![]() ![]() This article explores new forms of serial structure found in transmedia story worlds, with particular attention to the innovations of amateur transmedia works. The epilogue asks if is possible to resist consumer culture in the context of the constant recouping of fan spaces, concluding that though fandom works generally in the interests of the entertainment industry, there is space, now and then, to resist its imperatives. These encounters make evident the fact that despite the promises entailed in New Media that stardom is now more accessible, more intimate and more democratic, the roles of star and fan are as clearly defined as ever. This chapter focuses on fandom as it is expressed on social platforms such as Twitter and Tumblr, with a particular focus on reports of star/fan encounters. The final case study is star Tom Hiddleston and his fandom. ![]() In the final chapter, I argue that in this system of production of star narratives, stardom and fandom are performative and mutually constitutive. In the context of the Supernatural fandom (Kripke 2005-present), I argue that there is space enough in star texts to allow for the production of different and at times contradictory and disobedient star narratives. 2008-2012), I argue that the response to this invitation results in the collaborative production of the mythologised star narrative. Continuing to the Merlin fandom (Jones, Murphy, et al. Beginning with the fandom relating to The Lord of the Rings (Jackson 2001-2003), I argue that the star text as produced on New Media platforms invites viewers to engage with it and feel a sense of intimacy and familiarity with the star. Using Real Person Fanworks and the fan communities that produce them as a case study, I argue that New Media are employed by the entertainment industry to produce newly open star texts, and these texts invite the collaboration of fans in producing the star narrative. This thesis investigates the star/fan relationship at our current cultural moment.
0 Comments
Leave a Reply. |