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Cultural studies presentation


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  • Glee Fandom
  • Megan M. Wood & Linda Baughman (2012): Glee Fandom and Twitter: Something New, or More of the Same Old Thing?, Communication Studies, 63:3, 328-344
  • Megan M. Wood & Linda Baughman (2012): Glee Fandom and Twitter: Something New, or More of the Same Old Thing?, Communication Studies, 63:3, 328-344
  • Transcript

    • 1. Let me explain.
    • 2. What is
    • 3. What are ships?Here‟s the equation:Fans + unrequited love/lust + Internet = shipping
    • 4. Glee meets Tumblr!* *This isn‟t going to be a presentation about Glee, I swear.
    • 5. How I became • SCMSinterested • Fan Casting • Watching communities form on
    • 6. From the mouth of Tumblr user the-final-point:“Time for a little confession:I love faberry so much but I know that is not gonna happen andRachel is so codependent of Finn or any guy who tells her that sheis hot or sexy. So I just want for Quinn to come out of the closetand find herself a nice girl on Yale and be happy. It breaks myfaberry heart but right now I would be happy with that.”
    • 7. Lingo: • Shipping• Canon/non-canon • OTP• “Faberry”, “Klaine”, “Hummelberry”
    • 8. My Arguments:• Glee: deconstructing and reconstructing the text• Communities form• Transmedia• Marketing• Simulacra
    • 9. WAR!Dastiel vs. Faberry
    • 10. Viewer/User/Player• Role play• Fanfic• Twitter/Tumblr accounts as character
    • 12. Research  To be a non-canon shipper is an uphill battle and Faberry shippers fight hard on the internets biggest fan battleground; Tumblr.”
    • 13. Search for Faberry onTumblr and you will find afunhouse mirror version ofGlee. The characters almostseem the same, but the artmade of them, the storiestold about them, the worldsbuilt for them to live in arejust slightly skewed.”
    • 14. To be a non-canon shippermeans having to make the world fit how you see it. Glee presents Faberry as former adversaries and tentative friends, the shippers see them as twopeople who show they carethrough confrontation, who fight because they are too scared to admit they love.
    • 15.  For a non-shipper delving into the world of Faberry would seem alien. References to moments and character traits that have never appeared in the show, but seem commonplace to these fans, would make them unsure that it was the same show they were talking about. But that is because its not the same show. In fact many Faberry shippers admit to not even watching the show anymore but instead consuming it through the creative work in the Faberry Tumblr fandom. What non-canon shippers truly watch is their version of the show, the version they make from the scraps Glee gives them and the work they create themselves.
    • 16. “These small moments become the basis for hundredsof ballad backed YouTube videos and novel lengthworks of fiction. Works of fiction so well-liked thatoriginal secondary characters created by these authorsbecome recurrent figures in works produced by otherfans. However, being a non-canon shipper is more thangrasping at the tiny morsels given to you and buildingaround them, its about manipulating what you areshown to make it what you want to see. Glee has ascene with Finn and Rachel? Fine, Faberry shippers willrip the image, remove Finn and replace him with Quinn.These new versions often become so popular theyspawn their own stories and videos, ones now a stepeven further removed from the original show. Charactersbecome steeped in whats called fanon, that is the fancreated version of canon.”
    • 17. From the mouth of Tumblr user airearthwaterfire:“Dear people angry that Ryan Murphy hadCassandra and Brody get together,obviously he‟s just opening the door forfaberry”
    • 18.  Ryan Murphy might have his name on this show, but its most invested fans arent buying what hes selling. Dont tell Murphy but perhaps Roland Barthes was right all along, the author is dead.”
    • 19. “So not only do Finchel shippers watch a totallydifferent show but they also dont know how to write.. interesting :P Faberry 5ever!” Anonymous
    • 20. “The study of fandom provides a platform from which to investigateTransmedia converged-audience practices such as transmedia storytelling as well as the dialectic of fan labor=fan agency.”
    • 21. “Occupying the charactersMarketing of the show in this way,goldmine? transmedia storytelling becomes less of a transgressive audience practice and more of an unintentional, fan-driven reinforcement of the aims of the producers and advertisers”
    • 22. Marketing “In essence, the role-goldmine? playing „„active‟‟ fan is engaging in play that also markets the show, the narrative, the advertisers, and, to a great extent, their own identity as a „„tweeting‟‟ fan.”
    • 23. • Layers of the text created by viewers• Takes on new meaning as created by viewers• Precession• Author is dead – Barthes Ultimate simulacra?