografico in collaborazione con Martin Scorsese. Esperto dei media digitali di intrattenimento, Taplin è membro dell'accademia di arte e scienza cinematografica, esponente dell'Unità operativa per la banda larga in California nonché del Consiglio per la tecnologia e l'innovazione istituito dal sindaco di Los Angeles Eric Garcetti.Grazie a questo libro milioni di persone in tutto il mondo stanno scoprendo chi sono i nuovi padroni del nostro tempo e i pericoli che la democrazia sta correndo.

The production, reception and discussion of fanfiction is a major aspect of contemporary global media. Thus far, however, the genre has been subject to relatively little rigorous qualitative or quantitative study-a problem that Judith M. Fathallah remedies here through close analysis of fanfiction related to Sherlock, Supernatural, and Game of Thrones. Her large-scale study of the sites, reception, and fan rejections of fanfic demonstrate how the genre works to legitimate itself through traditional notions of authorship, even as it deconstructs the author figure and contests traditional discourses of authority. Through a process she identifies as the'legitimation paradox', Fathallah demonstrates how fanfic hooks into and modifies the discourse of authority, and so opens new spaces for writing that challenges the authority of media professionals.

Gathering some of Kristina Busse's essential essays on fan fiction together with new work, Framing Fan Fiction argues that understanding media fandom requires combining literary theory with cultural studies because fan artifacts are both artistic works and cultural documents. Drawing examples from a multitude of fan communities and texts, Busse frames fan fiction in three key ways: as individual and collective erotic engagement; as a shared interpretive practice in which tropes constitute shared creative markers and illustrate the complexity of fan creations; and as a point of contention around which community conflicts over ethics play out. Moving between close readings of individual texts and fannish tropes on the one hand, and the highly intertextual embeddedness of these communal creations on the other, the book demonstrates that fan fiction is simultaneously a literary and a social practice. Framing Fan Fiction deploys personal history and the interpretations of specific stories to contextualize fan fiction culture and its particular forms of intertextuality and performativity. In doing so, it highlights the way fans use fan fiction's reimagining of the source material to explore issues of identities and peformativities, gender and sexualities, within a community of like-minded people. In contrast to the celebration of originality in many other areas of artistic endeavor, fan fiction celebrates repetition, especially the collective creation and circulation of tropes. An essential resource for scholars, Framing Fan Fiction is also an ideal starting point for those new to the study of fan fiction and its communities of writers.

An essential introduction to a rapidly growing field of study, The Fan Fiction Studies Reader gathers in one place the key foundational texts of the fan studies corpus, with a focus on fan fiction. Collected here are important texts by scholars whose groundbreaking work established the field and outlined some of its enduring questions. Editors Karen Hellekson and Kristina Busse provide cogent introductions that place each piece in its historical and intellectual context, mapping the historical development of fan studies and suggesting its future trajectories. Organized into four thematic sections, the essays address fan-created works as literary artifacts; the relationship between fandom, identity, and feminism; fandom and affect; and the role of creativity and performance in fan activities. Considered as literary artifacts, fan works pose important questions about the nature of authorship, the meaning of “originality,” and modes of transmission. Sociologically, fan fiction is and long has been a mostly female enterprise, from the fanzines of the 1960s to online forums today, and this fact has shaped its themes and its standing among fans. The questions of how and why people become fans, and what the difference is between liking something and being a fan of it, have also drawn considerable scholarly attention, as has the question of how fans perform their fannish identities for diverse audiences. Thanks to the overlap between fan studies and other disciplines related to popular and cultural studies—including social, digital, and transmedia studies—an increasing number of scholars are turning to fan studies to engage their students. Fan fiction is the most extensively explored aspect of fan works and fan engagement, and so studies of it can often serve as a basis for addressing other aspects of fandom. These classic essays introduce the field's key questions and some of its major figures. Those new to the field or in search of context for their own research will find this reader an invaluable resource.