Where Fandom Studies Came From: An Interview with Kristina Busse and Karen Hellekson
|Interviews by Fans|
|Title:||Where Fandom Studies Came From: An Interview with Kristina Busse and Karen Hellekson|
|Interviewee:||Kristina Busse and Karen Hellekson|
|Date(s):||November 17-21, 2014|
|External Links:||Where Fandom Studies Came From: An Interview with Kristina Busse and Karen Hellekson (Part One), Archived version|
Where Fandom Studies Came From: An Interview with Kristina Busse and Karen Hellekson (Part Two), Archived version
Where Fandom Studies Came From: An Interview with Kristina Busse and Karen Hellekson (Part Three), Archived version
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Where Fandom Studies Came From: An Interview with Kristina Busse and Karen Hellekson was conducted by Henry Jenkins. It was posted in three parts in November 2014.
The interview discussed fandom and profit, the future of fanworks, the pros and cons of the popularity of Fifty Shades of Grey, Jenkin's book Textual Poachers and other seminal works on fandom that were published in the 1990s and 2000s, Busse and Hellekson's new book The Fan Fiction Studies Reader, how acafandom has changed since the mid-1990s, and much, much more.
[Kristina Busse]: We got the majority of the essays [for our book] via direct solicitation. Most—nine of the 13—were people I was friends with on LiveJournal. A few essays didn’t work out, which is par for the course; the RPF popslash essay wasn’t supposed to have been mine but we needed to fill a hole. We decided that these were all topical essays, and given that production would take a year, we imposed a deadline of less than a year for essay delivery. From having the idea to having the book in our hands took about two years, which is very fast for academic publishing. But all these acafans were giving papers that they couldn’t find a venue to publish. The ideas were just there to be caught. We had a lot of grad students and unaffiliated folks among the contributors—I think only four of the 13 were tenure-track scholars. But that’s where there often are the most interesting and novel ideas. The other thing that made this collection different and that we thought was really important was the fact that we all self-identified as fans. You had already brought in the fact in Textual Poachers (1992) that a central part of your identity was being a fan as well as an academic, and Matt Hills did his long autoethnography in Fan Cultures (2002). We decided to take that for granted. A lot of us had been fans and active in media fandom long before we were academics, and many of us came to fan studies through fandom rather than through media studies. We wrote our love into these essays and displayed our fandom affiliation in every sentence. That seemed to be different to a lot of the research that was happening at the time.
[Karen Hellekson]: Another important conceptual impact is that we are unapologetically fans ourselves. I write fan fiction and maintain a fic archive; I have helped create content for a fan-created informational wiki; I ran few multiauthored virtual seasons after my show was canceled. I don’t just read about this stuff; I live this stuff. The connection with the fan community has led us to do certain things, like (as for TWC) not hotlinking directly to spaces that fans perceive as private, or checking with a fan before we publish a link to a story in case the author wants us to hotlink to some other space, or not hotlink at all. I am not interested in expanding the notion of the fan to include all aspects of what may be termed fannish behavior. Fans of stamp collecting or sports may engage in a sort of fandom, but they don’t tend to call it that. They may also configure their engagement and their passion differently. The word fandom may properly be applied to these activities, but to my ear, the connotation isn’t right. Broadening fan studies to all aspects of “fanatic” behavior merely because the activities match what the term denotes is certainly a valid point of view, but it’s not my point of view because I am interested in what it connotes and how fans work to build that connotation. The term also comes out of SF literature fandom, which I have studied, and in some ways I want to acknowledge fan studies’ outgrowth from SF fandom. Media fans adopted fanzines, apas, and other modes of dissemination from SF fans.
[Kristina Busse]: One (of the many) things that fandom and academia share is the ability to have many things be true at the same time. Collectively, we write hundreds different versions of what goes through our characters’ minds during a given crucial scene, and we give ever new interpretations of Hamlet during his major soliloquy. We (well, many of us :) can simultaneously ship Tony/Steve, Steve/Bucky, and Bucky/Natasha, and there’s this great Bedford St. Martin’s series that presents a given literary text with about a dozen different theoretical approaches (like Marxist, feminist, psychoanalytic, postcolonial, queer readings of Heart of Darkness). And even as they are sometimes mutually exclusive, they are also ALL VALID. If our collection has had any conceptual impact, we hope it is that understanding of WIP not only for fandom and academia, but also for fan studies in particular. We are realizing that there are huge gaps in areas we have not paid enough attention to, such as Critical Race Studies, Transculturalism/Transnationalism, and Marxist Labor Theory, to name just a few, and if the collection was ever supposed to be anything, it was a snapshot of that moment.
[KB]: If nothing else, Fifty Shades‘s success now allows any fan scholar anywhere to point to it to explain what we do. Even my 90-year-old German grandmother has heard of it. Seriously, though, it feels like the publication was both the culmination of a general mainstreaming and mainstream acceptance of fans and fan fiction, and by its sheer overwhelming success, it is a watershed in ultimately settling whether fan fiction can become a commercial success.
Of course, given this specific text, I take its “success” with some ambivalence when we look at fan fiction communities and at erotic women’s writing in general. The fact that it so clearly is removed from its contextual cultural community ties (as Anne Jamison argues in her great essay in Fifty Writers on Fifty Shades of Grey, 2012) makes it ultimately less interesting as a work of fan fiction. (The seeming rejection of the fan community, unlike other fan fiction-turned-pro writers, doesn’t help much either.) Its mere existence as an explicit erotic work, as “pornography by women for women, with love” is crucial, but enough ink has been spilled about its problematic feminism and contentious portrayal of BDSM culture.As for how lasting it will be: Let’s hope a generation from now, the “inner Goddess” will go the way of the “zipless fuck," an interesting historical footnote rather than a perennial classic.
[KH]: The whole Fifty Shades thing fills me with weariness that is quickly becoming annoyance. Nonfan friends now have this whole idea about what I read and think and do that doesn’t reflect my lived reality. Something about the “nonnormality” (scare quotes intended!) of BDSM makes fans seem even more fanatic. Many books written by fans have had the serial numbers filed off and then were published professionally; it’s not like she did anything new, and she really did throw her fannish community under the bus, as Bethan Jones argues in an essay in TWC . However, the book has definitely highlighted fan fiction as a literary form and as a cultural phenomenon. I have no idea if the impact will be lasting. It’s too soon to tell. Certainly many best sellers of yesterday are not remembered today. If Fifty Shades is remembered, I predict it will be cited (by people who do not go back to read any of the books in the series!) as the text that changed the publishing landscape for fan-written texts.