Syllabus: Introduction to Media Fandom

Introduction to Media Fandom MDST3505-001 FA2023 | T/Th 2:00-3:15 New Cabell 168 Instructor: Dr. Lori Morimoto Office Hours: T/Th 11:00-1:00 and by appointment on Zoom Office: Wilson 202 Email: [email protected] I'm your instructor, Lori Morimoto; you may call me Prof. Morimoto or Lori. I'm an assistant professor in the Department of Media Studies, and I do research primarily on transnational and transcultural media fandoms and transnational East Asian film and media. I'm a media fan of old, beginning with the first Star Wars film released in 1977 through my current media fandoms, ranging from the webcomic Check!Please to The Untamed (陈情 令), Our Flag Means Death, and Good Omens, among others. Why Study Media Fandom? Once upon a time, media fans were social pariahs: stigmatized and stereotyped as childish (or worse, feminized) obsessives detached from the real world of upward mobility and success on society's terms. While such perceptions still persist to a greater or lesser extent, it's now the case that media industries have centered fans in production and promotion. Franchise media such as Star Wars and the Marvel Cinematic Universe are tent poles holding up the Disney Corporation and, in particular, its streaming platforms, struggling television productions urge fans to campaign on social media for future content, and industry events such as San Diego Comic Con are a multi-billion dollar business not only for the industry, but for local businesses as well. But, why? In this course, we'll explore media fandom through an examination of what fans do, how they become fans, how they perform 'fandom', what's meaningful to fans, and what it is about fandom that makes them so valuable to the media industries that capitalize on them. In so doing, we'll discuss how the intersection of what scholar danah boyd (2007) has called “networked publics” (“publics that are restructured by networked technologies [that are] simultaneously (1) the space constructed through networked technologies and (2) the imagined community that emerges as a result of the intersection of people, technology, and practice”) and the kind of participatory culture that characterizes much of media fandom today has translated to small groups grabbing the wheels of very large mechanisms, to widely varying e fects. At the same time, we'll also challenge the reigning perception within academia that focusing on a fect, emotion, and the popular is somehow beneath 'serious' scholarly work. Scholars o ten shy away from talking about these things, except to criticize them; in this course, we will begin from the assumption that everyone has emotional attachments and interests and work from there to better understand the things those emotions enable and encourage us to feel, what they inspire and inform, and what they may precipitate. This class, above all, argues that you can love a thing deeply and still be critical of it. By the end of this course, you should* be able to ● identify key ideas that underpin fan studies as a discipline. ● recognize the complexity of seemingly mundane fan activities, such as fanfiction writing, vidding, fan tourism, and so on. ● connect media fandom to emerging trends in online interactions and activity writ large. ● understand the historical trajectory of media fandom. ● re lect critically on your own experiences and/or understanding of media fandom. *should involves coming to class "curious, prepared, and ready to work," to borrow from Meredith Clark Course Materials Reading: All readings are linked in the course schedule on Canvas. Watching: Throughout the term we'll be watching television episodes and other media to augment and focus our in-class discussions. You should treat such assignments like readings and have them completed before the date indicated in the schedule. Where assigned, media will be made available on Canvas in the Media Gallery linked in the le t-hand sidebar or linked directly in the schedule. Assignments The goal of this course is to introduce you to media fandom as both practice and as an object of study. Assignments in the course are designed to enable you to Grading Scale 1. talk confidently and knowledgeably about media fandom. 2. gain hands-on understanding of how transformative works are made AND make meaning. 3. bring your own experiences as media fans to bear on the analysis of what incites fandom, what fans do, and why they do it. A+ 100-98 | A 97-94 | A- 93-90 | B+ 89-87 | B 86-83 | B- 82-80|C+ 79-77 | C 76-73 | C- 72-70 | D+ 69-67 | D 66-63 | D- 62-60 | F 59- 1 Assignment % of Grade Due Date Fandom & Me (short essay) 10 Aug 25 by 11:59 pm Fan Interview Narrative 10 Sep 8 by 11:59 pm Zine Analysis 10 Sep 29 by 11:59 pm GIF/GIF set & Reflection 15 Oct 13 by 11:59 pm AO3 Analysis 15 Oct 27 by 11:59 pm 1. Topic Proposal 5 Nov 10 by 11:59 pm 2. Annotated Bibliography 5 Dec 1 by 11:59 pm 3. Final Project 20 Dec 14 by 11:59 pm 10 All Term Final Project Preparation & Participation Schedule Week 1 Course Introduction: Why Study Media Fandom? (Aug 22/24) Read before Aug 22 Syllabus Read before Aug 24 Gray, Sandvoss, Harrington (2007) "Why Study Fans?" DUE Aug 25 by 11:59 pm Fandom & Me Week 2 Histories of Fandom (Aug 29/31) Read before Aug 29 Coppa (2006) "A Brief History of Media Fandom" Read before Aug 31 Wanzo (2015) "African American acafandom and other strangers" Week 3 The Pathological Fan & Early Fan Studies (Sep 5/7) Read before Sep 5 Jensen (1992) "Fandom as Pathology" Morimoto (2015) "Fangirls in the Crosshairs" Watch before Sep 7 Star Trek ("Amok Time"); Galaxy Quest (1999) Read before Sep 7 Jenkins (1992) "Star Trek Rerun, Reread, Rewritten" 2 DUE Sep 8 by 11:59 pm Fan Interview Narrative Week 4 From Analog to Digital (Sep 12/14) Read before Sep 12 Sun & Liew (2019) "Analog Hallyu" Read before Sep 14 Pearson (2010) "Fandom in the Digital Era" Week 5 Fandom Platforms (Sep 19/21) Read before Sep 19 Stanfill (2015) "The Interface as Discourse" Read before Sep 21 McCracken, Cho, Stein & Hoch (2020) "You Must Be New Here" Williams (2018) "Tumblr's GIF culture and the infinite image" DUE Sep 22 by 11:59 pm Zine Analysis Week 6 Transformative Works: A/V Remix (Sep 26/28) Read before Sep 26 Coppa (2022) "What Is Vidding? Vid Watching 101" In class - Sep 26 Vid Show In class - Sep 28 GIF workshop - bring your laptop Week 7 Transformative Works: Fanfiction (Oct 5; NO CLASS Oct 3) Read before Oct 5 Coppa (2017) "Five Things that Fanfiction Is, and One Thing It Isn't" Klink (2017) "Towards a Definition of 'Fanfiction'" Week 8 Memetic Fan Works (Oct 10/12) Read before Oct 10 Correa-Chávez, et.al. (2023) "Women in Fandom" Watch before Oct 12 The Big Bang Theory ("The Bakersfield Expedition") "Can This Cosplay Win an International Contest?" (Sarah Spaceman, 2023) Read before Oct 12 Hills (2014) "From Dalek half balls to Da t Punk helmets" DUE Oct 13 by 11:59 pm GIF/GIF set and Re lection 3 Week 9 Iconographic Fan Works (Oct 17/19) Read before Oct 17 Nielsen (2021) "The Iconography of Fan Art" Watch before Oct 19 Read before Oct 19 Burke (2022) "Cosplay as Vernacular Adaptation" Week 10 Fan Tourism (Oct 24/26) Read before Oct 24 Jones (2019) "'The Walking Dead Family is a real thing, not just a hashtag'" Read before Oct 26 Waysdorf (2021) "The Wizarding World of Harry Potter" DUE Oct 27 by 11:59 pm AO3 Analysis Week 11 Fan Labor (Oct 31/Nov 2) Read before Oct 31 De Kosnik (2012) "Fandom as Free Labor" Read before Nov 2 Sun (2020) "K-pop fan labor and an alternative creative industry" Week 12 Final Project Session (Nov 7/9) Nov 7 - Election Day NO CLASS Nov 9 Final Project Brainstorming Session Week 13 Fans & Producers (Nov 14/16) Read before Nov 14 Salter & Stanfill (2020) "Fanboys to the Rescue!" (pp. ix-xvii) Nordin (2019) "Queerbaiting 2.0" Watch before Nov 16 Hannibal ("Apéritif") Read before Nov 9 Morimoto (2018) "Hannibal: Adaptation and Authorship in the Age of Fan Production" DUE Nov 10 by 11:59 pm Final Project Topic Proposal 4 Week 14 Thanksgiving (Nov 21/23 - NO CLASS) Nov 21 - No Class Please use this time work on your final project Week 15 Fan Activism (Nov 28/30) Read before Nov 28 Warner (2017) "(Black female) fans strike back" Read before Nov 30 Anderson (2020) "The Once and Future Fandom" Minkel & Klink (2020) "The K-pop narratives" (podcast - listen OR read the transcript) DUE Dec 1 by 11:59 pm Final Project Annotated Bibliography Week 16 Fandom of the Future? (Dec 5) Dec 5 Mulligan (2021) "Tribes are the future of fandom" Armstrong (2022) "Fandom Hasn't Changed, Its Power and In luence Has" Final Project DUE Dec 14 by 11:59 pm Course Policies Contacting Me I hold open, drop-in o fice hours each week on Tuesdays and Thursdays from 11:00 AM to 1:00 PM at my o fice in Wilson 202, and I encourage you to stop by if you'd like to talk more about the course, the subject, or even just to chat. If you can't make it then but wish to talk with me, I'm also available by appointment over Zoom - just email me at [email protected] to set up an appointment. Email is the best way to reach me if you have questions. Please note that it may take up to 24 hours for me to respond to your email. Questions that require a quicker response tend to be those that can be answered by checking the syllabus or Canvas, so please check those before hitting "Send." If your question is urgent, please include "Urgent" in the header of your email. I typically use Announcements on Canvas to contact the class with reminders, updates, and changes. I have announcements emailed to the entire class, so please be sure to check your email regularly and read any announcements I've sent in a timely manner. Due Dates & Attendance: Due dates for assignments are scheduled according to what we've been learning and what my other responsibilities are outside our course. As such, my preference is that you submit work on time (unless otherwise indicated, all work should be submitted to Canvas by 11:59 PM on the due date). If you require an extension for whatever reason, please email me prior to the due date so we can set an 5 alternative due date for you. Please keep in mind that late work will not receive the same degree of feedback as work submitted on time. I recommend completing all work in a timely manner so you don't end the semester with a pile of unfinished assignments to rush through. As such, late work submitted more than a week a ter the due date will lose 1/3 of its earned letter grade per week. All coursework for the term must be submitted to me no later than Sunday, Dec 10 by 11:59 pm, no exceptions. Much of the success of any college course depends on your regular attendance and participation in class. While our discussions will focus in part on course readings, we'll also be asking questions, considering case studies, and generally doing collaborative work that requires your presence. I will take attendance periodically both as a way of learning your names and keeping track of how you're doing in the course, but I leave the responsibility for attending class to you. In simple terms, this means I don't have a traditional attendance policy, but excessive (3+) absences will be noted and will a fect your participation grade for the course. Technology in the Classroom There will be times when we'll use technology during class, and I'll let you know when you should bring a laptop/tablet to class. I prefer not to police technology usage during class, so my policy is that you may use technology for note-taking in this course. That said, if I observe laptops/tablets being used for purposes other than note-taking or other in-class activities (including, but not limited to, doing work for other courses, chatting, shopping, etc.) I reserve the right to ask you to stop; if the behavior continues, I may ask you to leave the classroom. Cell phones may not be used during class, except in an emergency (if you need to be available for a personal reason, please let me know at the beginning of class so I'm aware of the situation). Originality of Student Work All student work must be conducted in accordance with the UVA Code of Honor (http://honor.virginia.edu). Your work must be your own. Do not quote directly or paraphrase from existing sources without citation. Cite any ideas and/or information that is not common knowledge. Do not submit written work completed by anyone but yourself. Any assignment showing evidence of plagiarism or cheating will receive a score of zero and suspected violations will be forwarded to the Honor Committee at my discretion. Generative AI Policy Generative artificial intelligence tools—so tware that creates new text, images, computer code, audio, video, and other content—have become widely available. Well-known examples include ChatGPT for text and DALL•E for images. This policy governs all such tools, including those released during our semester together. You may use generative AI tools on assignments in this course; however, if you choose to use generative AI tools, please remember that they are typically trained on limited datasets that may be out of date. Additionally, generative AI datasets are trained on pre-existing material,including copyrighted material; therefore, relying on a generative AI tool may result in plagiarism or copyright violations. Finally, keep in mind that the goal of generative AI tools is to produce content that seems to have been produced by a human, not to produce accurate or reliable content; therefore, relying on a generative AI tool may result in your submission of inaccurate content. 6 It is your responsibility—not the tool’s—to assure the quality, integrity, and accuracy of work you submit in any college course. Accommodations for Disability If you require accommodations for a disability (physical/emotional/cognitive) to successfully complete this course, I encourage you to apply for Student Disability Access Services as soon as possible and submit the appropriate documentation to begin the intake and eligibility process. I cannot implement specific accommodations for individual students without the required paperwork registering your disability. For your privacy, I am not made aware of your specific disability, only the accommodations you require. If you’re unsure whether you qualify for an accommodation, I strongly encourage you to consult with Student Disability Access Services. ‘Disability’, as determined by the university, encompasses not only physical/cognitive disability but also mental health. Religious Observances It is the University’s long-standing policy and practice to reasonably accommodate students so that they do not experience an adverse academic consequence when sincerely held religious beliefs or observances con lict with academic requirements. Students who wish to request academic accommodation for a religious observance should submit their request by email directly to me at your earliest convenience. Other Important Information Basic Needs Security If you're having di ficulty a fording groceries or accessing su ficient food to eat every day, or if you lack a safe and stable place to live and believe this is a fecting or may a fect your performance in the course, I urge you to check out the Student A fairs website for information and support. You can also get in touch with me if you're comfortable doing so, in order that I may assist in finding resources to help you. Safety and Equality The University of Virginia is dedicated to providing a safe and equitable learning environment for all students. To that end, it is vital that you know two values that the University and I hold as critically important: 1. 2. Power-based personal violence will not be tolerated. Everyone has a responsibility to do their part to maintain a safe community on Grounds. Resources for people who have experienced bias, intimidation, or power-based personal violence or discrimination, including religion-based bigotry, white supremacy, racism, homophobia, transphobia, ableism, and misogyny, can be found at the University’s “Just Report It” site. As your professor, please know that I care about you and your well-being, and I am ready to provide support 7 and resources to the best of my ability. As a faculty member, I am a “responsible employee,” which means that I am required by University policy and federal law to report what you tell me to the University’s Title IX Coordinator. The Title IX Coordinator’s job is to ensure that the reporting student receives the resources and support they need, while also reviewing the information presented to determine whether further action is needed to ensure survivor safety and the safety of the University community. If you would rather keep this information confidential, there are Confidential Employees you can talk to on Grounds. Mental Health If you are feeling overwhelmed, stressed, or isolated, there are many individuals here to help. The Student Health and Wellness Center o fers Counseling and Psychological Services (CAPS) for its students. Call 434-243-5150 to speak with an on-call counselor and/or schedule an appointment. If you prefer to speak anonymously, you can call Madison House’s HELP Line at any hour of any day: 434-295-8255 (TALK). Writing Help I strongly encourage you to consider making use of the UVA Writing Center for help in your written work. The Writing Center can assist you with: ● all stages of the writing process: brainstorming, dra ting, revision, argument structure, editing, and other concerns ● any kind of writing: essays for classes, conference papers, dissertations/theses, cover letters for applications, personal statements, resumes, etc. The Writing Center also provides tutors trained specifically in working with non-native English speakers. What they won’t do is proofread or edit your work for you, so please keep this in mind when seeking Writing Center services. 8