183:
455:". 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.
580:
1154:"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."
325:, 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
310:, 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.
742:
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.
493:
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
382:
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,
68:
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
425:
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
348:
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.
396:
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
549:, 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."
433:
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
357:
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
222:
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.
64:
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
154:
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,
565:
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
237:
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
416:
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
230:
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.
173:
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
741:
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
540:
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
494:
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."
502:
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
155:
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.
497:
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
365:
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
391:
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
207:
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.
200:
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.
162:. 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.
510:
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.
552:
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
461:
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
55:
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
400:
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.
336:, 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.
940:
218:
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
712:
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
340:
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.
507:
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.
409:
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".
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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
525:
is an example of an original copyright owner being willing to share the potential commercial gain to be made from derivative works by fans.
3832:
3686:
2778:
1722:
Woo, Jisuk (2004) "Redefining the 'Transformative Use' of
Copyrighted Works: Toward a Fair Use Standard in the Digital Environment". In
1099:"'It was a love letter to the franchise and what did Paramount do? They blocked it': Outrage as 'SpongeBob' fan film removed on YouTube"
3679:
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602:
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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;
52:
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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44:, 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.
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Who Owns Our
Culture? The Battle Over the Internet, Copyright, Media Fandom, and Everyday Uses of the Cultural Commons
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470:, which allow customers to purchase items such as t-shirts, totes, and mugs with the fan design imprinted on them.
397:
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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1579:. J. Gray, C. Sandvoss and C.L. Harrington, eds. pp. 357â364. New York, New York University Press.
313:
Some fandoms are known to produce music as a form of fan labor that is not usually classified as filk.
174:
animations, as well as photo collages, posters, and artistic representation of movie/show/book quotes.
984:"Zelda CD-i Reanimated brings together over 200 animators to celebrate the worst-ever Zelda cutscenes"
855:
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the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
1485:. Dissertation, Bowling Green State University. Ann Arbor, MI: ProQuest Information and Learning Co.
1147:
You're in charge! â From vital patches to game cancellations, players are often intimately involved.
477:, The Bedlam Bards, etc.) producing and selling filk cassettes, CDs and DVDs of their performances.
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109:
1712:, E. C. Wells and K. L. Davis-Salazar, eds. pp. 1â26. Boulder, University Press of Colorado.
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1682:(2004) "Copy This Essay: How Fair Use Doctrine Harms Free Speech and How Copying Serves It". In
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60:, for others to enjoy without requiring or requesting monetary compensation. Fans respect their
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1031:"Los Zelda CD-i se han reanimado de una manera gloriosa gracias a los esfuerzos de varios fans"
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Some copyright holders view fan work as free publicity, permitting them to the maximum extent.
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89:
831:. 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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1658:. 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
8:
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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,
112:(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.
81:, which assert the transformative and therefore legal nature of fan labor products.
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1990:
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1604:, B. Cova, R.V. Kozinets and A. Shankar, eds. pp. 177â193. Oxford, Elsevier.
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1478:, B. Cova, R.V. Kozinets and A. Shankar, eds. pp. 177â193. Oxford, Elsevier.
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Fans use all art forms to express their creativity with regard to their fandoms.
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Isaac, Barry L. (1993) "Retrospective on the
Formalist-Substantivist Debate".
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1168:"Behind the Music of Pop Culture Smash 'My Little Pony: Friendship Is Magic'"
941:"Robert Jones writes on 'Pink vs. Blue: The Emergence of Women in Machinima'"
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784:âsimilar subculture based around free labor with some overlaps with fan labor
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An exploratory investigation of the characteristics of consumer fanaticism
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Economy: Archaeological and Ethnological Perspectives
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Lowood, Henry (2006). "High-performance play: The making of machinima".
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armor from scratch by using vacuum molding and fiberglass application.
215:
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Trade and market in the Early
Empires: Economies in History and Theory
1555:. M.W. Helms, ed. pp. 164â173. Austin: University of Texas Press.
641:, in that they are creative additions or modifications to an existing
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economic practices from the capitalistic practices of everyday life.
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Computer-aided visual arts: Fan films, fan vids, fan games, machinima
159:
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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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666:
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268:, among others. Participants generally expect little or no profit.
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557:) by not providing an appropriate monetary reward is of concern.
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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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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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deal primarily with the United States and do not represent a
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Jenkins, Henry (2007b) "Afterword: The Future of Fandom".In
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Creative activities done by fans of various media properties
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2367:
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1570:
Fans, Bloggers, and Gamers: Exploring Participatory Culture
1124:"#JusticeForSpongebob: What Is Spongebob Movie Rehydrated?"
303:
2041:
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Fan Fiction and Fan Communities in the Age of the Internet
1493:
Fan Fiction and Fan Communities in the Age of the Internet
673:, which judges if a work is copyright-infringing based on
123:
A more general and internet focused form of "fan work" is
1498:
Cova, Bernard, Robert V. Kozinets and Avi Shankar (2007)
1287:
19:"fanworks" redirects here. For the Japanese company, see
1523:
Fiske, John (1992) "The Cultural Economy of Fandom". In
1223:"If TV's Your Cup of Tea, Try A Character-Infused Blend"
1195:"Behind the wonderful and weird soundtrack to Homestuck"
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Fandom: Identities and Communities in a Mediated World
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Convergence Culture: Where Old and New Media Collide
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426:classify other fans trying to sell their items for
306:is a musical culture, genre, and community tied to
3847:
1304:
815:. MIT Comparative Media Studies (CMS). 2007-12-07.
1192:
514:
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317:Applied arts: Costume construction, tea blending
73:) at the same time as they continue to send out
1551:Helms, Mary W. (1998)"Tangible Durability". In
732:
343:
166:Traditional visual arts: Art and graphic design
1246:
1244:
890:
65:fans find employment through their fan works.
3833:
3153:Cinema / television / video
2857:
2843:
2057:
1761:
1715:Wilk, Richard R. and Lisa C. Cliggett (2007)
1491:(2007) "A Brief History of Media Fandom". In
920:
587:The examples and perspective in this article
560:
352:
3687:Palimpsests: Literature in the Second Degree
1544:(2006) "Introduction: Work in Progress". In
938:
893:"Unpacking the unofficial fanfiction census"
40:, are the creative activities engaged in by
1661:Thorne, Scott and Gordon C. Bruner (2006) "
1241:
1057:The SpongeBob SquarePants Movie Rehydrated!
665:Fan labor products may be protected by the
535:
480:
444:, a commercial fan fiction book set in the
421:Ambivalence regarding monetary compensation
138:
3840:
3826:
2850:
2836:
2064:
2050:
1768:
1754:
1165:
1596:Kozinets, Robert V. (2007) "Inno-tribes:
625:Learn how and when to remove this message
488:
404:
4011:Business models for open-source software
1640:. W.D. Halls, transl. London: Routledge.
1471:. Cambridge: Cambridge University Press.
1096:
917:Jenkins 2006b:144, Kozinets 2007:198â200
813:"Futures of Entertainment 2 â Fan Labor"
653:of the original), which is protected as
298:
238:projects have been produced in honor of
181:
1724:Hastings Communications and Law Journal
434:case, such as the removal from sale on
226:Fans of video games have been creating
4349:
1672:Thorsby, David (2001) "Introduction".
1607:
1586:. New York, New York University Press.
1572:. New York, New York University Press.
1534:. New York, New York University Press.
1193:Lauren Rae Orsini (3 September 2012).
1121:
926:
891:Baker-Whitelaw, Gavia (15 July 2013).
430:as "hucksters" rather than true fans.
386:
4200:Organization for Transformative Works
3821:
2831:
2517:Organization for Transformative Works
2045:
1956:Organization for Transformative Works
1749:
1220:
1028:
710:Organization for Transformative Works
370:of media property and of other fans.
96:, fan labor activities may be termed
79:Organization for Transformative Works
1719:. Boulder, Colorado: Westview Press.
947:. Louisa Ellen Stein. Archived from
724:Santa Clara University School of Law
573:
1115:
1090:
684:the nature of the copyrighted work;
660:
374:Deification of media property owner
147:Literary arts: Fan fiction, reviews
13:
1651:; May 1, 2006, 253, 18. p. 6.
1364:Cova, Kozinets, Shankar, eds. 2007
1069:
1048:
1001:
976:
697:Although some fan artists receive
555:2007 Doritos Super Bowl Ad contest
547:Harry Potter and the Fandom Menace
71:2007 Doritos Super Bowl Ad contest
14:
4368:
1730:
1560:Research in Economic Anthropology
1409:Deuze 2007:56â83; Keen 2007:60â63
1097:Jaworski, Michelle (2022-05-02).
4021:Commercial use of copyleft works
1400:Deuze 2007:3,57; Keen 2007:61â62
1166:Rutherford, Kevin (2012-04-20).
1029:Muñoz, José David (2020-09-08).
1010:The Zelda CDi Reanimated Collab!
852:"Alonso FernĂĄndez de Avellaneda"
578:
127:, which became popular with the
4001:Alternative compensation system
1775:
1703:Law & Contemporary Problems
1448:
1439:
1430:
1421:
1412:
1403:
1394:
1385:
1376:
1367:
1358:
1349:
1340:
1331:
1322:
1313:
1280:
1271:
1262:
1253:
1214:
1186:
1159:
1140:
1022:
955:
569:
500:The Future of Independent Media
383:ancestors or cultural heroes".
4185:Electronic Frontier Foundation
1461:
1221:Zuraw, Lydia (29 April 2013).
932:
911:
884:
876:"Where No Man Has Gone Before"
868:
844:
835:
819:
805:
720:Electronic Frontier Foundation
718:is a joint web project of the
515:Full support of fan activities
308:science fiction/fantasy fandom
1:
4026:Commons-based peer production
3894:Legal aspects of file sharing
3616:Pierre Menard, Author of the
3462:Archetypal literary criticism
3022:Literature / theatre
2500:Live action role-playing game
2031:Legal issues with fan fiction
1122:Pitman, Robert (2022-05-03).
798:
4121:Access to Knowledge movement
3428:Source criticism in the arts
3096:Readymades of Marcel Duchamp
733:Copyright holders fight fans
637:Most fan labor products are
344:Economic theories and models
7:
3629:Reality Hunger: A Manifesto
2071:
2017:
1667:Qualitative Market Research
1507:Should Fan Fiction Be Free?
939:Robert Jones (2007-06-06).
745:
601:, discuss the issue on the
114:science fiction conventions
21:Fanworks (animation studio)
10:
4373:
3735:Appropriation in sociology
2329:Celebrity worship syndrome
1647:POD Fan Fiction Flap". in
1520:. Cambridge, Polity Press.
1505:De Kosnik, Abigail (2009)
561:Eliminating fan activities
353:Relationships between fans
25:
18:
4298:
4247:
4235:Students for Free Culture
4172:
4156:
4149:
4131:Cultural environmentalism
4113:
4088:Prizes instead of patents
3988:
3884:Digital rights management
3856:
3740:Articulation in sociology
3718:
3641:
3593:
3543:
3440:
3365:
3337:
3289:
3280:
3263:Revivalism (architecture)
3235:
3152:
3109:
3076:
3067:
3021:
2873:
2866:
2789:
2696:
2535:
2421:Amateur press association
2411:
2311:
2173:
2117:
2086:
2079:
2009:
1976:
1936:
1875:
1844:
1783:
1697:Tushnet, Rebecca (2007) "
1669:; 2006; 9, 1. p. 51.
1643:MacDonald, Heidi (2006) "
1610:Journal of Media Practice
1277:Thorne and Bruner 2006:54
881:Web Exclusive May 5, 2009
235:Reanimated collaborations
4190:Free Software Foundation
3452:Aesthetic interpretation
2779:by date of establishment
1674:In Economics and Culture
1467:Appadurai, Arjun (1986)
1454:Clerc 2002:71-54,162-179
699:cease and desist letters
536:Co-opting fan activities
481:Third party marketplaces
192:fan film at a convention
139:Categories of activities
110:science fiction fanzines
26:Not to be confused with
4321:RiP!: A Remix Manifesto
4031:Electronic sell-through
3926:Monopolies of knowledge
3869:Censorship by copyright
3694:The Pictures Generation
3473:The Death of the Author
1149:by Christian Donlan on
1078:Kirby Reanimated Collab
856:EncyclopĂŠdia Britannica
131:, often also a form of
4335:The Internet's Own Boy
4141:Free software movement
3968:software patent debate
3874:Copyright infringement
3765:Copyright infringement
3745:Cultural appropriation
2764:Professional wrestling
2495:Historical reenactment
2187:A Song of Ice and Fire
2148:Disneyland social club
2125:Anime and manga fandom
2104:Science fiction fandom
1593:. New York, Doubleday.
1582:Jenkins, Henry (2006)
782:Free software movement
489:Conglomerates and fans
405:Fan products and money
193:
125:user-generated content
90:science fiction fandom
4136:Free-culture movement
4046:Libertarian positions
4041:Free-software license
4006:Anti-copyright notice
3849:Intellectual property
3792:Participatory culture
3760:Intellectual property
1636:Mauss, Marcel (1990)
1622:10.1386/jmpr.7.1.25/1
739:intellectual property
380:economic anthropology
363:economic anthropology
299:Musical arts: Filking
185:
118:science fiction clubs
4056:Open-design movement
3467:Artistic inspiration
3291:Intertextual figures
3258:Parody advertisement
2550:Autograph collecting
1951:The Gossamer Project
1684:The Yale Law Journal
1589:Keen, Andrew (2007)
1525:The Adoring Audience
1481:Clerc, Susan (2002)
1427:Tushnet 2007:141â150
647:transformative works
607:create a new article
599:improve this article
186:A booth screening a
133:virtual volunteering
3996:All rights reversed
3864:Artificial scarcity
3802:Recontextualisation
3755:Information society
3750:History of printing
3730:Academic dishonesty
3491:Genius (literature)
3180:Literal music video
3091:Photographic mosaic
2886:Chopped and screwed
2678:Real person fiction
2510:Harley Owners Group
2174:Production-specific
1920:The Love Hypothesis
1821:Real person fiction
1516:Deuze, Mark (2007)
1502:. Oxford, Elsevier.
387:Ritual anthropology
332:In fandom-inspired
4314:Good Copy Bad Copy
4260:Alexandra Elbakyan
4164:Copyright Alliance
3479:Divine inspiration
3268:Video game modding
3110:By source material
2817:Shipping discourse
1961:Archive of Our Own
1898:Fallout: Equestria
1791:Alternate universe
1686:. 114(3):535â590.
1600:as wikimedia". In
1310:De Kosnik 2009:118
671:U.S. Copyright Law
194:
4344:
4343:
4243:
4242:
4195:Open Rights Group
3815:
3814:
3722:artistic concepts
3710:Russian formalism
3436:
3435:
3276:
3275:
3165:Anime music video
3148:
3147:
3140:Statue of Liberty
2938:Musical quotation
2881:Bootleg recording
2825:
2824:
2545:Anime music video
2307:
2306:
2039:
2038:
1913:Gabriel's Inferno
1891:Beautiful Bastard
1801:Expanded universe
1649:Publishers Weekly
1382:Jenkins 2007a:145
1355:Jenkins 2007b:360
1268:Kozinets 2007:205
703:fair use doctrine
667:Fair Use Doctrine
635:
634:
627:
609:, as appropriate.
4364:
4275:Richard Stallman
4220:Public Knowledge
4180:Creative Commons
4154:
4153:
4061:Open music model
3842:
3835:
3828:
3819:
3818:
3634:
3624:
3611:
3442:Related artistic
3408:Imitation in art
3378:Assemblage (art)
3287:
3286:
3086:Combine painting
3074:
3073:
3059:Verbatim theatre
3034:Cut-up technique
2933:Music plagiarism
2871:
2870:
2852:
2845:
2838:
2829:
2828:
2084:
2083:
2066:
2059:
2052:
2043:
2042:
2022:
1852:Author surrogate
1770:
1763:
1756:
1747:
1746:
1737:Coverage of the
1680:Tushnet, Rebecca
1633:
1538:Hellekson, Karen
1489:Coppa, Francesca
1455:
1452:
1446:
1443:
1437:
1436:Tushnet 2004:551
1434:
1428:
1425:
1419:
1416:
1410:
1407:
1401:
1398:
1392:
1389:
1383:
1380:
1374:
1371:
1365:
1362:
1356:
1353:
1347:
1346:Jenkins 2006:256
1344:
1338:
1335:
1329:
1328:MacDonald 2006:6
1326:
1320:
1317:
1311:
1308:
1302:
1301:Tushnet 2007:173
1299:
1290:
1284:
1278:
1275:
1269:
1266:
1260:
1257:
1251:
1248:
1239:
1238:
1236:
1234:
1218:
1212:
1211:
1209:
1207:
1190:
1184:
1183:
1181:
1180:
1163:
1157:
1144:
1138:
1137:
1135:
1134:
1119:
1113:
1112:
1110:
1109:
1094:
1088:
1087:
1086:
1085:
1073:
1067:
1066:
1065:
1064:
1052:
1046:
1045:
1043:
1042:
1026:
1020:
1019:
1018:
1017:
1005:
999:
998:
996:
995:
980:
974:
973:
972:
971:
959:
953:
952:
936:
930:
924:
918:
915:
909:
908:
906:
904:
888:
882:
874:Constant, Paul.
872:
866:
865:
863:
862:
848:
842:
839:
833:
832:
823:
817:
816:
809:
716:Chilling Effects
661:Support for fans
639:derivative works
630:
623:
619:
616:
610:
582:
581:
574:
321:In costuming or
289:server emulators
277:fan translations
75:cease and desist
4372:
4371:
4367:
4366:
4365:
4363:
4362:
4361:
4347:
4346:
4345:
4340:
4307:Steal This Film
4294:
4270:Lawrence Lessig
4239:
4168:
4145:
4109:
4105:Video on demand
3984:
3879:Copyright troll
3852:
3846:
3816:
3811:
3797:Pirate politics
3770:Derivative work
3723:
3721:
3714:
3637:
3632:
3622:
3609:
3598:
3596:
3589:
3585:Story structure
3580:Stock character
3560:Formula fiction
3548:
3546:
3545:Standard blocks
3539:
3445:
3443:
3432:
3361:
3333:
3282:
3272:
3231:
3160:Abridged series
3144:
3132:Michelangelo's
3124:Michelangelo's
3105:
3070:
3063:
3049:Jukebox musical
3017:
2862:
2856:
2826:
2821:
2785:
2769:Science fiction
2692:
2614:Fan translation
2537:
2531:
2505:Motorcycle club
2463:Supercar Season
2413:
2407:
2303:
2257:Sherlock Holmes
2169:
2118:Medium-specific
2113:
2075:
2070:
2040:
2035:
2005:
1972:
1938:
1932:
1927:Time's Champion
1876:Published works
1871:
1840:
1826:Shared universe
1779:
1774:
1733:
1602:Consumer Tribes
1500:Consumer Tribes
1476:Consumer Tribes
1464:
1459:
1458:
1453:
1449:
1444:
1440:
1435:
1431:
1426:
1422:
1417:
1413:
1408:
1404:
1399:
1395:
1390:
1386:
1381:
1377:
1372:
1368:
1363:
1359:
1354:
1350:
1345:
1341:
1336:
1332:
1327:
1323:
1318:
1314:
1309:
1305:
1300:
1293:
1285:
1281:
1276:
1272:
1267:
1263:
1258:
1254:
1249:
1242:
1232:
1230:
1219:
1215:
1205:
1203:
1191:
1187:
1178:
1176:
1164:
1160:
1145:
1141:
1132:
1130:
1120:
1116:
1107:
1105:
1095:
1091:
1083:
1081:
1075:
1074:
1070:
1062:
1060:
1054:
1053:
1049:
1040:
1038:
1027:
1023:
1015:
1013:
1007:
1006:
1002:
993:
991:
982:
981:
977:
969:
967:
961:
960:
956:
937:
933:
925:
921:
916:
912:
902:
900:
899:. The Daily Dot
889:
885:
873:
869:
860:
858:
850:
849:
845:
840:
836:
825:
824:
820:
811:
810:
806:
801:
767:Fan translation
748:
735:
663:
631:
620:
614:
611:
596:
583:
579:
572:
563:
543:Consumer Tribes
538:
517:
505:Consumer Tribes
491:
483:
423:
414:Rebecca Tushnet
407:
389:
376:
355:
346:
319:
301:
180:
168:
149:
141:
31:
24:
17:
12:
11:
5:
4370:
4360:
4359:
4342:
4341:
4339:
4338:
4331:
4324:
4317:
4310:
4302:
4300:
4296:
4295:
4293:
4292:
4287:
4282:
4277:
4272:
4267:
4265:Rick Falkvinge
4262:
4257:
4251:
4249:
4245:
4244:
4241:
4240:
4238:
4237:
4232:
4230:Shadow library
4227:
4222:
4217:
4212:
4207:
4205:The Pirate Bay
4202:
4197:
4192:
4187:
4182:
4176:
4174:
4170:
4169:
4167:
4166:
4160:
4158:
4151:
4147:
4146:
4144:
4143:
4138:
4133:
4128:
4126:Anti-copyright
4123:
4117:
4115:
4111:
4110:
4108:
4107:
4102:
4097:
4096:
4095:
4085:
4084:
4083:
4078:
4068:
4063:
4058:
4053:
4048:
4043:
4038:
4033:
4028:
4023:
4018:
4013:
4008:
4003:
3998:
3992:
3990:
3986:
3985:
3983:
3982:
3977:
3976:
3975:
3970:
3965:
3960:
3950:
3949:
3948:
3946:Bioprospecting
3938:
3933:
3928:
3923:
3922:
3921:
3916:
3911:
3906:
3896:
3891:
3886:
3881:
3876:
3871:
3866:
3860:
3858:
3854:
3853:
3845:
3844:
3837:
3830:
3822:
3813:
3812:
3810:
3809:
3804:
3799:
3794:
3789:
3784:
3779:
3778:
3777:
3772:
3767:
3757:
3752:
3747:
3742:
3737:
3732:
3726:
3724:
3719:
3716:
3715:
3713:
3712:
3707:
3702:
3697:
3690:
3683:
3676:
3671:
3663:
3658:
3655:De Copia Rerum
3651:
3645:
3643:
3639:
3638:
3636:
3635:
3625:
3612:
3601:
3599:
3594:
3591:
3590:
3588:
3587:
3582:
3577:
3572:
3567:
3562:
3557:
3551:
3549:
3544:
3541:
3540:
3538:
3537:
3532:
3527:
3522:
3517:
3512:
3511:
3510:
3500:
3499:
3498:
3493:
3488:
3476:
3469:
3464:
3459:
3454:
3448:
3446:
3441:
3438:
3437:
3434:
3433:
3431:
3430:
3425:
3420:
3415:
3410:
3405:
3400:
3395:
3390:
3385:
3380:
3375:
3369:
3367:
3366:Other concepts
3363:
3362:
3360:
3359:
3354:
3349:
3343:
3341:
3335:
3334:
3332:
3331:
3326:
3321:
3316:
3311:
3306:
3301:
3295:
3293:
3284:
3278:
3277:
3274:
3273:
3271:
3270:
3265:
3260:
3255:
3250:
3245:
3239:
3237:
3233:
3232:
3230:
3229:
3224:
3219:
3214:
3209:
3204:
3203:
3202:
3192:
3190:Re-cut trailer
3187:
3182:
3177:
3172:
3167:
3162:
3156:
3154:
3150:
3149:
3146:
3145:
3143:
3142:
3137:
3129:
3121:
3113:
3111:
3107:
3106:
3104:
3103:
3098:
3093:
3088:
3083:
3077:
3071:
3068:
3065:
3064:
3062:
3061:
3056:
3051:
3046:
3041:
3036:
3031:
3025:
3023:
3019:
3018:
3016:
3015:
3010:
3005:
3000:
2995:
2990:
2985:
2980:
2975:
2970:
2965:
2960:
2958:Plunderphonics
2955:
2950:
2945:
2940:
2935:
2930:
2925:
2920:
2915:
2910:
2905:
2900:
2899:
2898:
2888:
2883:
2877:
2875:
2868:
2864:
2863:
2855:
2854:
2847:
2840:
2832:
2823:
2822:
2820:
2819:
2814:
2812:Odagiri effect
2809:
2804:
2799:
2793:
2791:
2787:
2786:
2784:
2783:
2782:
2781:
2776:
2766:
2761:
2756:
2751:
2750:
2749:
2739:
2734:
2727:
2726:
2725:
2715:
2714:
2713:
2702:
2700:
2694:
2693:
2691:
2690:
2685:
2680:
2675:
2670:
2665:
2660:
2659:
2658:
2657:
2656:
2641:
2640:
2639:
2634:
2621:
2616:
2611:
2606:
2601:
2596:
2591:
2586:
2581:
2576:
2575:
2574:
2567:
2552:
2547:
2541:
2539:
2538:and activities
2533:
2532:
2530:
2529:
2524:
2519:
2514:
2513:
2512:
2502:
2497:
2492:
2487:
2482:
2480:Fan convention
2477:
2472:
2467:
2466:
2465:
2460:
2455:
2454:
2453:
2451:Kustom Kulture
2443:
2438:
2433:
2423:
2417:
2415:
2409:
2408:
2406:
2405:
2400:
2395:
2390:
2385:
2380:
2375:
2370:
2365:
2360:
2355:
2354:
2353:
2341:
2336:
2334:Cult following
2331:
2326:
2321:
2315:
2313:
2309:
2308:
2305:
2304:
2302:
2301:
2294:
2289:
2284:
2279:
2274:
2267:
2260:
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3595:Epoch-marking
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3570:Jazz standard
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3565:Genre fiction
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3535:Western canon
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3248:Internet meme
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3200:Shot-for-shot
3198:
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3175:Found footage
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2988:Sound collage
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2859:Appropriation
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2458:Lowrider Club
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2412:Organizations
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2143:Disney adults
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1831:Slash fiction
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1741:Lexicon Trial
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1705:. 70:135â174.
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1337:Fiske 2002:40
1334:
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1319:Fiske 1992:40
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1206:September 13,
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1173:Rolling Stone
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1103:The Daily Dot
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1035:Hobbyconsolas
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988:Nintendo Wire
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841:Fiske 1992:39
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788:Remix culture
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615:November 2009
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412:For example,
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378:From another
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4312:
4305:
4290:Aaron Swartz
4215:Pirate Party
4173:Pro-copyleft
4051:Open content
4036:Free content
3936:Orphan works
3931:Music piracy
3720:Related non-
3692:
3685:
3678:
3667:
3653:
3642:Theorization
3627:
3617:
3604:
3502:
3483:
3398:Found object
3393:DĂ©tournement
3227:YouTube poop
3222:Video mashup
3170:Collage film
3133:
3125:
3116:
3044:Found poetry
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2948:Parody music
2928:Music mashup
2903:Contrafactum
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2536:Publications
2527:Stan Twitter
2485:Fandom names
2441:Import scene
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2130:Bibliophilia
2099:Furry fandom
2025:
1937:Websites and
1925:
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1904:
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1884:Another Hope
1882:
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990:. 2020-09-07
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897:dailydot.com
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94:media fandom
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62:gift economy
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4285:Peter Sunde
4280:Peter Suber
4100:Share-alike
4071:Open source
4066:Open patent
3787:Open source
3575:Plot device
3525:Originality
3508:Fan fiction
3373:After (art)
3329:Translation
3185:Parody film
3069:Visual arts
2998:Tribute act
2861:in the arts
2807:Fan service
2802:Fan loyalty
2698:Conventions
2589:Fan fiction
2446:Hot rodding
2193:Beatlemania
2109:Yaoi fandom
1777:Fan fiction
1562:14:213â233.
1462:Works cited
927:Lowood 2006
793:Street team
649:(such as a
643:copyrighted
453:gray market
283:, fan-made
273:fan patches
216:video games
152:Fan fiction
50:fan fiction
28:Fan service
4210:PiratbyrÄn
3958:biological
3889:Gripe site
3680:Nachahmung
3666:Dionysian
3606:L.H.O.O.Q.
3530:Simulacrum
3339:Adaptation
3319:Plagiarism
3253:Joke theft
3236:Other arts
3029:Assemblage
2891:Contrafact
2759:Multigenre
2718:Comic book
2673:Filk music
2414:and events
2251:Parrothead
2234:Moonwalker
2218:James Bond
2211:EarthBound
2204:Doctor Who
2165:Sports fan
2135:Cinephilia
1986:Kirk/Spock
1816:Omegaverse
1518:Media Work
1233:16 January
1179:2012-04-20
1133:2022-08-24
1128:ScreenRant
1108:2022-08-24
1084:2022-08-24
1063:2022-08-24
1041:2022-08-24
1016:2022-08-24
994:2022-08-24
970:2022-08-24
903:16 January
861:2008-04-24
799:References
675:four tests
528:In Japan,
448:universe.
436:Amazon.com
334:tea blends
88:subgroups
4357:Fan labor
4114:Movements
3941:Biopiracy
3555:Archetype
3547:and forms
3503:Fan labor
3383:Bricolage
3324:Quotation
3212:TV format
3118:Mona Lisa
3013:Vaporwave
3008:Variation
2968:Quodlibet
2963:Potpourri
2953:Pasticcio
2943:Nightcore
2797:Autograph
2731:Doujinshi
2599:Fan labor
2571:Doujinshi
2490:Game club
2431:Boy racer
2264:Star Wars
2153:Donaldism
2026:Fan labor
2019:Doujinshi
1796:Crossover
1645:Star Wars
1630:191359937
1598:Star Trek
1151:Eurogamer
945:transform
762:Fan patch
603:talk page
530:doujinshi
464:CafePress
446:Star Wars
368:"affines"
265:Zelda CDi
247:SpongeBob
228:machinima
189:Star Wars
160:analytics
38:fan works
34:Fan labor
4351:Category
4093:contests
4081:software
4076:hardware
4016:Copyleft
3989:Concepts
3973:trolling
3963:software
3851:activism
3775:Fair use
3668:imitatio
3661:Diegesis
3485:Afflatus
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3444:concepts
3388:Citation
3352:Literary
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3283:concepts
3281:General
3207:Supercut
2993:Standard
2983:Sampling
2867:By field
2663:Fanspeak
2649:Fan wiki
2624:Fan game
2609:Fan rice
2604:Fan mail
2594:Fan film
2584:Fan edit
2475:Fan club
2436:Cruising
2426:Car club
2324:Anti-fan
2298:Twilight
2271:Stargate
2240:MLP: FIM
2198:Deadhead
2001:Wolfstar
1978:Shipping
1857:Mary Sue
1811:Femslash
1806:Fan film
1568:(2007a)
1445:Woo 2004
879:Newsweek
757:Fan film
746:See also
655:fair use
597:You may
475:Voltaire
361:From an
212:Fangames
198:fan film
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4328:TPB AFK
4225:Sci-Hub
3953:Patents
3904:digital
3700:Pop art
3674:Mimesis
3618:Quixote
3418:Reprise
3357:Theatre
3243:In-joke
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3081:Collage
2683:Vidding
2668:Fanzine
2644:Fansite
2579:Fan art
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2470:Cosplay
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2292:Trekkie
2287:Tolkien
2282:Swiftie
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2080:By type
2073:Fandoms
1968:Wattpad
1907:trilogy
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1692:4135692
1227:npr.org
772:Fangame
752:Fan art
669:of the
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4248:People
3919:videos
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3633:(2010)
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3610:(1919)
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3413:Mashup
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3195:Remake
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