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Introduction : make fandom great again -- A fangirl's place is in the resistance : feminism and fan studies -- "Get a life, will you people?!" : the revenge of the fanboy -- Interrogating the fake geek girl : the spreadable misogyny of contemporary fan culture -- Terms and conditions : co-opting fan labor and containing fan criticism -- One fanboy to rule them all : fantrepreneurs, fanboy auteurs and the politics of professionalization -- From poaching to pinning : fashioning postfeminist geek girl(y) culture -- Conclusion : fan studies? OTP : fandom and intersectional feminism.

Cover -- FAKE GEEK GIRLS -- Title -- Copyright -- Dedication -- CONTENTS -- Introduction: Make Fandom Great Again -- 1. A Fangirl's Place Is in the Resistance: Feminism and Fan Studies -- 2. "Get a life, will you people?!": The Revenge of the Fanboy -- 3. Interrogating the Fake Geek Girl: The Spreadable Misogyny of Contemporary Fan Culture -- 4. Terms and Conditions: Co-Opting Fan Labor and Containing Fan Criticism -- 5. One Fanboy to Rule Them All: Fanboy Auteurs, Fantrepreneurs, and the Politics of Professionalization -- 6. From Poaching to Pinning: Fashioning Postfeminist Geek Girl(y) Culture -- Conclusion: Fan Studies' OTP: Fandom and Intersectional Feminism -- Acknowledgments -- Notes -- Index -- About the Author.

Frontmatter -- Contents -- Introduction: Make Fandom Great Again -- 1. A Fangirl's Place Is in the Resistance: Feminism and Fan Studies -- 2. "Get a life, will you people?!": The Revenge of the Fanboy -- 3. Interrogating the Fake Geek Girl: The Spreadable Misogyny of Contemporary Fan Culture -- 4. Terms and Conditions: Co- Opting Fan Labor and Containing Fan Criticism -- 5. One Fanboy to Rule Them All: Fanboy Auteurs, Fantrepreneurs, and the Politics of Professionalization -- 6. From Poaching to Pinning: Fashioning Postfeminist Geek Girl(y) Culture -- Conclusion: Fan Studies' OTP: Fandom and Intersectional Feminism -- Acknowledgments -- Notes -- Index -- About the Author

Review of Mark Duffett. Understanding fandom: An introduction to the study of media fan culture. New York: Bloomsbury Academic, 2013. Hardcover, $100 (360p) ISBN 978-1441158550; paperback, $29.95 (360p) ISBN 978-1441166937.

Fandom and crowdfunding have both been discursively constructed as spaces in which marginalized voices can make a transformative intervention into popular culture and speak back to the media industries that produce it. Keeping this parallel in mind, this article will examine two successful moments of Kickstarter "fan-ancing," the comic anthology Womanthology: Heroic and the Veronica Mars movie, to consider their impact on the producer/consumer relationship. Although fan-financed endeavors have the potential to be industrially and culturally transformative works, striving to effect the same change on media industries and fan cultures that a fan work might have on a media property, we need to interrogate the limits of this "transformative" intervention. Examining how these respective campaigns frame fans' financial, emotional and creative investments, this article argues that though fan-anced projects have the potential to recalibrate the moral economy between producers and fans within media culture, their transformative capacity is ultimately connected to their embrace or rejection of industrial conceptions of "fan participation."

In 1999, Gail Simone circulated a list of female comic book characters who had been "depowered, raped, or cut up and stuck in the refrigerator," sparking a dialogue about gender and comic book culture that continues today. In particular, 2011 and 2012 have been marked by an exponential growth in conversations and criticisms surrounding the state of women in comics, both as producers and consumers. Through a survey of how scholars have gendered comic book readership, an overview of recent incidents that have renewed concern about women in comics, and an analysis of one transformative intervention in the wake of these conversations, this essay broadly discusses the relative invisibility of female comic book fans as a market segment and how fangirls are actively striving to become a visible and vocal force within comic book culture. This essay suggests that we are currently witnessing a transformative moment within comic book industry, comic book fandom, and comic book scholarship, in which gender is one of the primary axes of change.

In 1999, Gail Simone circulated a list of female comic book characters who had been "depowered, raped, or cut up and stuck in the refrigerator," sparking a dialogue about gender and comic book culture that continues today. In particular, 2011 and 2012 have been marked by an exponential growth in conversations and criticisms surrounding the state of women in comics, both as producers and consumers. Through a survey of how scholars have gendered comic book readership, an overview of recent incidents that have renewed concern about women in comics, and an analysis of one transformative intervention in the wake of these conversations, this essay broadly discusses the relative invisibility of female comic book fans as a market segment and how fangirls are actively striving to become a visible and vocal force within comic book culture. This essay suggests that we are currently witnessing a transformative moment within comic book industry, comic book fandom, and comic book scholarship, in which gender is one of the primary axes of change.

As "Web 2.0 companies speak about creating communities around their products and services, rather than recognizing that they are more often courting existing communities with their own histories, agendas, hierarchies, traditions, and practices" (Jenkins et al. 2009a), media fandom is rapidly being constructed as a fertile battleground where the territory between online gift economies and commodity culture will be negotiated. My concern, as fans and acafans continue to vigorously debate the importance or continued viability of fandom's gift economy and focus on flagrant instances of the industry's attempt to co-opt fandom, is that the subtler attempts to replicate fannish gift economies aren't being met with an equivalent volume of discussion or scrutiny.

In recent years, geeks have become chic, and the fashion and beauty industries have responded to this trend with a plethora of fashion-forward merchandise aimed at the increasingly lucrative fan demographic. This mainstreaming of fan identity is reflected in the glut of pop culture T-shirts lining the aisles of big box retailers as well as the proliferation of fan-focused lifestyle brands and digital retailers over the past decade. While fashion and beauty have long been integrated into the media industry with tie-in lines, franchise products, and other forms of merchandise, there has been limited study of fans' relationship to these items and industries.

Sartorial Fandom shines a spotlight on the fashion and beauty cultures that undergird fandoms, considering the retailers, branded products, and fan-made objects that serve as forms of identity expression. This collection is invested in the subcultural and mainstream expression of style and in the spaces where the two intersect. Fan culture is, in many respects, an optimal space to situate a study of style because fandom itself is often situated between the subcultural and the mainstream. Collectively, the chapters in this anthology explore how various axes of lived identity interact with a growing movement to consider fandom as a lifestyle category, ultimately contending that sartorial practices are central to fan expression but also indicative of the primacy of fandom in contemporary taste cultures.

"The Routledge Companion to Media Fandom brings together an internationally and interdisciplinarily diverse group of established scholars to reflect on the state of fan studies and to point to new research directions. Engaging an impressive array of media texts and formats and incorporating a variety of methodologies, this collection of forty-four commissioned chapters is organized into six main sections: methods and ethics, technologies and practices, identities, race and transcultural fandom, industry, and futures. Each section concludes with a conversation among some of the field's leading scholars and industry insiders to address a wealth of questions relevant to each section topic. Although the field of fan studies has seen exponential growth in recent years, there is no collection that comprehensively explores and defines the contours of the field--this collection will fill that gap for students and scholars alike"--

AbstractThis article explores a provision of the Corporate Manslaughter and Corporate Homicide Act 2007, which has been neglected by criminologists and legal scholars – the application of the legislation to deaths in custody. The article argues that proving the liability of a prison based on the definition of 'senior management' in the Act may reflect the problems associated with establishing the guilt of corporate bodies under the common law identification principle and that the 'senior management' test may nullify the intent of Section 2(1)(d) and undermine the capacity of the Crown Prosecution Service (CPS) to convict a prison for an avoidable death in custody.

In this interview with the writer and artists of the noncommercial collaborative project, "My So-Called Secret Identity," interviewees answer questions on the origins of the project and their own creative processes as they attempt to "build a better Batgirl."