Abstract
Souvent, les œuvres de fans ne complètent pas simplement un récit central officiel, mais deviennent la version reconnue de l’histoire pour certains publics. Cet article montre que trois facteurs influencent le statut ontologique des œuvres de fans, c’est-à-dire le fait que les œuvres de fans restent sur une voie parallèle par rapport aux éléments du récits publié professionnellement ou au contraire les remplacent : la légitimité, le medium et le plaisir. Les œuvres de fans aident ainsi à comprendre les dynamiques culturelles, légales et économiques qui entretiennent l’idée qu’un univers narratif moderne doit avoir un centre officiel commercial, et empêchent la théorisation de structures alternatives de construction d’un récit.
Under many circumstances, fan works do not merely add to a central commercial narrative, but instead become the definitive version of « what really happened » for some members of the audience. This article argues that there are at least three factors, authority, medium, and pleasure, that influence the ontological status of fan works, that is, whether fan works flow parallel to or usurp the dominant status of professionally published narrative elements. Fan works thus aid in understanding the cultural, legal, and market forces which encourage the assumption that modern storyworlds must have a corporate center, and enable the theorization of alternate structures and modes of storytelling.
Under many circumstances, fan works do not merely add to a central commercial narrative, but instead become the definitive version of « what really happened » for some members of the audience. This article argues that there are at least three factors, authority, medium, and pleasure, that influence the ontological status of fan works, that is, whether fan works flow parallel to or usurp the dominant status of professionally published narrative elements. Fan works thus aid in understanding the cultural, legal, and market forces which encourage the assumption that modern storyworlds must have a corporate center, and enable the theorization of alternate structures and modes of storytelling.
| Translated title of the contribution | Interactivity, Resignification, and the Pleasures of Ontological Primacy: Fan Works as Core Narrative |
|---|---|
| Original language | French |
| Number of pages | 14 |
| Journal | Revue Française des Sciences de l'Information et de la Communication |
| Volume | 10 |
| DOIs | |
| Publication status | Published - 2017 |
Keywords
- fans
- copyright
- cultural authority
- gender
- authorship
- transmedia
- hegemony
- fictional ontology