By Paul Booth
This booklet examines the fan-created mixture of Doctor Who, Sherlock, and Supernatural as a uniquely electronic fan event, and as a metaphor for ongoing scholarship into modern fandom.
What do you get if you move the cult exhibits Doctor Who, Supernatural, and Sherlock? during this publication, Paul sales space explores the fan-created crossover universe referred to as SuperWhoLock—a universe the place Sherlock Holmes and Dean Winchester interact to struggle monsters just like the Daleks and the Weeping Angels; a global the place John Watson is buddies with Amy Pond; an area the place the original manufacturers of fandom have interaction. sales space argues that SuperWhoLock represents greater than simply these 3 shows—it is a fashion of doing fandom. via interviews with enthusiasts and research of fan texts, Crossing Fandoms: SuperWhoLock and the modern Fan Audience additionally demonstrates how fan reviews within the electronic age can evolve take into consideration altering fan actions and texts.
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Extra info for Crossing Fandoms: SuperWhoLock and the Contemporary Fan Audience
There are four distinct types of tickets one could purchase for this convention, along with a smattering of others (Fig. 3). 3 does not include other costs, such as autographs and photos, that are sometimes included in the ticket price, but sometimes not. It also does not summarize a few other costs, such as the “front row” seat Gold ticket (which guarantees you a seat in the front row), which was $1200 for the year I attended and went up to $1400 for the year afterwards. For the $789 Gold ticket package, attendees would receive the following: • A reserved seat in the first 15 rows in the theater (minus the front row, which costs an extra $411).
60. 61. 62. 63. 64. 65. 27 Gunkel, “Rethinking the Digital Remix,” 489. Lamerichs, “Embodied Fantasy,” 268, cited in Hills, Unfolding Event, 70. Booth and Kelly, “Changing Faces,” 57. Sandvoss, Fans, 132. Church, Grindhouse Nostalgia, 139, cited in Hills, Unfolding Event, 34. I. Joe Vs. Barbie,” 122. Booth, Playing Fans. Zubernis and Larsen, Fandom at the Crossroads, 25. Hills, Fan Cultures; see Booth and Kelly, “Changing Faces” for an analysis of a different convention, Chicago TARDIS. 66. Booth, Digital Fandom, 24.
Importantly, transmediation is also a corporate operation: each entity within the franchise becomes another form of marketing. ”55 By creating transmedia franchises, media corporations interpellate fan practices as normative. Today, the media landscape is not only embracing transmediation, but also becoming itself more transmediated. As fans (and audiences generally) can follow multiple threads through a media universe, that universe itself (rather than the texts individually) seems more transmediated.