OTW Fannews: Audiovisual histories

Picture of a cassette tape with post title caption

  • A few posts have recently discussed fannish audiovisual works. One was at Learned Fangirl which examined musical remix culture. “One advantage in analyzing the creativity surrounding Daft Punk’s Get Lucky is that the original visuals doesn’t matter to the re-imaginings at all. This allows the public to focus on the brilliance that is possible with just the reuse and re-purposing of the music.” Addressing a frequent criticism, writer Raizel insisted “All of these works **are** transformative – all of them have the original and change it into something new and different. Instead of stripping away the economic value of the song, they have increased it. Fans found this song meaningful and ‘made it their own’, helping others find the fun as well.”
  • At The Daily Dot, Gavia Baker-Whitelaw explored the evolution of fandom mixtape culture. “Fanmixes can be created as the soundtrack to a fanfic, but they’re just as likely to be like a normal mixtape: capturing a particular moment or mood. It’s just [rather] than being ‘breakup songs of 2007,’ the mood in question is more likely to be ‘music on the theme of defeating Voldemort.'” The importance of new online platforms was cited as a breakthrough. “With the advent of playlist sites like 8tracks and Spotify, fanmixing has become a lot more accessible. Up until recently, mixes were mostly uploaded onto file-sharing websites and then posted to LiveJournal communities, meaning listeners had to commit to downloading the whole thing. Plus, there was the ever-present threat of copyright infringement (the boogeyman of fandom), so a lot of those communities were members only.”
  • Polygon.com featured “an eight-minute CGI piece called The Lord Inquisitor: Prologue” which “represents a reaction, of sorts, to an official 2010 film called Warhammer Ultramarines, which failed to meet the hopes of many in the 40K community.” While the creators hope to eventually make a 40 minute film that’s financed by outside producers, they feel they are taking a fannish angle to the project. “‘They take your favorite thing and they make it crappy. You get disappointed. You want something better, You realize that in order to do that you need to engage and spend your own time to make that happen. That is the fundamental thing our group is trying to prove…Hollywood has this money-driven agenda to produce things that sell. But fans can create things that are more in-depth, more challenging, more fun.'”

What audiovisual histories do you know about? Write about them in Fanlore! Contributions are welcome from all fans.

We want your suggestions! If you know of an essay, video, article, podcast, or link you think we should know about, comment on the most recent OTW Fannews post. Links are welcome in all languages! Submitting a link doesn’t guarantee that it will be included in a roundup post, and inclusion of a link doesn’t mean that it is endorsed by the OTW.