In Dickens’s own time, however, serialized novels were hugely controversial. Novels themselves were only beginning to find acceptance in polite society; for upper-class commentators, serialization was entirely too much. From our perspective, Dickens is a literary master, an icon of a now threatened culture. From theirs, he represented the threat of something coming.

(…)

Worse, the format seemed dangerously immersive. In 1845, a critic for the patrician North British Review decried it as an unhealthy alternative to conversation or to games like cricket or backgammon. Anticipating Huxley and Bradbury by a century, he railed against the multiplying effects of serialization on the already hallucinatory powers of the novel.

(…)

Toward the end of the nineteenth century, as further advances in technology continued to bring down the costs of printing and distribution, books and periodicals evolved into separate businesses and book publishers gradually moved away from serialization. The threat of immersiveness moved with them, first to motion pictures, then to television. Books, movies, TV—all were mass media, and mass media had no mechanism for audience participation. But the reader’s impulse to have a voice in the story didn’t vanish. It went underground and took a new form: fan fiction.

In Dickens’s own time, however, serialized novels were hugely controversial. Novels themselves were only beginning to find acceptance in polite society; for upper-class commentators, serialization was entirely too much. From our perspective, Dickens is a literary master, an icon of a now threatened culture. From theirs, he represented the threat of something coming.

(…)

Worse, the format seemed dangerously immersive. In 1845, a critic for the patrician North British Review decried it as an unhealthy alternative to conversation or to games like cricket or backgammon. Anticipating Huxley and Bradbury by a century, he railed against the multiplying effects of serialization on the already hallucinatory powers of the novel.

(…)

Toward the end of the nineteenth century, as further advances in technology continued to bring down the costs of printing and distribution, books and periodicals evolved into separate businesses and book publishers gradually moved away from serialization. The threat of immersiveness moved with them, first to motion pictures, then to television. Books, movies, TV—all were mass media, and mass media had no mechanism for audience participation. But the reader’s impulse to have a voice in the story didn’t vanish. It went underground and took a new form: fan fiction.

Frank Rose, The Art of Immersion: How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories, location 1308-1321 (via fanhackers)

courtneystoker:

Does anyone know any good graduate programs for studying science fiction and/or fan studies (specifically cosplay)? My list so far is:

English @ University of British Columbia

Comparative Media Studies @ MIT

Department of Modern Culture and Media @ Brown

MPhil in Audience and Fan Studies @ Cardiff University

English @ University of Toronto

English @ University of Kansas

Any suggestions?

Just pulling a few from my brain here… You may also want to check out: Northwestern’s Screen Cultures track (I think it’s in the media/film dept?); UT: Austin’s Department of Radio-TV-Film; UW-Milwaukee’s English Dept (look at the media track); NYU’s Media Ecology program; Georgetown’s Communication, Culture, Tech program (although they may be moving away from this stuff); BGSU’s Popular Culture track. 

Since this post mentions sci-fi, you may want check out where the major sc-ifi lit libraries or media archives are housed. (I’m pretty sure there’s a big one somewhere in the UCs. Riverside maybe?) 

Overall, I think its useful to keep in mind that fan studies is interdisciplinary. So, technically, you can study fans in many different places and in many different ways. Spectatorship/reception/audiences are studied all over the humanities and social sciences. I think part of the trick is to figure out which broader discipline you either want to be using as your disciplinary lens into fans/audiences (if you’re looking at a MA) or which area you’d prefer to teach in (if you’re looking at a phd).

courtneystoker:

Does anyone know any good graduate programs for studying science fiction and/or fan studies (specifically cosplay)? My list so far is:

English @ University of British Columbia

Comparative Media Studies @ MIT

Department of Modern Culture and Media @ Brown

MPhil in Audience and Fan Studies @ Cardiff University

English @ University of Toronto

English @ University of Kansas

Any suggestions?

Just pulling a few from my brain here… You may also want to check out: Northwestern’s Screen Cultures track (I think it’s in the media/film dept?); UT: Austin’s Department of Radio-TV-Film; UW-Milwaukee’s English Dept (look at the media track); NYU’s Media Ecology program; Georgetown’s Communication, Culture, Tech program (although they may be moving away from this stuff); BGSU’s Popular Culture track. 

Since this post mentions sci-fi, you may want check out where the major sc-ifi lit libraries or media archives are housed. (I’m pretty sure there’s a big one somewhere in the UCs. Riverside maybe?) 

Overall, I think its useful to keep in mind that fan studies is interdisciplinary. So, technically, you can study fans in many different places and in many different ways. Spectatorship/reception/audiences are studied all over the humanities and social sciences. I think part of the trick is to figure out which broader discipline you either want to be using as your disciplinary lens into fans/audiences (if you’re looking at a MA) or which area you’d prefer to teach in (if you’re looking at a phd).