Bristol Fashion: Reclaiming Cary Grant for Bristol – Film Heritage, Screen Tourism and Curating the Cary Comes Home Festival

This article re-examines Cary Grant’s star persona arguing that the importance of his Bristolian identity has been under-appreciated. Through a detailed discussion of attempts to promote his Bristolian roots including the biennial Cary Comes Home Festival (established 2014), the article argues that these activities have encouraged a re-evaluation of Cary Grant’s star identity, increased understanding of his importance to Bristol’s screen heritage, and helped promote film tourism to the city. The article outlines the history and development of the festival, critically reflecting on the curatorial practices that underpinned them. It is informed by three main interlinked theoretical areas: star studies; the literature on fan practices of cinematic tourism and pilgrimage, and festival studies. It analyses the ways in which expanded cinema programming provides opportunities for decentering the understanding of Grant’s persona as a Hollywood star, by exploring the festival’s programming of immersive cinematic experiences in locations that were significant to his Bristolian identity. The article also examines the impact of the festival’s role in relocating Grant within Bristol, the ways in which it has enhanced the city’s sense of its cinematic heritage – including achieving UNESCO City of Film status in October 2017 – and the ways in which Bristol has become a living archive through which and in which Cary Grant’s star persona is constructed and circulates, which has helped promote film tourism to the city today.

Television Sharknados and Twitter Storms: Cult Film Fan Practices in the Age of Social Media Branding

<p>This thesis examines the Syfy channel’s broadcast of the television movie Sharknado and the large number of tweets that were sent about it. Sharknado’s audience engaged in cult film viewing practices that can be understood using paracinema theory. Paracinema engagement with cult films has traditionally taken place in midnight screenings in independent movie theatres and private homes. Syfy’s audience was able to engage in paracinematic activity that included making jokes about Sharknado’s low quality of production and interacting with others who were doing the same through the affordances of Twitter. In an age where branding has become increasingly important, Syfy clearly benefited from all the fan activity around its programming. Critical branding theory argues that the value generated by a business’s brand comes from the labour of consumers. Brand management is mostly about encouraging and managing consumer labour. The online shift of fan practices has created new opportunities for brand managers to subsume the activities of consumers. Cult film audience practices often have an emphasis on creatively and collectively engaging in rituals and activities around a text. These are the precise qualities that brands require from their consumers. Sharknado was produced and marketed by Syfy to invoke the cult film subculture as part of Syfy’s branding strategy. This strategy can be understood using the theory of biopolitical marketing. Biopolitical marketing creates brands by encouraging and managing consumer activity on social media. Instead of simply promoting itself, a brand becomes an online platform through which consumers can engage. An active consumer base raises a brand’s profile and puts forward the image of happy, loyal customers. An equally important advantage of biopolitical marketing is that it can mask the marketing aspect of branding. Consumers who are cynical towards marketers may be less defensive towards a group of fellow consumers enjoying a product online. Developing a consumer community around a business where every consumer interaction enhances the brand and there is no semblance of marketer involvement is the end goal of biopolitical marketing. The subculture around cult films not only has brand-friendly practices, but is also positioned as being rebellious, a quality that can be particularly valuable in trying to mask the presence of marketing.</p>

Television Sharknados and Twitter Storms: Cult Film Fan Practices in the Age of Social Media Branding

<p>This thesis examines the Syfy channel’s broadcast of the television movie Sharknado and the large number of tweets that were sent about it. Sharknado’s audience engaged in cult film viewing practices that can be understood using paracinema theory. Paracinema engagement with cult films has traditionally taken place in midnight screenings in independent movie theatres and private homes. Syfy’s audience was able to engage in paracinematic activity that included making jokes about Sharknado’s low quality of production and interacting with others who were doing the same through the affordances of Twitter. In an age where branding has become increasingly important, Syfy clearly benefited from all the fan activity around its programming. Critical branding theory argues that the value generated by a business’s brand comes from the labour of consumers. Brand management is mostly about encouraging and managing consumer labour. The online shift of fan practices has created new opportunities for brand managers to subsume the activities of consumers. Cult film audience practices often have an emphasis on creatively and collectively engaging in rituals and activities around a text. These are the precise qualities that brands require from their consumers. Sharknado was produced and marketed by Syfy to invoke the cult film subculture as part of Syfy’s branding strategy. This strategy can be understood using the theory of biopolitical marketing. Biopolitical marketing creates brands by encouraging and managing consumer activity on social media. Instead of simply promoting itself, a brand becomes an online platform through which consumers can engage. An active consumer base raises a brand’s profile and puts forward the image of happy, loyal customers. An equally important advantage of biopolitical marketing is that it can mask the marketing aspect of branding. Consumers who are cynical towards marketers may be less defensive towards a group of fellow consumers enjoying a product online. Developing a consumer community around a business where every consumer interaction enhances the brand and there is no semblance of marketer involvement is the end goal of biopolitical marketing. The subculture around cult films not only has brand-friendly practices, but is also positioned as being rebellious, a quality that can be particularly valuable in trying to mask the presence of marketing.</p>

"Carmilla" fandom as a lesbian community of feeling

The fandom of the contemporary lesbian web series, Carmilla (2014–16), is an affective community built on a set of inclusions and exclusions. Carmilla, a 121-episode web series shot in vlog format, follows the relationship between a human girl and a female vampire, and it has an active online lesbian fandom. Affective bonds are created between Carmilla fans through various kinds of online fan practices, and these flows of affect are influenced by the race and location of fans.

“#Bughead Is Endgame”: Civic Meaning-Making in Riverdale Anti-Fandom and Shipping Practices on Tumblr

In this paper, we seek to understand how shipping and anti-fan practices intersect to create meaningful audience engagement and civic discourse about contemporary social and political issues in the “politics of viewing” CW’s adaptation of Riverdale. By examining tagged posts from January 3, 2017 to June 26, 2019, we elicit how fan-rhetoric operates in a digitally networked environment and interrogate the intra-fan rivalries between shippers, anti-shippers, and anti-fans that underpin the Riverdale fandom on Tumblr. In doing so, we begin to sketch out a taxonomy of shipping-specific anti-fan practices, extending Gray’s work into different types and modes of anti-fandom to consider the role shipping plays within consumption practices, fandom stratification, and the production of civic discourse online.

Acafan identity, communities of practice, and vocational poaching

In a conceptualization and critique of the implications motivating a set of teaching and learning sessions designed to introduce undergraduate students to the professional role of location scouts and managers, two main interventions are offered. First, discussion of acafan identities is advanced by considering how this subject position applies to teaching and learning contexts rather than individual research dispositions, with acafans transferring competencies developed through fan practices that appropriate industry-located forms of knowledge to inform pedagogical design. Second, the concept of vocational poaching is applied as an alternative of fannish appropriation that acafans can engage in when designing teaching and learning sessions. Vocational poaching involves individual acafans performing tactical raids on industrially located forms of knowledge via fan practices such as location visiting and using these to satisfy the requirements of neoliberal teaching policies.

Affirmational canons and transformative literature: Notes on teaching with fandom

Instructors who use fan studies in the classroom are likely to make use of transformative works and theories. The remix classroom offers a way to read against popular interpretations of mainstream texts. In the process, teaching with fandom—not to mention fandom itself—is often presented specifically as a salve to prescriptive readings of texts. Yet fan practices are often imagined by mainstream culture as being uniquely affirmational—a particularly enthusiastic form of close reading that emphasizes and rewards deference to an authorial voice. In this sense, the way media and popular culture understand fandom is as an extension of how students are often taught to read texts: via a formalistic, New Critical approach that centers authoritative criticism. Students who interact with fan texts but do not see themselves as fans feel this way, just as students often fail to recognize themselves as critical readers because expertise has been made into a form of gatekeeping.

Examining the fan labor of episodic TV podcast hosts

In podcasting—an understudied site of fan engagement—hosts of episodic TV podcasts, who are self-professed fans of a particular television series, engage in their fandom through a particular form of fan labor: producing and hosting a weekly podcast. Hosting an episodic TV podcast is a form of digital fan labor situated within the online fan gift economy. The resulting subcultural celebrity status that the hosts attain is ultimately what drives them to continue podcasting, regardless of any financial incentives that may arise from hosting a successful podcast. Through interviews with the hosts of the Friends (NBC, 1994–2004) podcast Best of Friends (2015–), Erin Mallory Long and Jamie Woodham, it becomes clear that by closely examining the different modes of fandoms that emerge from episodic TV podcasts, we can expand legible fan studies methodologies and apply them in the study of new and emerging fan practices and behaviors.