My experience of fan culture, my conception of fan studies as a field, and my own fan scholarly identity are intimately bound up with feminism. It was foregrounded in my initial encounters with fan studies, sitting in Anna McCarthy's television studies course and reading Henry Jenkins's Textual Poachers (1992) as an NYU undergraduate.1 It enveloped me as a graduate student through the support of my fellow fan scholars, echoing both the communal support networks of fandom as well as the self-reflexivity of feminist scholarship. It has haunted me over the past decade, as I've witnessed growing strains of misogyny, racism, and homophobia in geek and fan culture. And it has heartened me to see fans respond to growing antifeminist sentiments with their trademark activism, organization, and transformative creativity. I would wholeheartedly agree with Karen Hellekson and Kristina Busse's characterization of female fan culture as a “project of working against...
Skip Nav Destination
Research Article| April 01 2018
Suzanne Scott is an assistant professor in the Department of Radio-Television-Film at the University of Texas at Austin. Her work has appeared in Transformative Works and Cultures, Cinema Journal, New Media & Society, and Critical Studies in Media Communication, as well as numerous anthologies. She is a coeditor of The Routledge Companion to Media Fan Studies (Routledge, 2018), and her current book project considers the gendered tensions underpinning the media industry's embrace of fans within convergence culture.
Search for other works by this author on:
Feminist Media Histories (2018) 4 (2): 72–76.
Suzanne Scott; Fan Studies. Feminist Media Histories 1 April 2018; 4 (2): 72–76. doi: https://doi.org/10.1525/fmh.2018.4.2.72
Download citation file:
Don't already have an account? Register
You could not be signed in. Please check your email address / username and password and try again.
Could not validate captcha. Please try again.