Chapter 1, “Steven Moffat and Fandom’s Favorite Troll,” interrogates how Moffat both avows and disavows fandom. On one hand, Moffat-as-fanboy is both the author of the show and his own ideal audience as he performs and expects broad and deep knowledge of the text’s history. On the other, there is tension with actual fans—as opposed to the imagined fans who are just like himself—and he rejects those he thinks are not being fans the right way. Indeed, this chapter contends that the most standout characteristic of Moffat’s brand may well be being abrasive to anyone and everyone. The chapter concludes by considering the substantial concerns his work raises around inclusion—or lack thereof.
{"title":"Steven Moffat and Fandom’s Favorite Troll","authors":"Anastasia Salter, Mel Stanfill","doi":"10.2307/j.ctv177tg57.5","DOIUrl":"https://doi.org/10.2307/j.ctv177tg57.5","url":null,"abstract":"Chapter 1, “Steven Moffat and Fandom’s Favorite Troll,” interrogates how Moffat both avows and disavows fandom. On one hand, Moffat-as-fanboy is both the author of the show and his own ideal audience as he performs and expects broad and deep knowledge of the text’s history. On the other, there is tension with actual fans—as opposed to the imagined fans who are just like himself—and he rejects those he thinks are not being fans the right way. Indeed, this chapter contends that the most standout characteristic of Moffat’s brand may well be being abrasive to anyone and everyone. The chapter concludes by considering the substantial concerns his work raises around inclusion—or lack thereof.","PeriodicalId":413897,"journal":{"name":"A Portrait of the Auteur as Fanboy","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114701547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction:","authors":"","doi":"10.2307/j.ctv177tg57.4","DOIUrl":"https://doi.org/10.2307/j.ctv177tg57.4","url":null,"abstract":"","PeriodicalId":413897,"journal":{"name":"A Portrait of the Auteur as Fanboy","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130152748","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Chapter 4 begins by discussing Smith’s “View Askewniverse,” which can be viewed as a series of films both by a fanboy and featuring fanboy characters. This chapter examines the ways Smith has leveraged his fandom to build his career—both in the sense of the body of people who follow him, especially on his website discussion board, and in the sense of parlaying his geek credibility into a transmedia career as a professional fanboy through projects such as Comic Book Men, the SModcast podcast, and comic book writing. However, while Smith’s fannishness is unimpeachable, his auteurishness is less well established, and he has not often been given the reins of film franchises, largely because he lacks the necessary reverence. The chapter also explores the ways Smith can never quite escape the conservatism of mainstream fanboy identity even as he expands his reach as an auteur.
{"title":"Kevin Smith and the “Independent” Fanboy","authors":"Anastasia Salter, Mel Stanfill","doi":"10.2307/j.ctv177tg57.8","DOIUrl":"https://doi.org/10.2307/j.ctv177tg57.8","url":null,"abstract":"Chapter 4 begins by discussing Smith’s “View Askewniverse,” which can be viewed as a series of films both by a fanboy and featuring fanboy characters. This chapter examines the ways Smith has leveraged his fandom to build his career—both in the sense of the body of people who follow him, especially on his website discussion board, and in the sense of parlaying his geek credibility into a transmedia career as a professional fanboy through projects such as Comic Book Men, the SModcast podcast, and comic book writing. However, while Smith’s fannishness is unimpeachable, his auteurishness is less well established, and he has not often been given the reins of film franchises, largely because he lacks the necessary reverence. The chapter also explores the ways Smith can never quite escape the conservatism of mainstream fanboy identity even as he expands his reach as an auteur.","PeriodicalId":413897,"journal":{"name":"A Portrait of the Auteur as Fanboy","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114083049","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Chapter 3 begins with a history of Rowling’s interactions with fandom; not only was Harry Potter one of the first truly massive internet-based fandoms, but she has been famously open to engaging with her fans on the internet from JKRowling.com to Pottermore to Twitter. Rowling’s auteur persona demonstrates a drive to be at the center of the fan experience, between providing a never-ending drip-feed of canon, moving fans into her proprietary Pottermore space, and actively seeking fan attention. In fact, by telling her fans how to interpret and continually re-centering herself, this chapter contends, Rowling models “proper” fandom as obedient to the author, one vital sense in which she is a fangirl auteur.
{"title":"J. K. Rowling and the Auteur Who Lived","authors":"Anastasia Salter, Mel Stanfill","doi":"10.2307/j.ctv177tg57.7","DOIUrl":"https://doi.org/10.2307/j.ctv177tg57.7","url":null,"abstract":"Chapter 3 begins with a history of Rowling’s interactions with fandom; not only was Harry Potter one of the first truly massive internet-based fandoms, but she has been famously open to engaging with her fans on the internet from JKRowling.com to Pottermore to Twitter. Rowling’s auteur persona demonstrates a drive to be at the center of the fan experience, between providing a never-ending drip-feed of canon, moving fans into her proprietary Pottermore space, and actively seeking fan attention. In fact, by telling her fans how to interpret and continually re-centering herself, this chapter contends, Rowling models “proper” fandom as obedient to the author, one vital sense in which she is a fangirl auteur.","PeriodicalId":413897,"journal":{"name":"A Portrait of the Auteur as Fanboy","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125745780","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Works Cited","authors":"","doi":"10.2307/j.ctv177tg57.14","DOIUrl":"https://doi.org/10.2307/j.ctv177tg57.14","url":null,"abstract":"","PeriodicalId":413897,"journal":{"name":"A Portrait of the Auteur as Fanboy","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116958133","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Back Matter","authors":"","doi":"10.2307/j.ctv177tg57.15","DOIUrl":"https://doi.org/10.2307/j.ctv177tg57.15","url":null,"abstract":"","PeriodicalId":413897,"journal":{"name":"A Portrait of the Auteur as Fanboy","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125983343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The second chapter examines the double standard between fanboys and fangirls—fanboys redeem fandom and fangirls are contaminated by it; fanboys take the obvious step to professionalize while fangirls are sell-outs; fanboys make bold choices with their uncompromising creative visions while fangirls are control freaks who break all the rules—fangirl auteurs never quite get to be auteurs. Moreover, not only is James not really allowed to be an auteur, she’s something of a punching bag, routinely targeted with gleeful vitriol for every decision, including by large groups of people piling on via Twitter. Ultimately, the chapter argues the Fifty Shades franchise disrupts norms in some ways and upholds them in other, possibly more dangerous ones.
{"title":"E L James and the Terrible, Horrible, No Good, Very Bad Fangirl","authors":"Anastasia Salter, Mel Stanfill","doi":"10.2307/j.ctv177tg57.6","DOIUrl":"https://doi.org/10.2307/j.ctv177tg57.6","url":null,"abstract":"The second chapter examines the double standard between fanboys and fangirls—fanboys redeem fandom and fangirls are contaminated by it; fanboys take the obvious step to professionalize while fangirls are sell-outs; fanboys make bold choices with their uncompromising creative visions while fangirls are control freaks who break all the rules—fangirl auteurs never quite get to be auteurs. Moreover, not only is James not really allowed to be an auteur, she’s something of a punching bag, routinely targeted with gleeful vitriol for every decision, including by large groups of people piling on via Twitter. Ultimately, the chapter argues the Fifty Shades franchise disrupts norms in some ways and upholds them in other, possibly more dangerous ones.","PeriodicalId":413897,"journal":{"name":"A Portrait of the Auteur as Fanboy","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134068700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter interrogates the role of being a feminist in Whedon’s branding, arguing that, while he successfully branded himself as feminist for two decades, closer analysis and subsequent revelations demonstrate this to be far more style than substance. Whedon’s branding as a fanboy, by contrast, is more robust and permeates his public persona, from his casual fashion to his texts to actively participating in his own and other fandoms—though the chapter notes that these practices are in tension with his auteur status. Finally, the chapter argues, Whedon actively leverages the illusion of intimacy enabled by Twitter and fan site Whedonesque to extract the unpaid fan labor that has powered his career.
{"title":"Joss Whedon and the Allegedly Feminist Fanboy Auteur","authors":"Anastasia Salter, Mel Stanfill","doi":"10.2307/j.ctv177tg57.9","DOIUrl":"https://doi.org/10.2307/j.ctv177tg57.9","url":null,"abstract":"This chapter interrogates the role of being a feminist in Whedon’s branding, arguing that, while he successfully branded himself as feminist for two decades, closer analysis and subsequent revelations demonstrate this to be far more style than substance. Whedon’s branding as a fanboy, by contrast, is more robust and permeates his public persona, from his casual fashion to his texts to actively participating in his own and other fandoms—though the chapter notes that these practices are in tension with his auteur status. Finally, the chapter argues, Whedon actively leverages the illusion of intimacy enabled by Twitter and fan site Whedonesque to extract the unpaid fan labor that has powered his career.","PeriodicalId":413897,"journal":{"name":"A Portrait of the Auteur as Fanboy","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121756328","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Chapter 6 interrogates Snyder’s aspirations to auteur status, arguing that they are in tension with his one-note style that always goes darker, grittier, and more violent, no matter what. Snyder’s self-aggrandizement and unwillingness to move beyond his comfort zone join his strong attachment to a toxic masculinity rooted in extreme violence and his routine misogyny to make him the archetypical toxic fanboy. Despite—or perhaps because of—these characteristics, Snyder has a powerfully invested following, which he engages and cultivates through social media, making him a highly polarizing figure who remains at the center of fannish discourse even years after leaving a franchise behind.
{"title":"Zack Snyder and the Professional Toxic Fanboy","authors":"Anastasia Salter, Mel Stanfill","doi":"10.2307/j.ctv177tg57.10","DOIUrl":"https://doi.org/10.2307/j.ctv177tg57.10","url":null,"abstract":"Chapter 6 interrogates Snyder’s aspirations to auteur status, arguing that they are in tension with his one-note style that always goes darker, grittier, and more violent, no matter what. Snyder’s self-aggrandizement and unwillingness to move beyond his comfort zone join his strong attachment to a toxic masculinity rooted in extreme violence and his routine misogyny to make him the archetypical toxic fanboy. Despite—or perhaps because of—these characteristics, Snyder has a powerfully invested following, which he engages and cultivates through social media, making him a highly polarizing figure who remains at the center of fannish discourse even years after leaving a franchise behind.","PeriodicalId":413897,"journal":{"name":"A Portrait of the Auteur as Fanboy","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116285417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Chapter 7 first considers how these auteurs are similar to the norm, deploying the origin story of being fans since their youth. Next, the chapter interrogates how Jenkins and Coogler in particular are the subject of a mountain of superlatives, nearly always framed as being the most, the best, or the first at something. The chapter then explores the ways the auteur as Other tends to be held responsible for the continued success of their entire category. Fourth, the chapter parses out the uneven availability of auteurist opportunity for such figures, despite their successes. Finally, the chapter investigates how representation in these films is presented as tightly interwoven with the identities of the auteurs.
{"title":"Patty Jenkins, Ryan Coogler, Taika Waititi, and the Fan Auteur as L’autre","authors":"Anastasia Salter, Mel Stanfill","doi":"10.2307/j.ctv177tg57.11","DOIUrl":"https://doi.org/10.2307/j.ctv177tg57.11","url":null,"abstract":"Chapter 7 first considers how these auteurs are similar to the norm, deploying the origin story of being fans since their youth. Next, the chapter interrogates how Jenkins and Coogler in particular are the subject of a mountain of superlatives, nearly always framed as being the most, the best, or the first at something. The chapter then explores the ways the auteur as Other tends to be held responsible for the continued success of their entire category. Fourth, the chapter parses out the uneven availability of auteurist opportunity for such figures, despite their successes. Finally, the chapter investigates how representation in these films is presented as tightly interwoven with the identities of the auteurs.","PeriodicalId":413897,"journal":{"name":"A Portrait of the Auteur as Fanboy","volume":"18 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128631846","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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