фики с научной точки зрения, исследование фэндома 80-х

[Хриза]

Книга называется "Textual Poachers: Television Fans and Participatory Culture" - Henry Jenkins. Автор рассказывает, что фанаты - это вовсе не чудики, которыми их изображает медиа, сыплет терминами и историями про приятелей-фанатов.

Основные стратегии фик райтеров:
1) пропущенные сцены, которые заполняют дыры в каноне
2) развитие предыистории персонажа. Например, пишут про детство и юность героев, опираясь на намеки и факты из канона.
3) пишут про лебедей из третьего ряда - т.е. про второстепенных персонажей. Автор приводит, как пример Ухуру и Чапел, а также, как он выразился, "любых" компаньонов из Доктора Кто.
4) делают из злодеев хороших. Автор вспомнил шерифа Ноттингема. <3
5) меняют жанр канона. Как минимум, изменяют баланс между приключениями и внутренней жизнью героев - пишут про дружбу Спока, Кирка и Маккоя, а не про борьбу с ромуланцами и клингонами. В более широком смысле полностью меняют жанр, делая из какого-нибудь боевика романтическую историю про настоящую любовь.
6) кроссоверы и фьюжены. Кстати что это за "Tanith Lee’s Kill the Dead loosely based on Blake’s 7"?
7) аушки, где персонажи живут в другом месте и времени.
8) персонализация (?). Смешение вселенной канона с нашей. Попаданцы: когда герои попадают в наш мир, или актеры переносятся в канон, или Мери Сью переносится туда от нас.
9) харт-кофорт
10) эротика

Dominant approaches employed by fan writers:

1) Recontextualization: Fans often write short vignettes (“missing
scenes”) which fill in the gaps in the broadcast material and
provide additional explanations for the character’s conduct;
these stories focus on off-screenactions and discussions that
motivate perplexing on-screen behavior.

2)Expanding the Series Timeline: the primary
texts often provide hints or suggestions about the characters’
backgrounds not fully explored within the episodes.
Bodie’s background as a mercenary in The Professionals,
Spock’s experiences serving with Captain Pike in Star Trek,
Anakin Skywalker’s seduction into the dark side in Star Wars,
Remington Steele’s disreputable apprenticeship with Daniel
Chalmers, the Doctor’s rebellion against the other Time Lords
in Doctor Who.

3) Refocalization: While much of fan fiction still centers on the
series protagonists, some writers shift attention away from the
programs’ central figures and onto secondary characters, often
women and minorities, who receive limited screen time.

4) Moral Realignment: taking the villains and
transforming them into the protagonists of their own
narratives. Characters like Servalan, Paracelsus, the Master,
Darth Vader, and the Sheriff of Nottingham are such
compelling figures thatfans want to explore what the fictional
world might look like from their vantage point; such tales blur
the original narrative’s morerigid boundaries between good
and evil.

5) Genre Shifting: fans often choose to read
the series within alternative generic traditions. Minimally, fan
stories shift the balance between plot action and
characterization, placing primary emphasis upon moments
that define the character relationships rather than using such
moments as background or motivation for the dominant plot.
Star Trek thus becomes a series centered on the “great
friendship” between Kirk, Spock, and McCoy rather than
about their efforts to “explore strange new worlds” or their
struggles with the Romulan and Klingon empires.

More broadly, fan stories often choose to tell very different stories
from those in the original episodes. Here, Star Trek or Blake’s
7 may form the basis for romanticfiction involving couples only
suggested in the series: Kirk and Uhura, Data and Yar, Blake
and Jenna, Riker and Troi, Picard and Crusher.

6) Cross Overs: If genre-shifting reads the series through the filter
of alternative generic traditions, “cross-over” stories blur the
boundaries between different texts.

McCall (The Equalizer) awakens to find himself in the
mysterious Village (The Prisoner) but is rescued by the
Airwolf team. The TARDIS has materialized every place from
the Planet of the Apes to Fawlty Towers, even on the set of
Wheel of Fortune.

7) Character Dislocation: An even more radical manipulation of
generic boundaries occurs when characters are removed from
their original situations and given alternative names and
identities. The program characters provide a basis for these
new protagonists, yet the fan-constructed figures differ
dramatically from the broadcast counterparts.

In O.Yardley’s “Stand and Deliver” (n.d.), a Professionals circuit story,
highwayman Bodie holds up a blue-blooded Doyle and Doyle
later recruits Bodie to join Major Cowley’s men as a political
spy. Here, the story preserves their roles as government agents
but fits them into a different historical context.
Many of these stories occur within Professionals
fandom, perhaps because fans often like the characters of
Bodie and Doyle better than they like their original context.

8)Personalization: Fan writers also work to efface the gap that
separates the realm of their own experience and the fictional
space of their favorite programs.
“Mary Sue” stories, which fit
idealized images of the writers as young, pretty, intelligent
recruits aboard the Enterprise, the TARDIS, or the Liberator,
constitute one of the most disputed subgenres of fan fiction.

9)Emotional Intensification: fans often emphasize moments of narrative crisis.
Fans relish episodes where relationships are examined,
especially those where charactersrespond in a caring fashion
to the psychological problems, professional turning points,
personality conflicts, and physical hurts of other major
characters.

Starsky and Hutch hug each other as Hutch cries over the death of one of his
girlfriends; Cooper tucks a feverish Truman into bed following
Josie’s death on Twin Peaks. Series episodes where characters
undergo painful transitions or gut-wrenching revelations also
enjoy high status within the fan canon as do episodes where
characters touch and care for each other (be it Crusher’s
comforting of a tormented Picard in “Sarek” or Sam Beckett’s
futile attempts to touch his holographic companion during a
moment of emotional need).

These angst-ridden stories allow fans to express their own
compassionate concern for characters, such as Spock, Avon,
Illya or Vincent, who seem to be deeply pained or emotionally
divided.

10)Eroticization: Fan writers, freed of the restraints of network
censors, often want to explore the erotic dimensions of
characters’ lives. Their stories transform the relatively chaste,
though often suggestive, world ofpopular television into an
erogenous zone of sexual experimentation.

@темы: цитаты, книги разные, Фанфики