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Fake Geek Girls: Fandom, Gender, and the Convergence Culture Industry. Suzanne Scott

Fake-Geek-Girls-Fandom-Gender.pdf
ISBN: 9781479879571 | 304 pages | 8 Mb

• Fake Geek Girls: Fandom, Gender, and the Convergence Culture Industry
• Suzanne Scott
• Page: 304
• Format: pdf, ePub, fb2, mobi
• ISBN: 9781479879571
• Publisher: New York University Press

Google books free downloads Fake Geek Girls: Fandom, Gender, and the Convergence Culture Industry PDB PDF

Reveals the systematic marginalization of women within pop culture fan communities When Ghostbusters returned to the screen in 2016, some male fans of the original film boycotted the all-female adaptation of the cult classic, turning to Twitter to express their disapproval and making it clear that they considered the film’s “real” fans to be white, straight men. While extreme, these responses are far from unusual, with similar uproars around the female protagonists of the new Star Wars films to full-fledged geek culture wars and harassment campaigns, as exemplified by the #GamerGate controversy that began in 2014. Over the past decade, fan and geek culture has moved from the margins to the mainstream as fans have become tastemakers and promotional partners, with fan art transformed into official merchandise and fan fiction launching new franchises. But this shift has left some people behind. Suzanne Scott points to the ways in which the “men’s rights” movement and antifeminist pushback against “social justice warriors” connect to new mainstream fandom, where female casting in geek-nostalgia reboots is vilified and historically feminized forms of fan engagement—like cosplay and fan fiction—are treated as less worthy than male-dominant expressions of fandom like collection, possession, and cataloguing. While this gender bias harkens back to the origins of fandom itself, Fake Geek Girls contends that the current view of women in fandom as either inauthentic masqueraders or unwelcome interlopers has been tacitly endorsed by Hollywood franchises and the viewer demographics they selectively champion. It offers a view into the inner workings of how digital fan culture converges with old media and its biases in new and novel ways.

Film & Media - Combined Academic Publishers
Fake Geek Girls. Fandom, Gender, and the. Convergence Culture Industry. S S. Critical Cultural Communication. April 2019 304pp. 9781479879571 £23.99 PB. Amazon.com: Coming Soon - Feminist Theory / Women's Studies
Results 1 - 16 of 137 Fake Geek Girls: Fandom, Gender, and the Convergence Culture Industry ( Critical Cultural Communication). by Suzanne Scott | Apr 16,  Introduction - Society For Cinema and Media Studies
The story of media fandom is one steeped in economic and gender concerns, from can allow fans to become parts of the media industry, should fans embrace 6 Henry Jenkins, Convergence Culture: When Old and New Media that Abigail De Kosnik discusses in this issue.3 Does Lim's geek girl  Studien zu Gemeinschaft und Gesellschaft (Klassiker der
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next month on the gender politics of media fandom. It's called Fake Geek Girls: Fandom, Gender, and the Convergence Culture Industry. 3 - Combined Academic Publishers
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Shira Tarrant, author of The Pornography Industry 320 Pages • Paper FAKE GEEK GIRLS Fandom, Gender, and the Convergence Culture  Amazon.com: Coming Soon - Women's Studies / Politics & Social
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Suzanne Scott - ‎2019 - Social Science Gender and Fan Studies - UT College of Liberal Arts: - The
Dr. Suzanne Scott's book project examines gender in field of Fan Studies. “To Squee, or Not to Squee: Spreadable Misogyny and the 'Fake Geek Girl,'” a talk by Dr. Suzanne Scott, underpinning the media industry's embrace of fans as tastemakers and promotional partners within convergence culture. Suzanne Scott, Ph.D. Education Academic Appointments Publications
Storytelling,” in The Participatory Cultures Handbook. “Gender and Fan Culture (Round Fifteen): Bob Rehak and Suzanne Scott, part I and part Paper: “ Authenticating Affect: 'Fake Geek Girls' and Fandom's War on Women” “ Transmedia Tensions: When Industry Meets Audience,” New York University.

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