Author Archives: CarrieLynn D. Reinhard
Pete Warden provides some insider thoughts on what has gone wrong with nerd culture. His points about the ingrained tendency to not listen to critics, to fall back on victimization, to become insular all provide thoughts for the types of fractures we are currently seeing in fandom, in general, especially along gendered and racial lines.
Originally posted on Pete Warden's blog:
My first girlfriend was someone I met through a MUD, and I had to fly 7,000 miles to see her in person. I read a paper version of the Jargon File at 15 and it became my bible. Just reading its descriptions of the internet I knew it was world-changing, even before the web, and as soon as I could I snuck into the local university computer labs with a borrowed account to experience the wonder of Usenet, FTP, and Gopher. I chose my college because Turing had once taught there, and the designer of the ARM chip would be one of my lecturers. My first job out of college was helping port the original Diablo to the first Playstation, and I spent five years writing games. I’ve dived deep into GPU programming. I’ve worked for almost two decades at both big tech companies and startups. I’ve…
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At the Midwest Popular Culture Association‘s 2014 conference, Chris and I presented the first analysis from our exorcism cinema project. The presentation is titled: Feminist tensions in exorcism cinema: Case study analysis and comparison of The Last Exorcism and The Last Exorcism Part II. What follows are the notes for the presentation, which constitute an early draft of a paper for this analysis.
This project is concerned with a subset of horror cinema that deals with a specific type of monster, that of the possessed person. According to Noel Carroll from The Philosophy of Horror (1990), monsters provide the foundation for horror movies by being contradictions. In horror stories, monsters are seen “as abnormal, as disturbances of the natural order” (p. 16). Thus monsters are impure, unclear and threatening because they are frequently presented as “categorically interstitial, categorically contradictory, incomplete, or formless” (p. 32). Monsters embody opposing binaries by simultaneously embodying features, themes, and metaphors that represent either good or bad – vampires and zombies are dead yet animated creatures, aliens are physical unknowns, werewolves are humans made animal, giant insects are the miniscule made large, and possessed people are humans yet demonic.
These stories model fear and disgust as the natural reaction to this unnaturalness, and thus position audiences to react with “horror” to abnormal manifestations just like the characters do. Horror movies are horrifying because they contain monsters that “are not only physically threatening; they are cognitively threatening. They are threats to common knowledge.” (p. 34) Therefore, viewers become scared emotionally because they fear the illogic of what they see embodied in the monster.
A good recap of the most recent Fan Studies Network Symposium. I really appreciate hearing about other scholars who are talking about and calling for more attention and discussion of the problems and negative aspects of fandom. Their desires align with my own interest in fractured fandom, and I will be looking more closely at what the scholars have discussed on this topic.
Originally posted on Nicolle Lamerichs:
This weekend I attended the Fan Studies Network Symposium (26-27 September 2014). It was an engaging conference, and I’d love to talk about it some more here about its main themes and sketch some future directions in which fan studies may develop.
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Sir Anthony Hopkins is one of those interesting actors. Best known as an incredible actor throughout his entire career, sometimes he will do movies that are, for lack of better words, slumming it – doing a movie for a paycheck. Freejack. Alexander. The Edge. The Wolfman. Red 2. To be fair, I cannot really blame him. It must be hard to be considered one of the best actors of your generation, and to have such high expectations for everything you do. Sometimes you just want to act, to try new things, to do something different. When you are someone as talented as Hopkins, with so much creative power at your fingertips, it has be to unleashed lest you explode.
So I guess Sir Hopkins is allowed to make a movie where he chews the scenery as a renegade priest performing exorcisms without sanction from the Vatican. And since he is allowed to do so, we need to watch it as part of our project on feminist tensions in exorcism cinema.
The Rite (2011) is one of the more recent entries in this list of exorcism cinema, and it belongs to the recent trend of such films needing to portray themselves as realistic in order to be scary. I’m not sure how much I would classify this film as a horror movie, as I did not find it terribly scary. Perhaps, by the time we watched this film, I had seen so many others that I was becoming desensitized — or perhaps I really only can be scared by found footage horror films now. Either way, this movie reminded me more of Stigmata (1999) than The Devil Inside (2012). And as I sit down to write this post, several months after having seen the movie, what I read in my notes is somewhat of a revelation for me, as I do not remember a thing about this movie.
In defense of fans and fandom, I want to make clear that I would not argue that fractured fandom happens all the time or involves a majority of the population of any particular fandom. What I would say about fractured fandom is that it reflects a larger social and cultural issue, in the United States at least. An issue that involves a problem of an increasing inability to “listen first, talk second” when people interact with one another — especially with someone to whom they are opposed for some reason, be it ideological, value, or behavior. An issue that involves the collapsing of traditional identities and identity boundaries, which can be seen by some as an opportunity while others will see it as causing confusion and uncertainty and even fear. These are very real, very serious issues about the human condition in our post-modern, 21st century world, and they are issues reflected in our very human interactions in our fandoms.
So, to me, as a fan of many things for as long as I can remember — I must remember to tell you my stuffed Ewok toy story — I am not saying that the presence of fractured fandom means a fandom, and its fans, are wrong in some way, that they are poor reflections of the human condition. Indeed, they are just human, just as much flawed and wonderful as everyone.
But the issue of fractured fandom is about a need to be aware of such issues and problems at work within a fandom, amongst fans. Only with awareness can we work out what we are doing good, what we are doing poorly, and what we could do to make things better. Only with awareness of the fractures within a fandom, and what is happening to create and/or perpetuate them, can fans work together to address the problems they experience.
And I do think this has to be about fans working together within a fandom to address their own fractures. It cannot be about people outside of the fandom trying to impose new values, codes, and behaviors within the fandom. I do believe that fans may be more likely to listen to other fans than to anyone else. Because I believe that, it means we need to start a focus on dialogue, on communication, on respectful listening there. We as fans need to improve our social literacy skills and focus first on understanding a situation, on understanding others, and from there work together to address problems.
Hopefully, by doing so within any fandom, what is learned about addressing a fractured fandom could be applied to other areas of life. Hopefully by addressing fractured fandom, we could better address how these issues and problems are impacting the various public arenas of U.S. society and culture.
In a reworking of some analysis from his Master’s thesis, Christopher J. Olson presents his analysis of Nicholas Winding Refn’s existential film Valhalla Rising. In his analysis, Chris argues that Refn portrays a violent version of masculinity in order to critique globalized popular culture’s tendency to portray men in such rigid and limited ways.
Read the entire in-depth analysis of the film and global cinema’s over reliance on archetypes in his analysis: Valhalla Rising and the Demythologization of Male Violence.
[This paper comes from 2007 and was completed for a qualitative methodology course at Ohio State University under the amazing Patti Lather. She encouraged us to try different methods of communication research results; so I did a comic book, which you can see here.]
What is digital game addiction?
A number of approaches, theories, and entire discourse communities have arisen in the past century to understand this thing called “addiction” (West, 2001; Bailey, 2005). According to West (2001), beginning with a behavioral psychology perspective, addiction “typically involves initial exposure to a stimulus followed by behaviors seeking to repeat the experience. After a number of repetitions of the behaviour-stimulus sequence, the addiction becomes established.” (p. 3). All the approaches, theories and discourses have attempted to explain this process of addiction. What leads to the initial exposure? What about the stimulus or the engaging with it leads to a desire to repeatedly seek it out? How does this repetition become so ingrained that it is hard, if not physically impossible, to stop using it?
Medical, psychological, sociological, anthropological, economical, theological — all have weighed in on what causes this repeating behavior that is seen as ultimately deleterious to the person, even to the point of being perverse and sociopathic. Addiction is seen by all as a loss of control, only the reason for this being lack of control changes depending upon one’s metatheoretical viewpoint. However, while many have used qualitative, phenomenological methods, such as in-depth interviewing, to understand the perspective and experiences of the addict, there has been no systematic attempt to theorize addiction from an interpretive or constructivist viewpoint (Davies, 1998; Hirschman, 1992; Larkin & Griffiths, 2002). That is, a common approach has been an a priori application of some theory developed from someone looking at the addict and not a grounded theorizing approach of looking at addiction as an addict.