Fan fiction - Revision history

Lquilter: Rebecca's work is most pertinent to the copyright section ... there's lots of other folks too on this although RT is the best.

2007-05-05T15:31:41Z

Rebecca's work is most pertinent to the copyright section ... there's lots of other folks too on this although RT is the best. <g>

← Older revision		Revision as of 08:31, 5 May 2007
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	Some fan fiction does not run into any copyright issues whatsoever: fan fiction derived from sources that have gone out of [[copyright]], that have never entered into modern [[copyright law]] to begin with (because they were placed into the public domain by their creators, for instance), or that are produced with the authorisation of the [[copyright owner]]s (through express permission or through Creative Commons licenses, for example). Examples of this are common, ranging from the use of [[myth]]ic sources in literature, to the endless adaptions of [[Shakespeare]], and [[The League of Extraordinary Gentlemen]], to [[Star Wars]] and [[Star Trek]] tie-in novels. So-called fictional franchises or shared worlds are also a type of fan fiction, insofar as it is a person writing in a fictional universe created by someone else. To the extent these are professionally produced and commercially published, it might be considered "professional fan fiction". (Example: Marion Zimmer Bradley's edited anthology, ''[[Free Amazons of Darkover]]''.)		Some fan fiction does not run into any copyright issues whatsoever: fan fiction derived from sources that have gone out of [[copyright]], that have never entered into modern [[copyright law]] to begin with (because they were placed into the public domain by their creators, for instance), or that are produced with the authorisation of the [[copyright owner]]s (through express permission or through Creative Commons licenses, for example). Examples of this are common, ranging from the use of [[myth]]ic sources in literature, to the endless adaptions of [[Shakespeare]], and [[The League of Extraordinary Gentlemen]], to [[Star Wars]] and [[Star Trek]] tie-in novels. So-called fictional franchises or shared worlds are also a type of fan fiction, insofar as it is a person writing in a fictional universe created by someone else. To the extent these are professionally produced and commercially published, it might be considered "professional fan fiction". (Example: Marion Zimmer Bradley's edited anthology, ''[[Free Amazons of Darkover]]''.)

			===Further reading===
			* [http://www.tushnet.com/law/fanficarticle.html Legal Fictions: Copyright, Fan Fiction, and a New Common Law], by Rebecca Tushnet

	==Fan fiction and political economy of cultural production==		==Fan fiction and political economy of cultural production==
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	* [[Copyright]]		* [[Copyright]]
	* [[Parodies and retellings]] (covers "derivative works", intertextual works, etc.)		* [[Parodies and retellings]] (covers "derivative works", intertextual works, etc.)

	~~== External Links ==~~
	* [http://www.tushnet.com/law/fanficarticle.html Legal Fictions: Copyright, Fan Fiction, and a New Common Law], by Rebecca Tushnet

	[[category:Theory]]		[[category:Theory]]

Ide Cyan: added external link

2007-05-05T04:14:17Z

added external link

← Older revision		Revision as of 21:14, 4 May 2007
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	* [[Parodies and retellings]] (covers "derivative works", intertextual works, etc.)		* [[Parodies and retellings]] (covers "derivative works", intertextual works, etc.)

			== External Links ==
			* [http://www.tushnet.com/law/fanficarticle.html Legal Fictions: Copyright, Fan Fiction, and a New Common Law], by Rebecca Tushnet

	[[category:Theory]]		[[category:Theory]]

Lquilter: cat

2007-03-15T17:33:52Z

cat

← Older revision		Revision as of 10:33, 15 March 2007
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	[[category:Theory]]		[[category:Theory]]
	[[category:Genres]]		[[category:Genres]]
	[[category:Fan fiction]]		[[category:Fan fiction\| ]]
	[[Category:Articles needing work 2007]]		[[Category:Articles needing work 2007]]

Lquilter: cat

2007-03-15T17:33:17Z

cat

← Older revision		Revision as of 10:33, 15 March 2007
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	[[category:Theory]]		[[category:Theory]]
	[[category:Genres]]		[[category:Genres]]
	[[category:~~Fandom~~]]		[[category:Fan fiction]]
	[[Category:Articles needing work 2007]]		[[Category:Articles needing work 2007]]

Lquilter: /* See also */ cat

2007-03-15T17:24:45Z

Lquilter: cat

2007-03-15T17:24:20Z

cat

← Older revision		Revision as of 10:24, 15 March 2007
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	'''Fan fiction''' is a type of creative activity characterised by its ~~[[relations~~ of ~~production]]. It is a [[literature]] produced by [[fan]]s, and~~ the ''subject'' of ~~'''fan fiction''' is a production derived from primary sources which~~ the fans ~~''do not possess''~~.		'''Fan fiction''' is a type of creative activity characterised by its relation of the creator to the subject of the creation. The creators, "fans", work with pre-existing creative works produced by someone else.

	[[~~Copyright laws~~]] ~~and~~ [[~~market interests~~]], ~~often ''corporate'', prohibit fans from making money from this pursuit, and the~~ [[~~legitimacy\|lawful]] attacks by [[copyright owner~~]]~~s defending their [[market interests]] can criminalise fan fiction writers and drive [[fan]] production underground even when fan fiction is distributed gratis~~. ~~Out of a necessity to avoid such attacks~~, ~~[[fan]] writers generally keep a low profile to their activities~~, ~~and there is a common practice among [[fanficcers]] to include [[Fan fiction disclaimers\|disclaimers]] in~~ their ~~stories~~, ~~identifying the [[legitimacy\|legitimate]] owners of~~ the ~~characters~~ and/or ~~settings about which they write~~.		The paradigmatic example is a popular media work with a large fanbase (such as "[[Star Trek]]", "[[The X-Files]]", or "[[Buffy the Vampire Slayer]]"). Some fans write (or, increasingly, create animated films, music videos, or other types of work) their own, original works that use the basic setting and/or characters of the work.

	From the perspective of lawmakers and [[market economics]], the bulk of '''fan fiction''' exists~~, if it is perceived as existing at all,~~ in the margins of cultural production, because it does not enter the [[market]]. The economic il[[legitimacy]] and cultural marginality of '''fan fiction''' keep [[fanficcers]] vulnerable, enabling the continued domination of the market by the people who control and legislate the ownership of cultural production, particularly widely-distributed, marketable popular cultural production (such as television and cinema, or the comic book industry).		==Fan fiction and copyright==
			Modern copyright law in most countries significantly regulates the production of so-called "derivative works", which are new works based on original works. The copyright holders of the original work have the exclusive legal right to authorize new derivative works or copies of the original work. The copyright holders are very often corporations, in the case of popular media works, or employers in the case of works created "for hire". Original authors and creators are often the copyright-holders of "literary properties". Copyright law regulates the reproduction of "expression", and it is an open question in most countries to what extent fictional universes and fictional characters are copyrighted or copyrightable.

			Because copyright law regulates the specific legal right to reproduce, distribute, and make derivative works from existing works, fan fiction is typically an unauthorized or even underground activity; and it is in most cases a non-monetary activity. While generally non-monetary, the level of accessibility of fan fiction largely depends on the attitude of the original copyright holder. Some copyright holders regard fan fiction as flattery; others maintain a neutral attitude and look the other way; others selectively police fan fiction based on their own criteria; and still others rigorously enforce their copyrights to the fullest, and try to stop the production and distribution of fan fiction. Because fan fiction may be produced privately, its production can never be entirely quelled; however, public distribution can be significantly hampered by copyright holders.

			Some fan fiction does not run into any copyright issues whatsoever: fan fiction derived from sources that have gone out of [[copyright]], that have never entered into modern [[copyright law]] to begin with (because they were placed into the public domain by their creators, for instance), or that are produced with the authorisation of the [[copyright owner]]s (through express permission or through Creative Commons licenses, for example). Examples of this are common, ranging from the use of [[myth]]ic sources in literature, to the endless adaptions of [[Shakespeare]], and [[The League of Extraordinary Gentlemen]], to [[Star Wars]] and [[Star Trek]] tie-in novels. So-called fictional franchises or shared worlds are also a type of fan fiction, insofar as it is a person writing in a fictional universe created by someone else. To the extent these are professionally produced and commercially published, it might be considered "professional fan fiction". (Example: Marion Zimmer Bradley's edited anthology, ''[[Free Amazons of Darkover]]''.)

			==Fan fiction and political economy of cultural production==
			From the perspective of lawmakers and [[market economics]], the bulk of '''fan fiction''' exists in the margins of cultural production, because it does not enter the [[market]]. The economic il[[legitimacy]] and cultural marginality of '''fan fiction''' keep [[fanficcers]] vulnerable, enabling the continued domination of the market by the people who control and legislate the ownership of cultural production, particularly widely-distributed, marketable popular cultural production (such as television and cinema, or the comic book industry).

	Because [[men]] majoritarily control the market economics, '''fan fiction''' becomes an alternative, sometimes central area of cultural production for [[women]]. The production of a short story or novel, for instance, although it is labour-intensive, requires fewer and more accessible means than the production of a television show, or even of a fan-made movie, and can be carried out alone by isolated individuals. [[Women]] also create [[fan]]nish communities, in which it is possible to exchange services such as [[beta-reading]] or mutual recommendations, criticism and appreciation, when they come into contact with each other as [[fan]]s. Such services are not paid, because the end products will not earn money, and because this fandom may have little economic power, but they nonetheless enter into a form of remuneration in the exchange of cultural products.		Because [[men]] majoritarily control the market economics, '''fan fiction''' becomes an alternative, sometimes central area of cultural production for [[women]]. The production of a short story or novel, for instance, although it is labour-intensive, requires fewer and more accessible means than the production of a television show, or even of a fan-made movie, and can be carried out alone by isolated individuals. [[Women]] also create [[fan]]nish communities, in which it is possible to exchange services such as [[beta-reading]] or mutual recommendations, criticism and appreciation, when they come into contact with each other as [[fan]]s. Such services are not paid, because the end products will not earn money, and because this fandom may have little economic power, but they nonetheless enter into a form of remuneration in the exchange of cultural products.
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	[[Men]] also produce fan fiction, but because their relationship to the market is different from women's, under the [[patriarchal]] [[mode of production]], their [[fan]]nish endeavours do not share exactly the same characteristics. There is significant overlap between women's fannish networks and men's, but [[sexism]] necessarily colours the interactions between individuals and/or groups from each [[class]].		[[Men]] also produce fan fiction, but because their relationship to the market is different from women's, under the [[patriarchal]] [[mode of production]], their [[fan]]nish endeavours do not share exactly the same characteristics. There is significant overlap between women's fannish networks and men's, but [[sexism]] necessarily colours the interactions between individuals and/or groups from each [[class]].

	Some fan fiction does not run into any copyright issues whatsoever: fan fiction derived from sources that have gone out of [[copyright]], that have never entered into modern [[copyright law]] to begin with (because they were placed into the public domain by their creators, for instance), or that are produced with the authorisation of the [[copyright owner]]s (through express permission or through Creative Commons licenses, for example). Examples of this are common, ranging from the use of [[myth]]ic sources in literature, to the endless adaptions of [[Shakespeare]], and [[The League of Extraordinary Gentlemen]], to [[Star Wars]] and [[Star Trek]] tie-in novels. So-called fictional franchises or shared worlds are also a type of fan fiction, insofar as it is a person writing in a fictional universe created by someone else. To the extent these are professionally produced and commercially published, it might be considered "professional fan fiction". (Example: Marion Zimmer Bradley's edited anthology, ''[[Free Amazons of Darkover]]''.)

	~~{{stub}}~~

	== See also ==		== See also ==
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	* [[Mary Sue]]		* [[Mary Sue]]
	* [[Slash]]		* [[Slash]]
			* [[Copyright]]
			* [[Parodies and retellings]] (covers "derivative works", intertextual works, etc.)


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	[[category:Genres]]		[[category:Genres]]
	[[category:Fan fiction]]		[[category:Fan fiction]]
			[[Category:Articles needing work 2007]]

Lquilter: rewriting information about copyright

2007-03-15T17:09:20Z

rewriting information about copyright

← Older revision		Revision as of 10:09, 15 March 2007
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	[[Men]] also produce fan fiction, but because their relationship to the market is different from women's, under the [[patriarchal]] [[mode of production]], their [[fan]]nish endeavours do not share exactly the same characteristics. There is significant overlap between women's fannish networks and men's, but [[sexism]] necessarily colours the interactions between individuals and/or groups from each [[class]].		[[Men]] also produce fan fiction, but because their relationship to the market is different from women's, under the [[patriarchal]] [[mode of production]], their [[fan]]nish endeavours do not share exactly the same characteristics. There is significant overlap between women's fannish networks and men's, but [[sexism]] necessarily colours the interactions between individuals and/or groups from each [[class]].

	~~There is also [[legitimacy\|legitimate]] "~~fan fiction~~", that is, '''~~fan fiction~~'''~~ derived from sources that have gone out of [[copyright]], that have never entered into modern [[copyright law]] to begin with, or that are produced with the authorisation of the [[copyright owner]]s. Examples of this are common, ranging from the use of [[myth]]ic sources in literature, to the endless adaptions of [[Shakespeare]], and [[The League of Extraordinary Gentlemen]], to [[Star Wars]] and [[Star Trek]] tie-in novels. ~~The last form~~, ~~that of derivative work~~ produced ~~under the aegis of the [[copyright owner]]s~~, ~~can~~ be ~~called ''~~professional'' '~~''fan fiction'~~''.		Some fan fiction does not run into any copyright issues whatsoever: fan fiction derived from sources that have gone out of [[copyright]], that have never entered into modern [[copyright law]] to begin with (because they were placed into the public domain by their creators, for instance), or that are produced with the authorisation of the [[copyright owner]]s (through express permission or through Creative Commons licenses, for example). Examples of this are common, ranging from the use of [[myth]]ic sources in literature, to the endless adaptions of [[Shakespeare]], and [[The League of Extraordinary Gentlemen]], to [[Star Wars]] and [[Star Trek]] tie-in novels. So-called fictional franchises or shared worlds are also a type of fan fiction, insofar as it is a person writing in a fictional universe created by someone else. To the extent these are professionally produced and commercially published, it might be considered "professional fan fiction". (Example: Marion Zimmer Bradley's edited anthology, ''[[Free Amazons of Darkover]]''.)



	{{stub}}		{{stub}}

Lquilter: cat

2007-03-15T17:05:11Z

cat

← Older revision		Revision as of 10:05, 15 March 2007
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	[[category:Theory]][[category:Genres]][[category:Fan fiction ~~issues~~]]		[[category:Theory]]
			[[category:Genres]]
			[[category:Fan fiction]]

Ide Cyan: cat.

2007-02-19T20:42:28Z

cat.

← Older revision		Revision as of 13:42, 19 February 2007
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	[[category:Theory]][[category:Genres]][[category:Fan fiction issues~~]][[Category:Materialist analysis~~]]		[[category:Theory]][[category:Genres]][[category:Fan fiction issues]]

Ide Cyan: /* See also */ cat cap

2007-02-13T20:14:40Z

← Older revision		Revision as of 13:14, 13 February 2007
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	[[category:Theory]][[category:Genres]][[category:Fan ~~Fiction Issues~~]][[Category:Materialist analysis]]		[[category:Theory]][[category:Genres]][[category:Fan fiction issues]][[Category:Materialist analysis]]