The Fan Studies Network: About Us

April 27, 2013 by
Formed in March 2012, the Fan Studies Network was created with the idea of cultivating an international friendly space in which scholars of fandom could easily forge connections with other academics in the field, and discuss the latest topics within fan studies. Having attracted close to 300 members across the world, the network is already fostering a sense of community and engendering fruitful debate.
In May 2013 a special section of Participations journal was dedicated to the FSN. You can read all the articles here:
http://www.participations.org/Volume%2010/Issue%201/contents.htm
You can also find us on Twitter at @FanStudies, on the discussion list at http://jiscmail.ac.uk/fanstudies and on the Facebook group at https://www.facebook.com/#!/groups/507241072647146/
To contact the FSN, please email Lucy Bennett (bennettlucyk@gmail.com) and/or Tom Phillips (T.Phillips@uea.ac.uk)
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UPDATED CFP: FSN Australasia Conference 2019

June 10, 2019 by

NEW keynote added: Dr Suzanne Scott, author of Fake Geek Girls: Fandom, Gender, and the Convergence Culture Industry (2019)

For the 2019 FSN Australasia Conference, we turn to a focus on the impact of technological, cultural, and media change on shifting fan practices, and vice versa: the impact of fan practices on technological, cultural, and media change. The Conference aims to showcase diverse approaches to a wide range of fan communities and practices across four core areas: screen and digital cultures (such as film, television, videogames, online and other digital media); public leisure cultures (such as sport, theme parks, festivals and conventions, popular culture stores, and concerts); audio cultures (such as podcasts, radio, and music); and material cultures (such as comic books, toys, books, and board games).

In focusing on technological and industrial change, the conference aims to address pressing questions relevant to a wide range of disciplines, such as: how does the dominance of streaming services in the contemporary entertainment media landscape influence the formation of fandoms and fan practices? What role do digital platforms – from social media to taste curation websites like LetterBoxd – play in the mainstreaming of fandom? Do hacker and maker cultures, such as those that surround videogames, necessitate new theorisations of fan cultures? How do interactions in public spaces between fandoms from different cultural spheres affect or reshape fan practices and identities (for instance, in the case of Melbourne’s “Marvel Stadium” sporting arena, which connects sporting and comic book/superhero fan cultures)?

We invite abstracts of no more than 300 words (with 150 word bio) to be submitted by 15th July 2019 for presentations that address any aspect of fandom or fan studies. We also welcome collated submissions for pre-constituted panels of three to four presenters. We encourage new members in all stages of their career to the network, and welcome proposals for presentations on, but not limited to, the following topics:

Screen and Digital Cultures
Topics may include:
• Online and digital vernacular creativity
• Streaming services
• Curatorial culture
• Vernacular criticism
• Fan practices around and using specific media technologies
• Hacker, homebrew, and maker cultures
• Digital heritage

Public Leisure Cultures
Topics may include:
• Sporting team fandoms and fan practices
• Festivals and conventions
• The role of restaurants/cafes in fan cultures
• The public mainstreaming of fan or geek cultures
• Theme park fandoms and fan practices
• Film music and other fan-oriented concerts
• Comic book/popular culture stores and groups
• The GLAM sector (galleries, libraries, archives and museums)

Audio Cultures
Topics may include:
• Podcast fandom and fan podcasts
• Music fan practices and fandoms
• Music streaming and curatorial culture
• Radio fandom and fan practices

Material Cultures
Topics may include:
• Comic book fandoms and fan practices
• Archival and other materially-based fan practices
• Toys for fans
• Collecting and collections
• Book fandoms and fan practices
• Board game fandoms and fan practices
• Fandom and clothing

Across all of these areas, papers are welcome that approach issues such as audience research and fan studies methodologies; accessibility of fan cultures and fan studies; anti-fandom and toxic practices; fan labour; transcultural and transnational fandom; fan/industry relationships (subversions, interactions, appropriations); inter-generational fandoms and fan practices; the ethics of studying participatory culture and fandom; transgressive fan practices and fandoms (ie alt-right and serial killer fan cultures); shipping, slash fiction, and other queer fan practices; and the intersections between media/industry change and shifting fan practices.

The conference will feature a number of innovative keynote speakers who have driven fan studies in new directions across a range of different disciplines. These include the following keynote speakers, with further speakers and industry events to be announced:

Dr Bertha Chin
Lecturer of Social Media and Communication
Swinburne University of Technology, Sarawak, Malaysia
Editor: Crowdfunding the Future: Media Industries, Ethics, and Digital Society (with Lucy Bennett & Bethan Jones, 2015)
Editor: Crowdfunding Issue of New Media and Society (with Bennett and Jones, 2015)
Editor: Transcultural Issue of Participations: Journal of Audience and Reception Studies (with Lori Morimoto, 2015).

Dr Suzanne Scott
Assistant Professor, Department of Radio-Television-Film
The University of Texas at Austin
Author: Fake Geek Girls: Fandom, Gender, and the Convergence Culture Industry (2019)
Editor: The Routledge Companion to Media Fandom (with Melissa A. Click, 2018)
Editor: In Focus: Gender Identity and Representation in the Superhero Genre Issue of Cinema Journal (with Ellen Kirkpatrick, 2015).

Professor Melanie Swalwell
Professor of Digital Media Heritage
Swinburne University of Technology, Melbourne, Australia
Editor: Fans and Videogames: Histories, Fandoms, Archives (with Angela Ndalianis and Helen Stuckey, 2017)
Editor: Born Digital Cultural Heritage Issue of Refractory: A Journal of Entertainment Media (with Angela Ndalianis, 2016)
Lead Investigator of the digital heritage project “Play it Again: Creating a Playable History of Australasian Digital Games” in collaboration with the Australian Centre of the Moving Image.

Dr Benjamin Woo
Assistant Professor, School of Journalism and Communication
Carleton University, Ottawa, Canada
Author: Getting a Life: The Social Worlds of Geek Culture (2018)
Author: The Greatest Comic Book of All Time: Symbolic Capital and the Field of American Comic Books (with Bart Beaty, 2016)
Editor: Scene Thinking: Cultural Studies from the Scenes Perspective (with Stuart Poyntz and Jamie Rennie, 2016).

Please send a 300 word abstract and a 150 word bio by the 15th of July as a word doc attachment to the conference organising committee: jbalanzategui@swin.edu.au. Use the Subject Line: “Abstract Submission FSNA2019” and the following the file name convention: Surname_ProposalTitle

Conference Steering Committee:
Dr Jessica Balanzategui (jbalanzategui@swin.edu.au)
Dr Liam Burke
Taylor Hardwick
Dr Naja Later
Tara Lomax
Andy Lynch
Professor Angela Ndalianis

CFP: ARTIFACTS, ARCHIVES, AFFAIRS. Perspectives on fan productions, 11-13th October 2019, Cracow, Poland

June 7, 2019 by

We would like to invite you to the “ARTIFACTS, ARCHIVES, AFFAIRS. Perspectives on fan productions” international conference. It will take place on 11-13th October 2019 on the Faculty of Polish Studies of Jagiellonian University in Cracow, Poland.

Big part of fan studies focuses on fans as a community, on their relation to the source text, and on their activities as a group. To offer a bit of a different perspective we would like  to focus instead on fans as individuals and specifically on the things they make. What is it that they write, what does their art mean, how are fanvids made, how their productivity manifests itself in many different ways, from crocheting and “potions” making to nail art? We are interested in fans’ knowledge, fan archives and fanon as well as examples of fan engagement with specific subjects in a form of all consuming heated discussions (being it shipwars, anti-fans or so called fandom wank, among others). We want to study cases of fan productivity in various shapes or forms, focusing on specific artifacts along with their meaning and modes of  functioning in fandom. We want to avoid blanket theories on fans as a homogenous group based on unrepresentative research.

Suggested subjects include, but are by no means limited to:

  • case studies of fan texts
  • various manifestations of fan productivity
  • non-textual artifacts
  • fan collections
  • fanon and specific fanworks that gather a fandom of their own
  • the collective production of knowledge and sharing it: tutorials, fan archives, wikias and encyclopedias
  • manifestation of the feels
  • relation between a fan and a source text
  • relations among fans
  • shipping
  • cases of conflict in fandom

Each presentation will be about 20 minutes long and will be followed by a brief discussion. We invite you to submit abstracts of 300-500 words through EasyChair until the 16th of June 2019. Each submission needs to include a list of references for works cited within the abstract; references do not count towards the word limit. All abstracts will undergo a process of blind peer review. We will inform you about accepting or rejecting your paper by the 30th of July. The conference fee is 50 EUR (for foreign accounts) or 220 PLN (for Polish accounts). We will inform you about accepting or rejecting your paper in June. If you have any questions, don’t hesitate to contact us.

Organizing commitee:

Dominika Ciesielska (chair)

Magdalena Kozyra

Aleksandra Łozińska

Tomasz Z. Majkowski

Maria Rutkowska

Agnieszka Urbańczyk

 

You can find more info here: https://aaaconference2019.home.blog

 

UPDATED CFP: Fan Studies Network Australasia @ Swinburne University of Technology

June 3, 2019 by

Swinburne University of Technology Melbourne, Australia December 11th – 13th, 2019

For the 2019 FSN Australasia Conference, we turn to a focus on the impact of technological, cultural, and media change on shifting fan practices, and vice versa: the impact of fan practices on technological, cultural, and media change. The Conference aims to showcase diverse approaches to a wide range of fan communities and practices across four core areas: screen and digital cultures (such as film, television, videogames, online and other digital media); public leisure cultures (such as sport, theme parks, festivals and conventions, popular culture stores, and concerts); audio cultures (such as podcasts, radio, and music); and material cultures (such as comic books, toys, books, and board games). 

In focusing on technological and industrial change, the conference aims to address pressing questions relevant to a wide range of disciplines, such as: how does the dominance of streaming services in the contemporary entertainment media landscape influence the formation of fandoms and fan practices? What role do digital platforms – from social media to taste curation websites like LetterBoxd – play in the mainstreaming of fandom? Do hacker and maker cultures, such as those that surround videogames, necessitate new theorisations of fan cultures? How do interactions in public spaces between fandoms from different cultural spheres affect or reshape fan practices and identities (for instance, in the case of Melbourne’s “Marvel Stadium” sporting arena, which connects sporting and comic book/superhero fan cultures)? 

We invite abstracts of no more than 300 words (with 150 word bio) to be submitted by 15th July 2019 for presentations that address any aspect of fandom or fan studies. We also welcome collated submissions for pre-constituted panels of three to four presenters. We encourage new members in all stages of their career to the network, and welcome proposals for presentations on, but not limited to, the following topics: 

 Screen and Digital Cultures 

Topics may include: 

• Online and digital vernacular creativity 

• Streaming services 

• Curatorial culture 

• Vernacular criticism 

• Fan practices around and using specific media technologies 

• Hacker, homebrew, and maker cultures 

• Digital heritage 

Public Leisure Cultures 

Topics may include: 

• Sporting team fandoms and fan practices 

• Festivals and conventions 

• The role of restaurants/cafes in fan cultures 

• The public mainstreaming of fan or geek cultures 

• Theme park fandoms and fan practices 

• Film music and other fan-oriented concerts 

• Comic book/popular culture stores and groups 

• The GLAM sector (galleries, libraries, archives and museums) 

Audio Cultures 

Topics may include: 

• Podcast fandom and fan podcasts 

• Music fan practices and fandoms 

• Music streaming and curatorial culture 

• Radio fandom and fan practices 

Material Cultures 

Topics may include: 

• Comic book fandoms and fan practices 

• Archival and other materially-based fan practices 

• Toys for fans 

• Collecting and collections 

• Book fandoms and fan practices 

• Board game fandoms and fan practices 

• Fandom and clothing 

Across all of these areas, papers are welcome that approach issues such as audience research and fan studies methodologies; accessibility of fan cultures and fan studies; anti-fandom and toxic practices; fan labour; transcultural and transnational fandom; fan/industry relationships (subversions, interactions, appropriations); inter-generational fandoms and fan practices; the ethics of studying participatory culture and fandom; transgressive fan practices and fandoms (ie alt-right and serial killer fan cultures); shipping, slash fiction, and other queer fan practices; and the intersections between media/industry change and shifting fan practices. 

The conference will feature a number of innovative keynote speakers who have driven fan studies in new directions across a range of different disciplines. These include the following keynote speakers, with further speakers and industry events to be announced: 

Dr Bertha Chin 

Lecturer of Social Media and Communication 

Swinburne University of Technology, Sarawak, Malaysia 

Editor: Crowdfunding the Future: Media Industries, Ethics, and Digital Society (with Lucy Bennett & Bethan Jones, 2015) 

Editor: Crowdfunding Issue of New Media and Society (with Bennett and Jones, 2015) 

Editor: Transcultural Issue of Participations: Journal of Audience and Reception Studies (with Lori Morimoto, 2015). 

Dr Suzanne Scott 

Assistant Professor, Department of Radio-Television-Film 

The University of Texas at Austin 

Author: Fake Geek Girls: Fandom, Gender, and the Convergence Culture Industry (2019) 

Editor: The Routledge Companion to Media Fandom (with Melissa A. Click, 2018) 

Editor: In Focus: Gender Identity and Representation in the Superhero Genre Issue of Cinema Journal (with Ellen Kirkpatrick, 2015). 

Professor Melanie Swalwell 

Professor of Digital Media Heritage 

Swinburne University of Technology, Melbourne, Australia 

Editor: Fans and Videogames: Histories, Fandoms, Archives (with Angela Ndalianis and Helen Stuckey, 2017) 

Editor: Born Digital Cultural Heritage Issue of Refractory: A Journal of Entertainment Media (with Angela Ndalianis, 2016) 

Lead Investigator of the digital heritage project “Play it Again: Creating a Playable History of Australasian Digital Games” in collaboration with the Australian Centre of the Moving Image. 

Dr Benjamin Woo 

Assistant Professor, School of Journalism and Communication 

Carleton University, Ottawa, Canada 

Author: Getting a Life: The Social Worlds of Geek Culture (2018) 

Author: The Greatest Comic Book of All Time: Symbolic Capital and the Field of American Comic Books (with Bart Beaty, 2016) 

Editor: Scene Thinking: Cultural Studies from the Scenes Perspective (with Stuart Poyntz and Jamie Rennie, 2016). 

Please send a 300 word abstract and a 150 word bio by the 15th of July as a word doc attachment to the conference organising committee: jbalanzategui@swin.edu.au. Use the Subject Line: “Abstract Submission FSNA2019” and the following the file name convention: Surname_ProposalTitle 

Conference Steering Committee: 

Dr Jessica Balanzategui (jbalanzategui@swin.edu.au) 

Dr Liam Burke 

Taylor Hardwick 

Dr Naja Later 

Tara Lomax 

Andy Lynch 

Professor Angela Ndalianis 

Special issue of Transformative Works and Cultures: Fan Studies Pedagogies (deadline 1/1/20)

June 3, 2019 by

Special issue of Transformative Works and Cultures: Fan Studies Pedagogies (deadline 1/1/20)

The expansion of fan studies as an academic field, and the growing visibility of fandom and fan activities in popular culture, have led to more instructors using fannish activities and engagement in the classroom, and teaching fan studies as a disciplinary focus. Teaching fandom and fan studies means drawing from a multidisciplinary spectrum of methodologies and foci. Yet, as fan studies itself is often a “moving target” — refusing, in many instances, of becoming “disciplined” enough to match traditional academic units — it becomes imperative to discuss the various contributions, methodologies, ethics, and lacunae of the field in a classroom setting. The specific pedagogical needs of the fan studies classroom require sustained interrogation because of the changing field of fan studies itself.

This special issue seeks submissions that specifically address the pedagogical methods, styles, contributions, and concerns of the fan studies course, classroom, and online space(s). We are particularly interested in pedagogical methods drawn from fan studies, fan studies’ application to the academic environment, engagement with students’ fannish affect for pedagogical purposes, and explorations of how fan studies itself is taught. We also seek papers that directly address the epistemological and ethical stakes of operationalizing fans’ approaches to their media texts for use in academic contexts, and best practices for securing permissions for student contact with fan texts themselves. In addition, we seek pieces that explore how teaching fandom/fan studies engages (or doesn’t) the demands  of the university institution itself.

 We also welcome shorter pieces focused on particular projects/pedagogies that have worked in the classroom, hybrid, or online setting, or particular assignments with specific ties to fan studies methodologies. We seek to develop the Symposium section as a useable set of lesson plans, assessment techniques, and methodological interventions with immediate pedagogical application. Hybrid approaches, detailing the stakes and theory behind a particular lesson, or describing the implementation of a fannish technique, would also be welcome here. 

 Potential topics include but are not limited to:

–       Student or Instructor fan engagement

–       Fan studies methodologies in the classroom

–       Fandom itself as pedagogical method

–       Administrative reaction to fan studies pedagogies

–       Global fan studies in the classroom

–       LMS (learning management systems) and their roles in the fan studies classroom

–       Teaching fandom versus teaching fan studies

–       Engaging with race and fan studies in the classroom

–       Student demographic changes and fan studies

–       Corporate engagement with/cooptation of fandom as pedagogical opportunity

–       Fandom as model for the academic system

–       The hybrid course as relational mode in fan studies classrooms

–       The ethics of assessing affective engagement

–       Methods of assessing the creative fan studies project

–       Collective assignments and the expression of fannish ethics

–       Leveraging students’ existing fan-expertise throughout a course

Submission guidelines

Transformative Works and Cultures (TWC, http://journal.transformativeworks.org/) is an international peer-reviewed online Gold Open Access publication of the nonprofit Organization for Transformative Works copyrighted under a Creative Commons License. TWC aims to provide a publishing outlet that welcomes fan-related topics and to promote dialogue between the academic community and the fan community. TWC accommodates academic articles of varying scope as well as other forms that embrace the technical possibilities of the Web and test the limits of the genre of academic writing. 

Theory: Conceptual essays. Peer review, 6,000–8,000 words.

Praxis: Case study essays. Peer review, 5,000–7,000 words.

Symposium: Short commentary. Editorial review, 1,500–2,500 words.

Please visit TWC’s Web site (http://journal.transformativeworks.org/) for complete submission guidelines, or e-mail the TWC Editor (editor AT transformativeworks.org).

Contact—Contact guest editors Paul Booth and Regina Yung Lee with submissions, questions or inquiries at FandomPedagogy@gmail.com.

Due date—January 1, 2020, for estimated March 15, 2021 publication.

 

Audience Lost: Minority Women and Spectatorship: 22-23 November 2019, Ghent, Belgium

May 22, 2019 by
AUDIENCE LOST: MINORITY WOMEN AND SPECTATORSHIP
22-23 November 2019, Ghent, Belgium
Keynote speakers: 
Prof. Judith Thissen (Utrecht University)
Prof. Allyson Nadia Field (University of Chicago)
In 2002, Annette Kuhn reflected, in Dreaming of Fred and Ginger: Cinema and Cultural Memory, that in regards to 1930s British cinemagoers, “we hardly know these people at all” (2002, 3); Jackie Stacey (1994, 49) focusing on British female movie fans of the 1940s and 1950s, made a similar observation in 1994, when she noted that “there is a history of female cinematic spectatorship which has yet to be written.” In their respective works, both scholars used sources such as magazines, questionnaires and interviews to begin to write exactly that history.
This conference wishes to build upon this observation that “we hardly know these people at all” by expanding its meaning in terms of the people involved, both in terms of time and in terms of demographics. We therefore invite papers focusing on marginalised female audiences in the broadest sense, and interpret this in two distinct ways. Firstly, we seek to hear from scholars focusing on rediscovering or uncovering particular audiences, marginalised vis-à-vis the texts they consumed through racial, ethnic or religious identity, through geographic or linguistic distance, through sexual orientation or gender identity, through disability status, through social class, etc. This includes a demographic analysis of such audiences, an examination of their specific and varied fan practices and attitudes, the intersectional identities of certain audience members, etc.
It also includes, however, broader contemplations on the very notion of the “marginalised” audience.
Firstly: if we are indeed all, as Henry Forman wrote in 1933, “movie-made”, what, then, does it mean to be “made” by movies or media texts specifically aimed at demographic groups with a privilege inaccessible to many other audience members? Secondly, we are keen to acknowledge and discuss the methodological challenges involved in studying such audiences, and the ways in which difficulties in terms of scholarly research may essentially serve to marginalise the group in question further. Thirdly, we wish to invite auto-ethnographic reflections from scholars working on such research topics, while also members of one or more marginalised groups themselves.
While the organisers’ own research is rooted within a film-historical context, and indeed we are very interested in hearing from those engaged in rediscovering lost historical audiences, we also invite submissions from those working on contemporary LGBTQ+, disabled, or racial/ethnic/religious minority women spectators. We particularly hope to reach out to scholars working within the multidisciplinary field of fan studies, where much fascinating work has been done, in recent years, on examining the practices of such audiences, as well as their relationship to traditional conceptions of fandom (such scholars include Kristen J. Warner, Rukmini Pande, Julie Levin Russo, Eve Ng, and others). While film and television history and fan studies have largely operated in distinct and separate spheres from one another, we believe the disciplines can come together in fruitful and methodologically interesting ways in order to allow us a more complete picture of these often invisible fans.
Potential topics can include, but are not limited to:
•       Historical perspectives on cinemagoing in ethnic communities
•       Immigrant spectatorship
•       The consumption of Hollywood movies by minority women
•       LGBTQ+ fandoms
•       Methodologies to access historically lost audiences
•       Film archives and the marginalised audience
•       Black women as movie fans
•       Disability and spectatorship
•       Studies of film reception amongst specific religious groups
•       Women-only film screenings and film clubs
•       Characteristics of marginalised spectatorship
•       The methodological challenges in examining female audiences
•       Theorising lesbian spectatorship
•       Working class women and the movies
•       Women and film criticism
•       Gender and race-specific viewing pleasures
•       National minorities and cinema culture
•       Girlhood and fandom
•       Geographically specific viewing practices
We invite abstracts of no more than 300 words for 20-minute papers, as well as panel proposals for pre-constituted panels (consisting of three papers). Conference attendance will be free of charge.
Send your proposal and a short bio to Lies Lanckman and Agata Frymus at womenspectatorship.conf@gmail.com by 30 June 2019. The conference website can be found at https://audiencelost.wordpress.com/.

Registration Open! Fan Studies Network Conference 2019, 28th & 29th June, School of Film, Media and Communication, University of Portsmouth, UK

May 19, 2019 by

Registration Open!

Fan Studies Network Conference 2019

28th& 29thJune 2019

School of Film, Media and Communication, University of Portsmouth, UK

Keynote Speaker:

Dr Lori Morimoto, Independent Researcher, USA

This year’s conference is on the UK’s south coast and in the historic naval city of Portsmouth, hosted by the School of Film, Media and Communication at the University of Portsmouth. Offering a diverse two-day programme our conference will sit alongside historic sites such as the Dockyards, HMS Victory and the Mary Rose while also attracting presenters to explore our cult fan trail which includes comic book, collectibles and record stores, video and board game lounges, and museum exhibits. Fans of Arthur Conan Doyle’s Sherlock Holmes can see a permanent collection of artefacts and fans of Charles Dickens can visit his birthplace. The conference will continue FSN’s long-standing tradition of offering an enthusiastic space for interdisciplinary researchers at all career stages to connect, share resources, and further develop their research ideas. In addition to panel presentations, the two days will feature a variety of social events, workshop discussions, a keynote, and our famous speed-geeking sessions.

FSN is honoured to have Lori Morimoto as keynote speaker for 2019. Loriis an independent researcher who has published widely on transcultural and transnational media fandoms in a range of seminal collections and leading journals, including: Fandom: Communities and Identities in a Mediated World, Second EditionThe Routledge Companion to Media Fandom, and A Companion to Media Fandom andFan Studies;Participations, Transformative Works and CulturesEast Asian Journal of Popular Culture and Mechademia: Second Arc. We are very excited to have Lori in to Portsmouth as keynote for FSN2019.

Also, as previously publicised, in addition to our keynote speaker we will be having a keynote roundtable discussion on race in fandom. We hope this roundtable will offer the space for all to contribute to the ongoing debate about the invisibility of race in fan studies and the state of the field as the discipline continues to develop and grow.

Conference Details

Registration

Please use the following link to the online store to register for the conference, choose university accommodation if required, and book the Conference Dinner if you wish to attend:

University of Portsmouth Online Store

Registration includes attendance and refreshments for both days of the conference, conference pack and printed programme. Special dietary requirements should be indicated when booking.

Waged £110

Postgraduate £80

Accommodation

Conference B&B accommodation in university dormitories is available through the online store:

Room in Chaucer, single en-suite B&B £66 for the 27thand 28th, £60 without breakfast for the 29th

Room in Bateson – standard B&B £42 for the 27thand 28th, £36 without breakfast for the 29th

However, if you wish to make your own arrangements Portsmouth has a wide range of hotels and B&Bs to choose from. There is a Holiday Inn, Holiday Inn Express, 2 Premier Inns, and an Ibis in and around the city centre within short walking distance of the university. Nearby Southsea also offers a wide range of independent hotels and B&Bs.

Premier Inn Portsmouth

Premier Inn Southsea

Holiday Inn Portsmouth

Holiday Inn Express Portsmouth (Gunwharf Quays)

Ibis Portsmouth

 

Travel

Portsmouth is well connected by road, rail and air. If you are travelling in the UK via London there is a regular direct fast train service to the city from London Waterloo Station. The closest station to the university campus and conference venue is Portsmouth & Southsea Station. The main rail operator to Portsmouth is South Western Railway: South Western Railway

There are also daily National Express coach services from London Victoria Coach Station that arrive at Portsmouth’s main transport interchange, Portsmouth Harbour Station at The Hard: National Express

If you are travelling to the UK by air Portsmouth is connected by coach and rail to three major airports: from London Heathrow via the Woking National Express rail/bus service; from London Gatwick via Southern Railway; from Southampton via South Western Railway:

Woking/Heathrow National Express

Southern Railway

 

Pre-conference Social

On Thursday 27ththere will be the opportunity to register early at the Eldon Building followed by a social event giving people the chance to meet up at a local venue (TBA), with drinks and food available to purchase on the night. More details to follow shortly.

Conference Programme

The conference programme runs from 28thto 29thJune. The conference begins on Friday 28th with registration starting from 9am in the Eldon Building, followed by our keynote. The first day concludes with Speed-Geeking presentations and the pre-booked evening dinner (including quiz) at the King Street Tavern. Saturday 29th is the final day of conference panels, including our conference roundtable discussion. The conference will close at approximately 5pm, allowing delegates to either return home or arrange further social activities. A full draft of the conference programme will be available shortly.

Pre-booked Conference Dinner (28thJune)

Housed in an 18th century pub in the heart of Southsea, our conference meal at The King Street Tavernwill be an authentic buffet style Smoked BBQ with meats and vegetarian options. Tickets must be purchased through the online store. Special dietary requirements should be indicated when booking. The price of £14pp includes a welcome drink of sparkling wine with a wide range of beers, ales, wines, soft drinks and spirits available to purchase.

Maps

The university maps and directions guide can help you navigate the campus and locate the conference venue at Eldon Building. It also has further information about transportation:

https://www.port.ac.uk/about-us/maps-and-directions

Campus Map

 Contact

General enquiries regarding FSN can be sent to: fsnconference@gmail.com

Specific enquires about the conference, location, programme or any other details can be sent to: lincoln.geraghty@port.ac.uk

You can join the discussion about the event on Twitter using #FSN2019, follow us @FanStudies or visit http://www.fanstudies.org.

Dr Lincoln Geraghty
Reader in Popular Media Cultures
School of Film, Media and Communication
University of Portsmouth
Eldon Building North
Winston Churchill Avenue
Portsmouth
PO1 2DJ
Lincoln.Geraghty@port.ac.uk
Tel: +44 (0) 239 284 5754

 

Fan Studies Network Australasia Conference: Call for Papers, Swinburne University of Technology Melbourne, Australia December 11th – 13th, 2019

May 7, 2019 by

Fan Studies Network Australasia Conference: Call for Papers

Swinburne University of Technology Melbourne, Australia December 11th – 13th, 2019

For the 2019 FSN Australasia Conference, we turn to a focus on the impact of technological, cultural, and media change on shifting fan practices, and vice versa: the impact of fan practices on technological, cultural, and media change. The Conference aims to showcase diverse approaches to a wide range of fan communities and practices across four core areas: screen and digital cultures (such as film, television, videogames, online and other digital media); public leisure cultures (such as sport, theme parks, festivals and conventions, popular culture stores, and concerts); audio cultures (such as podcasts, radio, and music); and material cultures (such as comic books, toys, books, and board games).

In focusing on technological and industrial change, the conference aims to address pressing questions relevant to a wide range of disciplines, such as: how does the dominance of streaming services in the contemporary entertainment media landscape influence the formation of fandoms and fan practices? What role do digital platforms – from social media to taste curation websites like LetterBoxd – play in the mainstreaming of fandom? Do hacker and maker cultures, such as those that surround videogames, necessitate new theorisations of fan cultures? How do interactions in public spaces between fandoms from different cultural spheres affect or reshape fan practices and identities (for instance, in the case of Melbourne’s “Marvel Stadium” sporting arena, which connects sporting and comic book/superhero fan cultures)?

We invite abstracts of no more than 300 words (with 150 word bio) to be submitted by 15th July 2019 for presentations that address any aspect of fandom or fan studies. We also welcome collated submissions for pre-constituted panels of three to four presenters. We encourage new members in all stages of their career to the network, and welcome proposals for presentations on, but not limited to, the following topics:


Screen and Digital Cultures
Topics may include:

  • Online and digital vernacular creativity
  • Streaming services
  • Curatorial culture
  • Vernacular criticism
  • Fan practices around and using specific media technologies
  • Hacker, homebrew, and maker cultures
  • Digital heritage

Public Leisure Cultures
Topics may include:

  • Sporting team fandoms and fan practices
  • Festivals and conventions
  • The role of restaurants/cafes in fan cultures
  • The public mainstreaming of fan or geek cultures
  • Theme park fandoms and fan practices
  • Film music and other fan-oriented concerts
  • Comic book/popular culture stores and groups
  • The GLAM sector (galleries, libraries, archives and museums)

Audio Cultures
Topics may include:

  • Podcast fandom and fan podcasts
  • Music fan practices and fandoms
  • Music streaming and curatorial culture
  • Radio fandom and fan practices

Material Cultures
Topics may include:

  • Comic book fandoms and fan practices
  • Archival and other materially-based fan practices
  • Toys for fans
  • Collecting and collections
  • Book fandoms and fan practices
  • Board game fandoms and fan practices
  • Fandom and clothing

Across all of these areas, papers are welcome that approach issues such as audience research and fan studies methodologies; accessibility of fan cultures and fan studies; anti-fandom and toxic practices; fan labour; transcultural and transnational fandom; fan/industry relationships (subversions, interactions, appropriations); inter-generational fandoms and fan practices; the ethics of studying participatory culture and fandom; transgressive fan practices and fandoms (ie alt-right and serial killer fan cultures); shipping, slash fiction, and other queer fan practices; and the intersections between media/industry change and shifting fan practices.

The conference will feature a number of innovative keynote speakers who have driven fan studies in new directions across a range of different disciplines. These include the following keynote speakers, with further speakers and industry events to be announced:

Dr Bertha Chin
Lecturer of Social Media and Communication Swinburne University of Technology, Sarawak, Malaysia
Editor: Crowdfunding the Future: Media Industries, Ethics, and Digital Society (with Lucy Bennett & Bethan Jones, 2015) Editor: Crowdfunding Issue of New Media and Society (with Bennett and Jones, 2015)
Editor: Transcultural Issue of Participations: Journal of Audience and Reception Studies (with Lori Morimoto, 2015).

Dr Benjamin Woo
Assistant Professor, School of Journalism and Communication Carleton University, Ottawa, Canada
Author: Getting a Life: The Social Worlds of Geek Culture (2018)
Author: The Greatest Comic Book of All Time: Symbolic Capital and the Field of American Comic Books (with Bart Beaty, 2016) Editor: Scene Thinking: Cultural Studies from the Scenes Perspective (with Stuart Poyntz and Jamie Rennie, 2016).

Professor Melanie Swalwell
Professor of Digital Media Heritage
Swinburne University of Technology, Melbourne, Australia
Editor: Fans and Videogames: Histories, Fandoms, Archives (with Angela Ndalianis and Helen Stuckey, 2017)
Editor: Born Digital Cultural Heritage Issue of Refractory: A Journal of Entertainment Media (with Angela Ndalianis, 2016)
Lead Investigator of the digital heritage project “Play it Again: Creating a Playable History of Australasian Digital Games” in collaboration with the Australian Centre of the Moving Image.

Please send a 300 word abstract and a 150 word bio by the 15th of July as a word doc attachment to the conference organising committee: jbalanzategui@swin.edu.au. Use the Subject Line: “Abstract Submission FSNA2019” and the following the file name convention: Surname_ProposalTitle

Conference Steering Committee:
Dr Jessica Balanzategui (jbalanzategui@swin.edu.au)
Dr Liam Burke
Dr Naja Later
Tara Lomax
Andy Lynch
Professor Angela Ndalianis

CFP: Fan Studies Network North America Conference 2019, Chicago, 24-26 October

March 4, 2019 by

Call for Papers
Fan Studies Network North America Conference 2019

October 24 – 26, 2019

College of Communication, DePaul University, Chicago, IL

We are delighted to announce the second FSN North America Conference, which will take place October 24-26, 2019 at DePaul University in Chicago. Proposals are now being accepted on all aspects of fandom, including (but not limited to):

fandom and sports
fandom and music
media fandoms
theatrical fandom
anime and manga fandom
video game fandom
K-pop and K-drama fandom
celebrity fandoms
historical fandoms
literary fandoms
fandom and identity
anti-fandom and toxic fandom
fandoms and material culture
politics in/and fandom
fan studies methodologies
interdisciplinarity in/and fan studies
transnational/transcultural fan studies
fandom platforms and networks
representations of fans
We particularly encourage proposals that engage with race, sexuality, gender, ethnicity, class, age, disability, and other aspects of power and identity as they intersect with fan communities, practices, activities, and/or identities.

First-time attendees, fan-scholars and researchers at all stages of study are invited to submit proposals for:

Individual papers (500 words)
Pre-constituted panels (500 words for each paper, plus 250 word panel proposal, 3-4 participants)
Roundtables (500 words)
Workshops (500 words)
Speedgeeking (250 words; speedgeeking involves making a short ‘elevator pitch’ about an idea you’re working on to several groups of 5-7 people, who then give feedback. It’s been a popular part of FSN conferences in the UK, and we had a great time with it at our own first conference last year!)
In response to feedback following our inaugural conference, we are aiming to reduce the ‘silo effect’ in panels by both encouraging submissions of pre-constituted panels and requiring 3-5 keywords for individual paper proposals. We encourage you to think creatively about the different ways your paper(s) might intersect thematically with others.

Proposals are due no later than May 1, 2019, using the submission form HERE. For questions, please contact us at fsnna.conference@gmail.com. Information about our venue and lodging options is available on our website: http://fsn-northamerica.org

Keynote Speakers: Coming Soon!

Conference Organizers: Paul Booth, Lori Morimoto, Louisa Stein, Lesley Willard

Follow us on Twitter!

Call for Chapters: Sartorial Fandom: Fashion, Beauty Culture, and Identity

March 1, 2019 by

Call for Chapter Proposals for Anthology

Title: Sartorial Fandom: Fashion, Beauty Culture, and Identity

Editors: Elizabeth Affuso (Pitzer College) and Suzanne Scott (University of Texas at Austin)

In recent years, geeks have become chic and the fashion and beauty industries have responded to this trend with a plethora of fashion-forward merchandise aimed at this audience.  This cultural ascendence can be seen in the glut of pop culture t-shirts lining the aisles of big box retailers as well as the proliferation of geek culture lifestyle brands and digital retailers over the past decade. While fashion and beauty have long been integrated into the media industry with tie-in lines, franchise products, and other forms of merchandise, there has been limited study of fans’ relationship to these industries.  Fashion and beauty cultures are significant areas for study due to their role as markers of identity and position as industries that prop up forms of hegemony along the lines of race, gender, age, ability, size, and so on. We are particularly interested in how fan fashion and beauty cultures reflect larger socio-cultural trends related to normative values, consumer culture, capitalism, and identity performance.

This collection seeks to think about fashion and beauty as related to fandom across a range of modes of practice including retailers, branded products, fan-made objects, and fandom of these.

Fan fashion and fan-oriented beauty products also offer a space to productively expand what we consider to be a “fan object,” as media texts, musicians, sports teams, celebrities, and retail lines all involve distinct forms of sartorial fan expression. These forms of expression range from purchasing and collecting to wearing and sharing (often via social media) and frequently convey messages about imagined or desirable fan identities, bodies, and demographics. This collection pointedly uses the word “fashion,” rather than the more general designation of “fan merchandise,” to acknowledge both the industrial specificities of the fashion and beauty industries, as well as the cultural significance of style. Just as Dick Hebdige and others have engaged subcultural style as a politically charged space, this collection aims to address both the affective and performative dimensions of fan fashion, as well as the identity politics that inform sartorial expressions of fan identity.

Our goal is to explore how fan fashion has evolved over time, and how it is performed in a wide array of fan communities and cultures, from early fan magazines to sports arenas to comic book conventions to theme parks to music venues. We also welcome considerations of digital incarnations of fan fashion, from hair/make-up tutorial videos on YouTube to analyses of specific social media accounts (e.g. Instagram, Tumblr) of fan fashion influencers, brands, or subcultures. Centrally, essays in this collection will explore how identity (broadly defined) intersects with fan fashion and beauty culture as a consumer lifestyle brand.

Potential topics include, but are not limited to:

  • Historical approaches to fan fashion (or histories of fan-oriented fashion and beauty products)
  • Fan cultures surrounding celebrity fashion and beauty lines  (e.g. Fenty, Yeezy, Ivy Park, Goop, etc.)
  • Fantrepreneurialism and fashion
  • Fashion and/as performance of fan identity (gender, class, age, sexuality, and so on)
  • The legalities of fan fashion (licensing, copyright, trademark, etc.)
  • Fan culture retailers and lifestyle brands (Thinkgeek, Her Universe, Jordandene, Espionage Cosmetics, etc.)
  • Fan fashion and merchandise subscription services (and unboxing or “haul” videos)
  • Cosplay (or Everyday Cosplay, Disneybounding, etc.)
  • Auctions and fashion and/as memorabilia
  • Fan-centric Jewelry and Accessories (purses, hairbows, etc.)
  • Couture fan fashion and class
  • Identity and model selection for fan fashion lines
  • Fan lingerie and intimates
  • Fan-produced fashion (Etsy, crafting cultures, etc.)
  • Fan-oriented make-up and hair tutorials
  • Fan fashion shows
  • Fandom or geek culture as fashion “trend”
  • Fandoms around specific products or brands (sneakerheads, hypebeasts, etc.)

Proposal guidelines:

  • Seeking essays of 5000-6000 words, inclusive of references
  • Proposals should contain the following:
    • Contributors’ contact information (name, title, affiliation, email, highest degree obtained)
    • Chapter title
    • Chapter abstract of 250-500 words that illustrate the chapter’s
      • a) topic/subject matter
      • b) methodological approach
      • c) conclusions/argument
  • Proposals are due March 1, 2019.
  • Proposals or questions should be emailed to Elizabeth Affuso (Elizabeth_Affuso@pitzer.edu) and Suzanne Scott (suzanne.scott@utexas.edu)

 

#FSN2019

February 11, 2019 by

Fan studies is a discipline overrun with whiteness.

This fundamental truth, put forward by a fan studies scholar on Friday 8th February, prompted a number of conversations between academics on Twitter. The resultant discussion has required us – the board members of the Fan Studies Network – to consider the role and function of the FSN within the field, and how our conference events frame representation.

Since the FSN was founded in 2012, we have worked hard to be inclusive in a range of ways, but it is clear through the recent discourse that in relation to issues of race we have failed. This is a failure that we want to rectify. This is an issue that is bigger than the Fan Studies Network, and working towards a solution will not be an overnight process. However, there are steps FSN can take to try and be better.   

This starts with our annual conference. We were delighted with the calibre of keynote speakers chosen for FSN2019, and chose these scholars because of our respect for their excellent scholarship and their support of FSN over the years. We believe that a keynote speaker should represent their field, and use their position at the conference to inform, interest, and inspire. We also believe such discourses should come from the keynote addresses themselves, rather than being informed by external discussions. As a result, in agreement with those we invited as keynotes, it has been decided that the conference will feature Lori Morimoto as the sole keynote speaker this year. The second keynote slot will instead be dedicated to a roundtable discussion on representation and diversity. We welcome thoughts on the most appropriate format for this roundtable, including potential participants.

All FSN keynotes have been chosen by the board since our first event in 2013, but we now recognise that we need to rethink our selection practices and procedures. So, over the coming months, we will be inviting everyone with an interest in fan studies (regardless of whether you have attended one of our events or not) for your thoughts on how we can make fan studies a more diverse and inclusive space. Inclusivity is an issue for us as a field to address together, and we want to ensure that the most appropriate voices are heard.  

The last 72 hours have involved a considerable amount of reflection and discussion between FSN board members, trying to react to an ongoing situation and consider the discourse with a level head. One thing that has become clear to the board is that we have underestimated the power and privilege we have in our positions. To understand why such a misjudgement has taken place, it is important to contextualise the role of the board and the ongoing management of FSN.

The network was founded by PhD students who lamented the lack of a common space for those with an interest in fan studies. It began as a group of UK-based friends and peers, keen to get a network off the ground. Unfortunately, the board’s ambitions for the network have been hampered by time and money. In regards to the former, for a large part of the lifespan of FSN the board have all been in precarious states of employment, unable to be afforded the time to work on network activities beyond the annual conference. For the latter, it is worth noting that FSN has no form of funding[1], and the conferences are entirely self-sustaining – all the money earned from delegate fees go into the conference. Ultimately the success of FSN in attracting such an international selection of keynote speakers over the last few years has relied on vast amounts of goodwill and compromise.

With this in mind, for the last few years the board has essentially seen itself as a conference organisation committee. What we did not consider, however, was how the decisions we make with our conference could have wider implications and ramifications. We now recognise that although we quite casually (albeit in good faith) began FSN to promote networking in the field, it has grown into something that warrants more considered formalisation. This is an opportunity to recognise that the board would benefit from new voices, and we are considering ways to take this forward.

Challenging the structural whiteness of our discipline is going to take more than just sticking plasters and tokenistic gestures. It will require all of us – individuals, institutions, committees, publishers, editorial boards, SIGs, research centres and beyond – to work together over the coming months and years to make fan studies a welcoming space for marginalised scholars. The six of us on the FSN board cannot and do not claim to know the answers, but we do have a platform and a presence within the field that we would like to put to good use. Please help us to do that.

We are particularly keen to hear from scholars of colour on this matter, but we welcome the comments, suggestions and input from anyone with an interest in the network and the field of fan studies more broadly. Email us at fsnconference@gmail.com (including “INCLUSIVITY” in the subject line), and if you are able to do so, please make the trip to Portsmouth (UK) in June for FSN2019 so that we can address these issues in person.


The Fan Studies Network board

[1] For the sake of transparency – the Interdisciplinary Institute for the Humanities at the University of East Anglia makes a budget available of £500 a year available to Tom Phillips in his role as co-Chair of the network. Last year this money was used for travel and accommodation for two board members at the FSN conference in Cardiff.