cultural citizenship and DIY citizenship to locate fandom as important to Muslim girls in shaping their identities. Drawing on qualitative research with 13 Muslim girls, I combine the insights of youth cultural studies, girlhood studies, and fan studies to
It has become a commonplace that the audience of a film is active. What sort of activity is involved when the audience is from one culture—say, Germany—and the film is from another culture—say, India? This article examines the processes involved in such cross-cultural film reception. It focuses on two aspects that are often regarded as problematic for the enjoyment of a film in terms of understanding and emotional response. The first is an obviously characteristic feature of Hindi cinema, namely the song and dance sequences. The second is perhaps less obvious, but no less characteristic—intertextuality and self-referential humor. The example explored in the article—Farah Khan's Om Shanti Om—displays a multitude of ironic allusions to the history of the Indian film industry and other culturally specific elements, which present a special challenge to uninformed audiences. In this context the article concentrates on a segment of active viewers that has at least some degree of familiarity with, but, more important, expresses a definite interest in Hindi cinema: Western (non-Indian) fans. The article argues that it is a misconception to regard cultural particularity as essentially problematic. On the contrary, elements that initially seem to present a hindrance might actually facilitate the development of empathy and identification. The point is perhaps particularly true in the social context of fan (culture) reception and offers some explanation for the films' cross-cultural appeal.
Queering the One Direction Fangirl
Hannah McCann and Clare Southerton
Like other fangirls, fans of former boyband One Direction (“Directioners”) have often been represented in media discourse as obsessive and hysterical, with fan behaviour interpreted as longing for heterosexual intimacy with band members. Subverting this heteronormative framing, a group of Directioners known as “Larries” have built a sub-fandom around imagining a relationship (“ship”) between two of the band members, Harry Styles and Louis Tomlinson. Representation of the Larry fandom has gone beyond pathologizing fangirls to framing their shipping practice in terms of “fake news.” The conspiracy theory panic around Larries misses the complex ways that subtext and queer reading are mobilized within the fandom to invoke feelings of queer intimacy and belonging. Drawing on a digital ethnography conducted on Twitter with Larries, we argue that these fans engage in queer reading strategies to explicitly imagine and interrupt dominant heterosexual narratives, and thus queer the figure of the fangirl.
perhaps unlikely group of readers—young women and teenage girls. Anne Boleyn has not only become the subject of an enthusiastic online fandom, but her story is now frequently retold in Young Adult (YA) historical fictions. Young Adult Fiction and Anne
UK Teen Girl Comics from 1955 to 1960
their study of Beatles fandom, enabled American girls to express their sexuality and resistance to cultural constraints placed on them in the early 1960s. Promotion differentiated British pop stars from their more glamorous American cousins as accessible
Why Are the Japanese Titles of Shakespearean Films So Odd?
Using William Shakespeare's name is considered helpful for marketing films in English-speaking regions because of the authority that this name wields. This article reveals a different marketing landscape in Japan, where film distribution companies are indifferent to associations with Shakespeare. For example, when Ralph Fiennes’ Coriolanus (2011) was released in Japanese cinemas, it was retitled The Proof of the Hero; the Shakespearean association was deliberately erased from the Japanese title. Such a marketing policy should be situated within a wider trend of promoting non-Japanese films in Japan. It is possible to point out three major reasons: the unpopularity of American comedy films, the relative unpopularity of theatre, and Japanese distributors’ heavily localised marketing policies, which are often criticised by fans on social media.
Three Fandom Autoethnographies
Tamar Rapoport and Efrat Noy
This article advocates autoethnography as a critical feminist methodology for using personal testimony to investigate women’s experience and performance of fandom The article’s centerpiece is an analysis of the personal testimonies of three women—researcher-fans of different ages—of a fan-owned club Hapoel Katamon Jerusalem. In addition to revealing women’s gendered-based experiences and the different ways in which women acquire and perform fandom, their personal stories prove valuable for exposing the gendered regime of the football field. Moreover, they reveal how women who are not fluent in the hegemonic language of fandom make their way in the fandom field as they seek their own voice and position in it. The analysis suggests that women’s participation can disrupt the hegemonic masculinity of fandom and challenge its established boundaries, thereby problematizing accepted definitions of the authentic fan.
Football and Society in Israel—a Story of Interdependence
Tamar Rapoport and Amir Ben Porat
Israel, where it has been played every weekend all over the country since before the establishment of the state. Football is not just a game that children and adults love to play and watch; it also involves individual, group, and collective identities, and local and national identification. Football reflects, and often accentuates, political and social conflicts that highlight ethno-national, class, political, and gender hierarchies and tensions in society. The game is largely dependent on the surrounding context(s) that determines its “relative autonomy,” which shapes its distinguished fandom culture(s) and practices (Rapoport 2016).
Shakespeare, Fandom, and the Lure of the Alternate Universe
Kavita Mudan Finn and Jessica McCall
had already appeared on the Internet as a piece of Twilight fanfiction entitled ‘Master of the Universe’ – some have argued that this juxtaposition is the very point of fandom. Transformative fiction (also known as fanfiction, fanfic , or, most
Margrethe Bruun Vaage and Gabriella Blasi
makes “active audience behaviour even more of a mainstream practice” (36). Indeed, Mittell claims “forensic fandom” is one of narratively complex TV’s three defining features (52–53). According to Mittell, complex TV tends to make its viewers amateur