194:
466:". The gray market operates mainly through word of mouth and "under the table" sales, and provides products of varying quality. Even though these are commercial activities, it is still expected that fan vendors will not make a large amount of profit, charging just enough to cover expenses. Some vendors attempt to not mark up their products at all, and will use that information in their promotional information, in an attempt to secure the confidence of other fans who may look down at fans making a profit.
591:
1165:"Supreme Commander fans released Forged Alliance Forever and gave the game the online client it could otherwise only dream of. I haven't played it much, but I still got a tear in my eye when I read about the extents these coders had gone to. There's nothing quite so wonderful to witness as love, and this is surely love of the very purest order. SupCom guys resurrect a series whose publisher had just gone under."
336:, creators assemble and sew costumes that replicate characters or fit with the setting of the target of fannish activity. Costuming often goes well beyond basic seamstress and tailoring, and may include developing sophisticated mechanics, such as hydraulics to open and close wings, or complicated manufacturing techniques, such as building
321:, involving the writing and performance of songs inspired by fandom and other common filk themes. Filking is often done in small groups at conventions, often late at night after other official convention programming has ended for the day; additionally, there are now dedicated filk conventions in Canada, England, Germany, and the USA.
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distributing or selling an item which the corporation believes violates their copyright. As a result of these actions by media companies, some conventions now ban fan art entirely from their art shows, even if not offered for sale, and third party vendors may remove offending designs from their websites.
504:
Jenkins comments on the fan-media conglomerate relationship, saying, "Here, the right to participate in the culture is assumed to be 'the freedom we have allowed ourselves,' not a privilege granted by a benevolent company, not something they are prepared to barter away for better sound files or free
393:
perspective, fan creative practices are labor that is done in a relatively routine way and that helps to maintain a connection to the media property itself (the "cultural ancestor" or "deity"). Through their fan labor, fans are able to replicate "the original creative acts of first-principle deities,
79:
In recent years, media conglomerates have become more aware of how fan labor activities can add to and affect the effectiveness of media product development, marketing, advertising, promotional activities, and distribution. They seek to harness fan activities for low-cost and effective advertisements
436:
Fans who do their creative work out of paying respect to the original media property or an actor or to the fandom in general gain cultural capital in the fandom. However, those who attempt to sell their creative products will be shunned by other fans, and subject to possible legal action. Fans often
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Having invested significant amounts of time, most fans provide their creative works for others to enjoy without requiring or requesting monetary compensation. Most fans are engaged in an economic model that rewards labor with "credit" such as attribution, notoriety, and good will, rather than money.
407:
are popular. These choices also reflect the relationships fans construct of their view of their place within fandom, including how they relate to the media property and the corporate structures and products surrounding it. Fans are therefore engaged in "the individual and collective construction of
560:, writes, "Fans, furthermore, are atypical. They are not representative, not even remotely. Their enthusiastically put views are hopelessly distorted, albeit hopelessly distorted in a direction marketers find congenial. Isn't it great to gather eager followers? The answer, in a nutshell, is NO."
444:
Fans are often also fearful that charging other fans for products of their creativity, such as zines, videos, costumes, art, etc. will somehow fundamentally change the fan-fan relationship, as well as attract unwanted legal attention from copyright holders. That fear has come true in more than one
368:
Instead of monetary reward, one of the major rewards of fan labor is the formation of relationships between fan creators and other fans. The relationships created through fan exchanges are often as important, if not more so, than the products exchanged. The focus on relationships separates fandom
233:
the original game's design, gameplay and characters, but it is equally common for fans to develop a unique game using another only as a template. Fangames are either developed as standalone games with their own engines, or as modifications to existing games that "piggyback" on the other's engines.
75:
culture and are often also fearful that charging other fans for products of their creativity will somehow fundamentally change the fan-fan relationship, as well as attract unwanted legal attention from copyright holders. The skills that fans hone through their fan works may be marketable, and some
165:
is the most widely known fan labor practice, and arguably one of the oldest, beginning at least as early as the 17th century. Fan fiction stories ("fan fic") are literary works produced by fans of a given media property, rather than the original creator. They may expand on an original story line,
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In recent years, copyright holders have increasingly sent cease and desist letters to vendors and authors, as well as requests for back licensing fees or other fines for copyright violations. Often, these cases are settled out of court, but usually result in the fan vendor having to stop selling
248:
involve each fan animating a shot of an existing film in their own unique style. The clips are then stitched together to produce a collaborative tribute, sometimes with over 500 animators on a single film. The finished product is then uploaded to the internet for other fans to watch. Reanimated
427:
fears that "if fan productions became well-recognized gateways to legitimate fame and fortune, there might be a tradeoff between monetary and community-based incentives to create." By contrast, Abigail De Kosnik suggests that, since fans are inevitably part of a monetary economy in some way or
241:
since 1996. Machinima creators use computer game engines to create "actors" and create scenarios for them to perform in, using the physics and character generation tools of the game. The scripts, as performed by the computer-generated characters, are recorded and distributed to viewers online.
184:
is artwork based on a character, costume, item, or story that was created by someone other than the artist. Usually, it refers to fan labor artworks by amateur and unpaid artists. In addition to traditional paintings and drawings, fan artists may also create web banners, avatars, or web-based
752:
rights. Because of new technologies that make media easier to distribute and modify, fan labor activities are coming under greater scrutiny. Some fans are finding themselves the subjects of cease and desist letters which ask them to take down the offending materials from a website, or stop
551:
Companies are now building in room for participation and improvisation, allowing fans to essentially color-by-number with franchise approval. Some, however, disagree that it is good practice for corporations to engage in and encourage fan activities. Stephen Brown, in his article for
505:
Web hosting. Instead, they embrace an understanding of intellectual property as 'shareware,' something that accrues value as it moves across different contexts, gets retold in various ways, attracts multiple audiences, and opens itself up to a proliferation of alternative meanings."
513:
stated, "The media landscape will be reshaped by the bottom-up energy of media created by amateurs and hobbyists as a matter of course A new generation of media makers and viewers are emerging which could lead to a sea change in how media is made and consumed." The 2007 book
166:
character relationship, or situations and entities that were originally mentioned in the original author's work. Works of fan fiction are rarely commissioned or authorized by the original work's owner, creator, or publisher, and they are almost never professionally published.
508:
However, this state of affairs may not last as companies become more aware of how fan labor activities can add to and affect the effectiveness of media product development, marketing, advertising, promotional activities, and distribution. A business report called
376:
viewpoint, the products of fan labor are a form of cultural wealth, valuable also for their ability to interrelate the fan works, the fan-creators, and the original media property itself through conversation and fan work exchanges. Fans, in other words, are
402:
Fans engage in skilled crafting, "routine acts" within a ritual economy. The types of material that fans produce and consume continually reproduce the structures and worldview of the fandom subset of the authors and readers, for instance, in terms of which
218:
are analytical music videos made by synchronizing clips from TV shows or movies with music to tell a story or make an argument. "Vidders", the creators of these videos, carefully match the audio and video components to tell a story or set a specific mood.
211:
is a film or video inspired by a media source, created by fans rather than by the source's copyright holders or creators. Fan films vary in length from short faux-teaser trailers for non-existent motion pictures to ultra-rare full-length motion pictures.
173:. This fan labor practice is focused on the analysis and visualization of the use of content tags and categories, along with other metrics, such as hit and word counts in order to discuss and forecast trends and variations within and across fandoms.
521:
Companies, however, react to fan activities in very different ways. While some companies actively court fans and these type of activities (sometimes limited to ways delineated by the company itself), other companies attempt to highly restrict them.
563:
Additionally, some corporations co-opt user-generated content as "free labor". As fans recognize the commercial value of their labor, the issue of companies abusing these volunteer creators of videos, stories, and advertisements (such as the
472:
is one exception, in that artists have traditionally sold their works in public at conventions and other fan gatherings, as well as on their own web sites. Many fan artists have set up e-commerce storefronts through vendors such as
66:
Although fans invest significant time creating their products, and fan-created products are "often crafted with production values as high as any in the official culture," most fans provide their creative works as
411:
The goods that fans produce as a result of these rituals are imbued with social value by other fans. Fan works are valued as fandom products, and they also support the fan creator's desire to be valued by peers.
347:, creators craft unique combinations of teas, herbs, nuts, fruits, and/or spices to produce a blend that typifies a character from TV, film, or comic books or exemplifies their nature, or an aspect of it.
951:
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made by fans based on one or more established video games; the vast majority of fangames that have been successfully completed and published are adventure games. Many fangames attempt to
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is a fan-run organization that advocates for the transformative nature of fan fiction and provides legal advice for fan fiction writers, vidders, and other fan labor practitioners.
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or find themselves running afoul of copyright law, they may argue that their "artistic interpretation" of a character or scenario makes it a transformative work upheld by the
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is typically involved in the form of a custom designed label. NPR reports this started in 2012 and there are now "more than a thousand user-created 'fandom teas'" available.
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Session on Fan Labor and personal discussion with an Auran company representative, Media in
Transition Conference, Massachusetts Institute of Technology, April 18â21, 2007.
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518:
is devoted to case studies of consumer groups, many of them media fans, who are challenging the traditional media production and consumer product marketing models.
420:
There is a divide in fandom between those who want to see new models of remuneration developed and those who feel that "getting paid cuts fandom off at the knees".
601:
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Some companies purchase fan-created additions or game items. Other companies run marketplaces for fans to sell these items to other fans for monetary reward.
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clinics, which covers the current state of copyright-related law suits, and has a special section devoted to fan fiction legal action and how to fight it.
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work, or they are original creations which are inspired by a specific copyrighted work. Some or all of these works may fall into the legal category of
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to the creators of amateur fan productsâthreatening legal action whose basis is increasingly being questioned by fandom rights groups like the
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http://scholarship.law.duke.edu/cgi/viewcontent.cgi?article=1424&context=lcp
Payment in Credit: Copyright Law and Subcultural Creativity
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is an example of an original copyright owner being willing to share the potential commercial gain to be made from derivative works by fans.
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734:
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3134:
2784:
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Woo, Jisuk (2004) "Redefining the 'Transformative Use' of
Copyrighted Works: Toward a Fair Use Standard in the Digital Environment". In
1110:"'It was a love letter to the franchise and what did Paramount do? They blocked it': Outrage as 'SpongeBob' fan film removed on YouTube"
2846:
1801:
1719:
Wells, E. Christian and Karla Davis-Salazar (2007) "Mesoamerican Ritual
Economy: Materialization as Ritual and Economic Process". In
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the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
635:
63:
and review literature), visual or computer-assisted art, films and videos, animations, games, music, or applied arts and costuming.
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However, these tests are not absolute, and judges may decide to weigh one factor more heavily than another in any given case.
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under U.S. copyright law. However, corporations continue to ask fans to stop engaging with their products in creative ways.
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55:, primarily those of various media properties or musical groups. These activities can include creation of written works (
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and
Harvard, Stanford, Berkeley, University of San Francisco, University of Maine, George Washington School of Law, and
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is often sold side by side with its original commercial inspiration, with no legal action from the original publishers.
1914:
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Who Owns Our
Culture? The Battle Over the Internet, Copyright, Media Fandom, and Everyday Uses of the Cultural Commons
124:
31:
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481:, which allow customers to purchase items such as t-shirts, totes, and mugs with the fan design imprinted on them.
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overlapping and even conflicting practices, identities, meanings, and also alternate texts, images, and objects".
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The rise of online repositories built to archive and deliver fan fiction has resulted in a new activity: fandom
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Comment by
Catherine Tosenberger, speaker on "Fan Labor" panel, Futures of Entertainment 2007 conference at
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Recent years have seen increasing legal action from media conglomerates, who are actively protecting their
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products entirely, or significantly modifying their wares to comply with the copyright owner's demands.
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1590:. J. Gray, C. Sandvoss and C.L. Harrington, eds. pp. 357â364. New York, New York University Press.
324:
Some fandoms are known to produce music as a form of fan labor that is not usually classified as filk.
185:
animations, as well as photo collages, posters, and artistic representation of movie/show/book quotes.
995:"Zelda CD-i Reanimated brings together over 200 animators to celebrate the worst-ever Zelda cutscenes"
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the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
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1496:. Dissertation, Bowling Green State University. Ann Arbor, MI: ProQuest Information and Learning Co.
1158:
You're in charge! â From vital patches to game cancellations, players are often intimately involved.
488:, The Bedlam Bards, etc.) producing and selling filk cassettes, CDs and DVDs of their performances.
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1723:, E. C. Wells and K. L. Davis-Salazar, eds. pp. 1â26. Boulder, University Press of Colorado.
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1971:
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1937:
1693:(2004) "Copy This Essay: How Fair Use Doctrine Harms Free Speech and How Copying Serves It". In
1205:
71:, for others to enjoy without requiring or requesting monetary compensation. Fans respect their
1157:
1042:"Los Zelda CD-i se han reanimado de una manera gloriosa gracias a los esfuerzos de varios fans"
903:
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Some copyright holders view fan work as free publicity, permitting them to the maximum extent.
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1988:
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842:. The annual meeting of the International Communication Association. New York, NY. 2008-10-10.
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The payments to fan creators of content that is used in upgrades to the model train simulator
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However, some fans engage in for-profit exchange of their creations in what is known as the "
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85:
1669:. C.M.A. K. Polanyi, H.W. Pearson, ed. pp. 243â270. Glencoe, Illinois: The Free Press.
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tivities"), a term that also includes non-creative activities such as managing traditional
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Fan labor in the software domain, especially for video games, exists also in the form of
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Filking has also become more commercialized, with several filkers (The Great LukeSki,
123:(i.e., not primarily devoted to fan fiction), and the organization and maintenance of
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the effect of the use upon the potential market for or value of the copyrighted work.
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another, fans should be able to profit from the people who are profiting from them.
92:, which assert the transformative and therefore legal nature of fan labor products.
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1615:, B. Cova, R.V. Kozinets and A. Shankar, eds. pp. 177â193. Oxford, Elsevier.
1489:, B. Cova, R.V. Kozinets and A. Shankar, eds. pp. 177â193. Oxford, Elsevier.
154:
Fans use all art forms to express their creativity with regard to their fandoms.
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1996:
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Isaac, Barry L. (1993) "Retrospective on the
Formalist-Substantivist Debate".
1087:
1066:
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973:
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226:
1179:"Behind the Music of Pop Culture Smash 'My Little Pony: Friendship Is Magic'"
952:"Robert Jones writes on 'Pink vs. Blue: The Emergence of Women in Machinima'"
795:âsimilar subculture based around free labor with some overlaps with fan labor
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1737:. Retrieved from Lexis-Nexis service, University of South Florida Library.
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An exploratory investigation of the characteristics of consumer fanaticism
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2011:
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Mesoamerican Ritual
Economy: Archaeological and Ethnological Perspectives
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Lowood, Henry (2006). "High-performance play: The making of machinima".
17:
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armor from scratch by using vacuum molding and fiberglass application.
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81:
68:
56:
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Trade and market in the Early
Empires: Economies in History and Theory
1566:. M.W. Helms, ed. pp. 164â173. Austin: University of Texas Press.
652:, in that they are creative additions or modifications to an existing
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2923:
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2006:
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economic practices from the capitalistic practices of everyday life.
189:
Computer-aided visual arts: Fan films, fan vids, fan games, machinima
96:
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The Cult of the Amateur: How Today's Internet is Killing Our Culture
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Watching Television Without Pity: The Productivity of Free Fan Labor
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279:, among others. Participants generally expect little or no profit.
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568:) by not providing an appropriate monetary reward is of concern.
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The Gift: The Form and Reason for Exchange in Archaic Societies
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Brown, Stephen (2007) "Harry Potter and the Fandom Menace". In
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The social life of things: Commodities in cultural perspective
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Universal Studios C&D letter to fan artist 11th Hour, 2006
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Steamed Hams but There's a Different Animator Every 13 Seconds
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Polanyi, Karl (1957) "The Economy as Instituted Process". In
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Gray, Jonathan, Cornel Sandvoss and C. Lee Harrington (2007)
600:
deal primarily with the United States and do not represent a
1728:
Economies and Cultures: Foundations of Economic Anthropology
1586:
Jenkins, Henry (2007b) "Afterword: The Future of Fandom".In
27:
Creative activities done by fans of various media properties
1687:. pp. 1â18. Cambridge, UK: Cambridge University Press.
1581:
Fans, Bloggers, and Gamers: Exploring Participatory Culture
1135:"#JusticeForSpongebob: What Is Spongebob Movie Rehydrated?"
2052:
1557:
Fan Fiction and Fan Communities in the Age of the Internet
1504:
Fan Fiction and Fan Communities in the Age of the Internet
684:, which judges if a work is copyright-infringing based on
134:
A more general and internet focused form of "fan work" is
1509:
Cova, Bernard, Robert V. Kozinets and Avi Shankar (2007)
30:"fanworks" redirects here. For the Japanese company, see
1534:
Fiske, John (1992) "The Cultural Economy of Fandom". In
1234:"If TV's Your Cup of Tea, Try A Character-Infused Blend"
1206:"Behind the wonderful and weird soundtrack to Homestuck"
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2027:
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Fandom: Identities and Communities in a Mediated World
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1947:
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437:classify other fans trying to sell their items for
317:is a musical culture, genre, and community tied to
826:. MIT Comparative Media Studies (CMS). 2007-12-07.
328:Applied arts: Costume construction, tea blending
84:) at the same time as they continue to send out
1562:Helms, Mary W. (1998)"Tangible Durability". In
177:Traditional visual arts: Art and graphic design
1257:
1255:
76:fans find employment through their fan works.
3844:
3164:Cinema / television / video
2854:
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1772:
1726:Wilk, Richard R. and Lisa C. Cliggett (2007)
1502:(2007) "A Brief History of Media Fandom". In
598:The examples and perspective in this article
8:
3698:Palimpsests: Literature in the Second Degree
1555:(2006) "Introduction: Work in Progress". In
904:"Unpacking the unofficial fanfiction census"
51:, are the creative activities engaged in by
1672:Thorne, Scott and Gordon C. Bruner (2006) "
1068:The SpongeBob SquarePants Movie Rehydrated!
676:Fan labor products may be protected by the
455:, a commercial fan fiction book set in the
432:Ambivalence regarding monetary compensation
4164:
3851:
3837:
3829:
3297:
3084:
2881:
2861:
2847:
2839:
2094:
2075:
2061:
2053:
1779:
1765:
1757:
1607:Kozinets, Robert V. (2007) "Inno-tribes:
636:Learn how and when to remove this message
4022:Business models for open-source software
1651:. W.D. Halls, transl. London: Routledge.
1482:. Cambridge: Cambridge University Press.
928:Jenkins 2006b:144, Kozinets 2007:198â200
824:"Futures of Entertainment 2 â Fan Labor"
664:of the original), which is protected as
249:projects have been produced in honor of
1735:Hastings Communications and Law Journal
815:
445:case, such as the removal from sale on
237:Fans of video games have been creating
1683:Thorsby, David (2001) "Introduction".
1597:. New York, New York University Press.
1583:. New York, New York University Press.
1545:. New York, New York University Press.
1204:Lauren Rae Orsini (3 September 2012).
937:
902:Baker-Whitelaw, Gavia (15 July 2013).
441:as "hucksters" rather than true fans.
4211:Organization for Transformative Works
2528:Organization for Transformative Works
1967:Organization for Transformative Works
721:Organization for Transformative Works
381:of media property and of other fans.
107:, fan labor activities may be termed
90:Organization for Transformative Works
7:
1730:. Boulder, Colorado: Westview Press.
958:. Louisa Ellen Stein. Archived from
735:Santa Clara University School of Law
695:the nature of the copyrighted work;
385:Deification of media property owner
158:Literary arts: Fan fiction, reviews
1662:; May 1, 2006, 253, 18. p. 6.
1375:Cova, Kozinets, Shankar, eds. 2007
708:Although some fan artists receive
566:2007 Doritos Super Bowl Ad contest
558:Harry Potter and the Fandom Menace
82:2007 Doritos Super Bowl Ad contest
25:
1571:Research in Economic Anthropology
1420:Deuze 2007:56â83; Keen 2007:60â63
1108:Jaworski, Michelle (2022-05-02).
4032:Commercial use of copyleft works
1411:Deuze 2007:3,57; Keen 2007:61â62
1177:Rutherford, Kevin (2012-04-20).
1040:Muñoz, José David (2020-09-08).
1021:The Zelda CDi Reanimated Collab!
863:"Alonso FernĂĄndez de Avellaneda"
589:
138:, which became popular with the
4012:Alternative compensation system
1714:Law & Contemporary Problems
511:The Future of Independent Media
394:ancestors or cultural heroes".
4196:Electronic Frontier Foundation
1232:Zuraw, Lydia (29 April 2013).
887:"Where No Man Has Gone Before"
731:Electronic Frontier Foundation
729:is a joint web project of the
526:Full support of fan activities
319:science fiction/fantasy fandom
1:
4037:Commons-based peer production
3905:Legal aspects of file sharing
3627:Pierre Menard, Author of the
3473:Archetypal literary criticism
3033:Literature / theatre
2511:Live action role-playing game
2042:Legal issues with fan fiction
1133:Pitman, Robert (2022-05-03).
4132:Access to Knowledge movement
3439:Source criticism in the arts
3107:Readymades of Marcel Duchamp
744:Copyright holders fight fans
648:Most fan labor products are
355:Economic theories and models
3640:Reality Hunger: A Manifesto
2028:
1678:Qualitative Market Research
1518:Should Fan Fiction Be Free?
950:Robert Jones (2007-06-06).
612:, discuss the issue on the
125:science fiction conventions
32:Fanworks (animation studio)
4384:
3746:Appropriation in sociology
2340:Celebrity worship syndrome
1658:POD Fan Fiction Flap". in
1531:. Cambridge, Polity Press.
1516:De Kosnik, Abigail (2009)
572:Eliminating fan activities
364:Relationships between fans
36:
29:
4246:Students for Free Culture
4142:Cultural environmentalism
4099:Prizes instead of patents
3895:Digital rights management
3751:Articulation in sociology
3274:Revivalism (architecture)
3087:
2432:Amateur press association
1708:Tushnet, Rebecca (2007) "
1680:; 2006; 9, 1. p. 51.
1654:MacDonald, Heidi (2006) "
1621:Journal of Media Practice
1288:Thorne and Bruner 2006:54
892:Web Exclusive May 5, 2009
246:Reanimated collaborations
4201:Free Software Foundation
3463:Aesthetic interpretation
2790:by date of establishment
1685:In Economics and Culture
1478:Appadurai, Arjun (1986)
1465:Clerc 2002:71-54,162-179
710:cease and desist letters
547:Co-opting fan activities
492:Third party marketplaces
203:fan film at a convention
150:Categories of activities
121:science fiction fanzines
37:Not to be confused with
4332:RiP!: A Remix Manifesto
4042:Electronic sell-through
3937:Monopolies of knowledge
3880:Censorship by copyright
3705:The Pictures Generation
3484:The Death of the Author
1160:by Christian Donlan on
1089:Kirby Reanimated Collab
867:EncyclopĂŠdia Britannica
142:, often also a form of
4346:The Internet's Own Boy
4152:Free software movement
3979:software patent debate
3885:Copyright infringement
3776:Copyright infringement
3756:Cultural appropriation
2775:Professional wrestling
2506:Historical reenactment
2198:A Song of Ice and Fire
2159:Disneyland social club
2136:Anime and manga fandom
2115:Science fiction fandom
1604:. New York, Doubleday.
1593:Jenkins, Henry (2006)
793:Free software movement
500:Conglomerates and fans
416:Fan products and money
204:
136:user-generated content
101:science fiction fandom
4147:Free-culture movement
4057:Libertarian positions
4052:Free-software license
4017:Anti-copyright notice
3860:Intellectual property
3803:Participatory culture
3771:Intellectual property
1647:Mauss, Marcel (1990)
1633:10.1386/jmpr.7.1.25/1
750:intellectual property
391:economic anthropology
374:economic anthropology
310:Musical arts: Filking
196:
129:science fiction clubs
4067:Open-design movement
3478:Artistic inspiration
3302:Intertextual figures
3269:Parody advertisement
2561:Autograph collecting
1962:The Gossamer Project
1695:The Yale Law Journal
1600:Keen, Andrew (2007)
1536:The Adoring Audience
1492:Clerc, Susan (2002)
1438:Tushnet 2007:141â150
658:transformative works
618:create a new article
610:improve this article
197:A booth screening a
144:virtual volunteering
4007:All rights reversed
3875:Artificial scarcity
3813:Recontextualisation
3766:Information society
3761:History of printing
3741:Academic dishonesty
3502:Genius (literature)
3191:Literal music video
3102:Photographic mosaic
2897:Chopped and screwed
2689:Real person fiction
2521:Harley Owners Group
2185:Production-specific
1931:The Love Hypothesis
1832:Real person fiction
1527:Deuze, Mark (2007)
1513:. Oxford, Elsevier.
398:Ritual anthropology
343:In fandom-inspired
4325:Good Copy Bad Copy
4271:Alexandra Elbakyan
4175:Copyright Alliance
3490:Divine inspiration
3279:Video game modding
3121:By source material
2828:Shipping discourse
1972:Archive of Our Own
1909:Fallout: Equestria
1802:Alternate universe
1697:. 114(3):535â590.
1611:as wikimedia". In
1321:De Kosnik 2009:118
682:U.S. Copyright Law
205:
4355:
4354:
4254:
4253:
4206:Open Rights Group
3826:
3825:
3733:artistic concepts
3721:Russian formalism
3447:
3446:
3287:
3286:
3176:Anime music video
3159:
3158:
3151:Statue of Liberty
2949:Musical quotation
2892:Bootleg recording
2836:
2835:
2556:Anime music video
2318:
2317:
2050:
2049:
1924:Gabriel's Inferno
1902:Beautiful Bastard
1812:Expanded universe
1660:Publishers Weekly
1393:Jenkins 2007a:145
1366:Jenkins 2007b:360
1279:Kozinets 2007:205
714:fair use doctrine
678:Fair Use Doctrine
646:
645:
638:
620:, as appropriate.
16:(Redirected from
4375:
4286:Richard Stallman
4231:Public Knowledge
4191:Creative Commons
4165:
4072:Open music model
3853:
3846:
3839:
3830:
3645:
3635:
3622:
3453:Related artistic
3419:Imitation in art
3389:Assemblage (art)
3298:
3097:Combine painting
3085:
3070:Verbatim theatre
3045:Cut-up technique
2944:Music plagiarism
2882:
2863:
2856:
2849:
2840:
2095:
2077:
2070:
2063:
2054:
2033:
1863:Author surrogate
1781:
1774:
1767:
1758:
1748:Coverage of the
1691:Tushnet, Rebecca
1644:
1549:Hellekson, Karen
1500:Coppa, Francesca
1466:
1463:
1457:
1454:
1448:
1447:Tushnet 2004:551
1445:
1439:
1436:
1430:
1427:
1421:
1418:
1412:
1409:
1403:
1400:
1394:
1391:
1385:
1382:
1376:
1373:
1367:
1364:
1358:
1357:Jenkins 2006:256
1355:
1349:
1346:
1340:
1339:MacDonald 2006:6
1337:
1331:
1328:
1322:
1319:
1313:
1312:Tushnet 2007:173
1310:
1301:
1295:
1289:
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1280:
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991:
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963:
947:
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935:
929:
926:
920:
919:
917:
915:
899:
893:
885:Constant, Paul.
883:
877:
876:
874:
873:
859:
853:
850:
844:
843:
834:
828:
827:
820:
727:Chilling Effects
672:Support for fans
650:derivative works
641:
634:
630:
627:
621:
593:
592:
585:
332:In costuming or
300:server emulators
288:fan translations
86:cease and desist
21:
4383:
4382:
4378:
4377:
4376:
4374:
4373:
4372:
4358:
4357:
4356:
4351:
4318:Steal This Film
4305:
4281:Lawrence Lessig
4250:
4179:
4156:
4120:
4116:Video on demand
3995:
3890:Copyright troll
3863:
3857:
3827:
3822:
3808:Pirate politics
3781:Derivative work
3734:
3732:
3725:
3648:
3643:
3633:
3620:
3609:
3607:
3600:
3596:Story structure
3591:Stock character
3571:Formula fiction
3559:
3557:
3556:Standard blocks
3550:
3456:
3454:
3443:
3372:
3344:
3293:
3283:
3242:
3171:Abridged series
3155:
3143:Michelangelo's
3135:Michelangelo's
3116:
3081:
3074:
3060:Jukebox musical
3028:
2873:
2867:
2837:
2832:
2796:
2780:Science fiction
2703:
2625:Fan translation
2548:
2542:
2516:Motorcycle club
2474:Supercar Season
2424:
2418:
2314:
2268:Sherlock Holmes
2180:
2129:Medium-specific
2124:
2086:
2081:
2051:
2046:
2016:
1983:
1949:
1943:
1938:Time's Champion
1887:Published works
1882:
1851:
1837:Shared universe
1790:
1785:
1744:
1618:
1613:Consumer Tribes
1511:Consumer Tribes
1487:Consumer Tribes
1475:
1470:
1469:
1464:
1460:
1455:
1451:
1446:
1442:
1437:
1433:
1428:
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1002:
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978:
972:
971:
967:
949:
948:
944:
936:
932:
927:
923:
913:
911:
910:. The Daily Dot
901:
900:
896:
884:
880:
871:
869:
861:
860:
856:
851:
847:
836:
835:
831:
822:
821:
817:
812:
778:Fan translation
759:
746:
674:
642:
631:
625:
622:
607:
594:
590:
583:
574:
554:Consumer Tribes
549:
528:
516:Consumer Tribes
502:
494:
434:
425:Rebecca Tushnet
418:
400:
387:
366:
357:
330:
312:
191:
179:
160:
152:
42:
35:
28:
23:
22:
15:
12:
11:
5:
4381:
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4360:
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4342:
4335:
4328:
4321:
4313:
4311:
4307:
4306:
4304:
4303:
4298:
4293:
4288:
4283:
4278:
4276:Rick Falkvinge
4273:
4268:
4262:
4260:
4256:
4255:
4252:
4251:
4249:
4248:
4243:
4241:Shadow library
4238:
4233:
4228:
4223:
4218:
4216:The Pirate Bay
4213:
4208:
4203:
4198:
4193:
4187:
4185:
4181:
4180:
4178:
4177:
4171:
4169:
4162:
4158:
4157:
4155:
4154:
4149:
4144:
4139:
4137:Anti-copyright
4134:
4128:
4126:
4122:
4121:
4119:
4118:
4113:
4108:
4107:
4106:
4096:
4095:
4094:
4089:
4079:
4074:
4069:
4064:
4059:
4054:
4049:
4044:
4039:
4034:
4029:
4024:
4019:
4014:
4009:
4003:
4001:
3997:
3996:
3994:
3993:
3988:
3987:
3986:
3981:
3976:
3971:
3961:
3960:
3959:
3957:Bioprospecting
3949:
3944:
3939:
3934:
3933:
3932:
3927:
3922:
3917:
3907:
3902:
3897:
3892:
3887:
3882:
3877:
3871:
3869:
3865:
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3858:
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3855:
3848:
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3833:
3824:
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3821:
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3815:
3810:
3805:
3800:
3795:
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3789:
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3783:
3778:
3768:
3763:
3758:
3753:
3748:
3743:
3737:
3735:
3730:
3727:
3726:
3724:
3723:
3718:
3713:
3708:
3701:
3694:
3687:
3682:
3674:
3669:
3666:De Copia Rerum
3662:
3656:
3654:
3650:
3649:
3647:
3646:
3636:
3623:
3612:
3610:
3605:
3602:
3601:
3599:
3598:
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3588:
3583:
3578:
3573:
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3562:
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3555:
3552:
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3548:
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3538:
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3523:
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3511:
3510:
3509:
3504:
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3487:
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3475:
3470:
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3459:
3457:
3452:
3449:
3448:
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3444:
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3431:
3426:
3421:
3416:
3411:
3406:
3401:
3396:
3391:
3386:
3380:
3378:
3377:Other concepts
3374:
3373:
3371:
3370:
3365:
3360:
3354:
3352:
3346:
3345:
3343:
3342:
3337:
3332:
3327:
3322:
3317:
3312:
3306:
3304:
3295:
3289:
3288:
3285:
3284:
3282:
3281:
3276:
3271:
3266:
3261:
3256:
3250:
3248:
3244:
3243:
3241:
3240:
3235:
3230:
3225:
3220:
3215:
3214:
3213:
3203:
3201:Re-cut trailer
3198:
3193:
3188:
3183:
3178:
3173:
3167:
3165:
3161:
3160:
3157:
3156:
3154:
3153:
3148:
3140:
3132:
3124:
3122:
3118:
3117:
3115:
3114:
3109:
3104:
3099:
3094:
3088:
3082:
3079:
3076:
3075:
3073:
3072:
3067:
3062:
3057:
3052:
3047:
3042:
3036:
3034:
3030:
3029:
3027:
3026:
3021:
3016:
3011:
3006:
3001:
2996:
2991:
2986:
2981:
2976:
2971:
2969:Plunderphonics
2966:
2961:
2956:
2951:
2946:
2941:
2936:
2931:
2926:
2921:
2916:
2911:
2910:
2909:
2899:
2894:
2888:
2886:
2879:
2875:
2874:
2868:
2866:
2865:
2858:
2851:
2843:
2834:
2833:
2831:
2830:
2825:
2823:Odagiri effect
2820:
2815:
2810:
2804:
2802:
2798:
2797:
2795:
2794:
2793:
2792:
2787:
2777:
2772:
2767:
2762:
2761:
2760:
2750:
2745:
2738:
2737:
2736:
2726:
2725:
2724:
2713:
2711:
2705:
2704:
2702:
2701:
2696:
2691:
2686:
2681:
2676:
2671:
2670:
2669:
2668:
2667:
2652:
2651:
2650:
2645:
2632:
2627:
2622:
2617:
2612:
2607:
2602:
2597:
2592:
2587:
2586:
2585:
2578:
2563:
2558:
2552:
2550:
2549:and activities
2544:
2543:
2541:
2540:
2535:
2530:
2525:
2524:
2523:
2513:
2508:
2503:
2498:
2493:
2491:Fan convention
2488:
2483:
2478:
2477:
2476:
2471:
2466:
2465:
2464:
2462:Kustom Kulture
2454:
2449:
2444:
2434:
2428:
2426:
2420:
2419:
2417:
2416:
2411:
2406:
2401:
2396:
2391:
2386:
2381:
2376:
2371:
2366:
2365:
2364:
2352:
2347:
2345:Cult following
2342:
2337:
2332:
2326:
2324:
2320:
2319:
2316:
2315:
2313:
2312:
2305:
2300:
2295:
2290:
2285:
2278:
2271:
2264:
2259:
2254:
2247:
2242:
2237:
2232:
2225:
2218:
2211:
2206:
2201:
2194:
2188:
2186:
2182:
2181:
2179:
2178:
2173:
2168:
2167:
2166:
2161:
2156:
2150:Disney fandom
2148:
2143:
2138:
2132:
2130:
2126:
2125:
2123:
2122:
2117:
2112:
2107:
2105:Fantasy fandom
2101:
2099:
2092:
2088:
2087:
2082:
2080:
2079:
2072:
2065:
2057:
2048:
2047:
2045:
2044:
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1752:Lexicon Trial
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1217:September 13,
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852:Fiske 1992:39
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4301:Aaron Swartz
4226:Pirate Party
4184:Pro-copyleft
4062:Open content
4047:Free content
3947:Orphan works
3942:Music piracy
3731:Related non-
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3689:
3678:
3664:
3653:Theorization
3638:
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3615:
3513:
3494:
3409:Found object
3404:DĂ©tournement
3238:YouTube poop
3233:Video mashup
3181:Collage film
3144:
3136:
3127:
3055:Found poetry
3050:Flarf poetry
2959:Parody music
2939:Music mashup
2914:Contrafactum
2741:
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2547:Publications
2538:Stan Twitter
2496:Fandom names
2452:Import scene
2359:
2323:Demographics
2307:
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2141:Bibliophilia
2110:Furry fandom
2036:
1948:Websites and
1936:
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1916:Fifty Shades
1915:
1907:
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1895:Another Hope
1893:
1750:Harry Potter
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1261:Tushnet 2007
1242:. Retrieved
1237:
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1215:. Retrieved
1209:
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1188:. Retrieved
1182:
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1167:(2013-11-02)
1164:
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1048:(in Spanish)
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1020:
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1001:. 2020-09-07
998:
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960:the original
955:
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908:dailydot.com
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304:source ports
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250:
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105:media fandom
94:
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73:gift economy
65:
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43:
4296:Peter Sunde
4291:Peter Suber
4111:Share-alike
4082:Open source
4077:Open patent
3798:Open source
3586:Plot device
3536:Originality
3519:Fan fiction
3384:After (art)
3340:Translation
3196:Parody film
3080:Visual arts
3009:Tribute act
2872:in the arts
2818:Fan service
2813:Fan loyalty
2709:Conventions
2600:Fan fiction
2457:Hot rodding
2204:Beatlemania
2120:Yaoi fandom
1788:Fan fiction
1573:14:213â233.
1473:Works cited
938:Lowood 2006
804:Street team
660:(such as a
654:copyrighted
464:gray market
294:, fan-made
284:fan patches
227:video games
163:Fan fiction
61:fan fiction
39:Fan service
4221:PiratbyrÄn
3969:biological
3900:Gripe site
3691:Nachahmung
3677:Dionysian
3617:L.H.O.O.Q.
3541:Simulacrum
3350:Adaptation
3330:Plagiarism
3264:Joke theft
3247:Other arts
3040:Assemblage
2902:Contrafact
2770:Multigenre
2729:Comic book
2684:Filk music
2425:and events
2262:Parrothead
2245:Moonwalker
2229:James Bond
2222:EarthBound
2215:Doctor Who
2176:Sports fan
2146:Cinephilia
1997:Kirk/Spock
1827:Omegaverse
1529:Media Work
1244:16 January
1190:2012-04-20
1144:2022-08-24
1139:ScreenRant
1119:2022-08-24
1095:2022-08-24
1074:2022-08-24
1052:2022-08-24
1027:2022-08-24
1005:2022-08-24
981:2022-08-24
914:16 January
872:2008-04-24
810:References
686:four tests
539:In Japan,
459:universe.
447:Amazon.com
345:tea blends
99:subgroups
4368:Fan labor
4125:Movements
3952:Biopiracy
3566:Archetype
3558:and forms
3514:Fan labor
3394:Bricolage
3335:Quotation
3223:TV format
3129:Mona Lisa
3024:Vaporwave
3019:Variation
2979:Quodlibet
2974:Potpourri
2964:Pasticcio
2954:Nightcore
2808:Autograph
2742:Doujinshi
2610:Fan labor
2582:Doujinshi
2501:Game club
2442:Boy racer
2275:Star Wars
2164:Donaldism
2037:Fan labor
2030:Doujinshi
1807:Crossover
1656:Star Wars
1641:191359937
1609:Star Trek
1162:Eurogamer
956:transform
773:Fan patch
614:talk page
541:doujinshi
475:CafePress
457:Star Wars
379:"affines"
276:Zelda CDi
258:SpongeBob
239:machinima
200:Star Wars
171:analytics
49:fan works
45:Fan labor
4362:Category
4104:contests
4092:software
4087:hardware
4027:Copyleft
4000:Concepts
3984:trolling
3974:software
3862:activism
3786:Fair use
3679:imitatio
3672:Diegesis
3496:Afflatus
3468:Anti-art
3455:concepts
3399:Citation
3363:Literary
3325:Pastiche
3310:Allusion
3294:concepts
3292:General
3218:Supercut
3004:Standard
2994:Sampling
2878:By field
2674:Fanspeak
2660:Fan wiki
2635:Fan game
2620:Fan rice
2615:Fan mail
2605:Fan film
2595:Fan edit
2486:Fan club
2447:Cruising
2437:Car club
2335:Anti-fan
2309:Twilight
2282:Stargate
2251:MLP: FIM
2209:Deadhead
2012:Wolfstar
1989:Shipping
1868:Mary Sue
1822:Femslash
1817:Fan film
1579:(2007a)
1456:Woo 2004
890:Newsweek
768:Fan film
757:See also
666:fair use
608:You may
486:Voltaire
372:From an
223:Fangames
209:fan film
69:amateurs
18:Fan made
4339:TPB AFK
4236:Sci-Hub
3964:Patents
3915:digital
3711:Pop art
3685:Mimesis
3629:Quixote
3429:Reprise
3368:Theatre
3254:In-joke
3228:Vidding
3092:Collage
2694:Vidding
2679:Fanzine
2655:Fansite
2590:Fan art
2533:Railfan
2481:Cosplay
2394:Shipper
2389:Sasaeng
2374:Groupie
2303:Trekkie
2298:Tolkien
2293:Swiftie
2240:Juggalo
2235:Janeite
2091:By type
2084:Fandoms
1979:Wattpad
1918:trilogy
1847:Uberfic
1703:4135692
1238:npr.org
783:Fangame
763:Fan art
680:of the
470:Fan art
349:Fan art
334:cosplay
296:remakes
216:Fanvids
182:Fan art
140:Web 2.0
111:(from "
95:In the
57:fiction
4259:People
3930:videos
3910:Mashup
3868:Issues
3644:(2010)
3634:(1939)
3621:(1919)
3434:Satire
3424:Mashup
3414:Homage
3320:Parody
3315:Calque
3206:Remake
2989:Riddim
2934:Medley
2924:DJ mix
2801:Topics
2765:Horror
2753:Gaming
2641:Doujin
2574:Doujin
2567:Doujin
2409:Ultras
2404:Tifosi
2361:KemonÄ
2330:Anorak
2007:Drarry
2002:Stucky
1873:MSTing
1795:Genres
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1520:. In
788:Fansub
662:parody
533:Trainz
479:Zazzle
273:, and
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3608:works
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3507:Muses
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3014:Trope
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2885:Music
2748:Furry
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2576:music
2414:Waifu
2384:Otaku
2355:Furry
2288:Shrek
2257:MST3K
2171:Gamer
2098:Genre
1699:JSTOR
1637:S2CID
1240:. NPR
616:, or
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270:Kirby
231:clone
115:nish
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3793:Meme
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2785:list
2758:list
2734:list
2722:list
2699:Zine
2665:list
2643:soft
2399:Stan
2379:Nerd
2369:Geek
2192:AFOL
1551:and
1246:2014
1219:2012
940:, 32
916:2014
719:The
477:and
315:Filk
302:and
292:mods
225:are
127:and
103:and
53:fans
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2350:Fan
1676:".
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1299:MIT
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