MiT6 - Louisa Stein

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"Media Temporalities: Genre, Queer Space, and Digital Archives in Transition" Media in Transition 6 - MIT April 25, 2009 A part of the above panel. I moderated; this is not my own presentation! Transmedia Noir: Genre Continuity and Transformation Across Media Louisa Stein Louisa Stein is Assistant Professor of Film, Television, and New Media at San Diego State University. She has published essays on genre and on audience use of digital media. She is coeditor of the collection Teen Television: Essays on Programming and Fandom. Her current book project is entitled Millennial Noir.

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Transmedia Noir: Genre Continuity and Transformation Across Media Louisa Stein Media in Transition 6 - MIT - April 25, 2009

Fanvids, or music videos constructed of recombined clips from movies or TV, have a 30-year history within a predominantly female subculture, and often make feminist and/or queer statements about their mass media source texts. Today, YouTube and its ilk render them more accessible and visible than ever before. The maturation of internet video sharing has enabled a riot of cross-pollination among moving image mashups, but this "mainstreaming" also carries the risk of detaching nuanced artworks from their interpretive context and diluting their vital underground community. Meanwhile, the media industry is becoming increasingly attuned to such fan production, both as lucrative promotional labor (when harnessed as "user-generated content") and as a target of takedown notices (when conducted outside proprietary control). Is profit the only axis of legitimacy for popular appropriations, and can queer viewing be monetized? Why is it that you've seen more Brokeback Mountain parodies than fanvids? Why does this material so often get TOSsed from YouTube, and what can you do about it? Finally, what can fanvids teach us about grassroots queer media, and about how to nurture it for the 21st century?

No, not Frodo. His will shredded like wet toilet paper. Gollum took the lava bath, destroyed the ring, and saved everyone from a 36" Dark Lord. Does he get any credit? Nooooooo. Nine-fingered Frodo is the hero. The ladies all swoon at Legolas and Aragorn. But not poor Gollum. Internet marketers, and SEOs in particular, are a lot like Gollum: We're shunned. We don't get much sunlight. Our diet is awful. And we never get the credit for business success. It's our fault. We're good at building rankings and building traffic. But we're terrible at demonstrating the value of our work. So we fling ourselves into the lava. Every single time.

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MiT6 - Anne Kustritz

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"Media Temporalities: Genre, Queer Space, and Digital Archives in Transition" Media in Transition 6 - MIT April 25, 2009 A part of the above panel. I moderated; this is not my own presentation! Surveillance and Self-Presentation: Foucault’s Arts of Existence in the Digital Archive Anne Kustritz Anne Kustritz is a Visiting Assistant Professor in the Women’s, Gender, and Sexuality Studies Department at Macalester College where she teaches media anthropology, sexual citizenship, and queer and feminist theory. Her research centers on cyberethnography, queer citizenship, the public sphere, and slash fan fiction and other fan creative practices. Her essays appear in the Journal of American Culture, Refractory, Transformative Works and Cultures, and Flow, and her book manuscript is titled "Multiplying Sex, Sociability, and Civics: Slash Fan Fiction's Publics."

MiT6 - Melanie E.S. Kohnen

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"Media Temporalities: Genre, Queer Space, and Digital Archives in Transition" Media in Transition 6 - MIT April 25, 2009 A part of the above panel. I moderated; this is not my own presentation! Outside of Space and Time: Screening Queerness in Boys Don't Cry and Brokeback Mountain Melanie E.S. Kohnen Melanie E.S. Kohnen is a Ph.D. candidate in the Department of American Civilization at Brown University. In addition to working towards the completion of her dissertation, “Screening the Closet: The Discourse of Visibility, Sexuality, and Queer Representation in American Film and Television, 1969-Present,” she has also published articles on new modes of televisual spectatorship and on conflicting representations of digital and analogue technologies in TV programming after 9/11. Over the past two years, she has also contributed to Digital Humanities Quarterly as Managing Editor.

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