Fans constitute a very special kind of audience. They have been marginalized ridiculed and stigmatized yet at the same time they seem to represent the vanguard of new relationships with and within the media. ’Participatory culture’ has become the new normative standard. Concepts derived from early fan studies such as transmedial storytelling and co-creation are now the standard fare of journalism and marketing text books alike. Indeed usage of the word fan has become ubiquitous. The Ashgate Research Companion to Fan Cultures problematizes this exaltation of fans and offers a comprehensive examination of the current state of the field. Bringing together the latest international research it explores the conceptualization of ’the fan’ and the significance of relationships between fans and producers with particular attention to the intersection between online spaces and offline places. The twenty-two chapters of this volume elucidate the key themes of the fan studies vernacular. As the contributing authors draw from recent empirical work around the globe the book provides fresh insights and innovative angles on the latest developments within fan cultures both online and offline. Because the volume is specifically set up as companion for researchers the chapters include recommendations for the further study of fan cultures. As such it represents an essential reference volume for researchers and scholars in the fields of cultural and media studies communication cultural geography and the sociology of culture.
Fans constitute a very special kind of audience. They have been marginalized ridiculed and stigmatized yet at the same time they seem to represent the vanguard of new relationships with and within the media. ’Participatory culture’ has become the new normative standard. Concepts derived from early fan studies such as transmedial storytelling and co-creation are now the standard fare of journalism and marketing text books alike. Indeed usage of the word fan has become ubiquitous. The Ashgate Research Companion to Fan Cultures problematizes this exaltation of fans and offers a comprehensive examination of the current state of the field. Bringing together the latest international research it explores the conceptualization of ’the fan’ and the significance of relationships between fans and producers with particular attention to the intersection between online spaces and offline places. The twenty-two chapters of this volume elucidate the key themes of the fan studies vernacular. As the contributing authors draw from recent empirical work around the globe the book provides fresh insights and innovative angles on the latest developments within fan cultures both online and offline. Because the volume is specifically set up as companion for researchers the chapters include recommendations for the further study of fan cultures. As such it represents an essential reference volume for researchers and scholars in the fields of cultural and media studies communication cultural geography and the sociology of culture.
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Your options for returning an item vary depending on what you want to return, why you want to return it, and the seller's return policy. If the item is damaged or doesn't match the listing description, you can return it even if the seller's returns policy says they don't accept returns. If you've changed your mind and no longer want an item, you can still request a return, but the seller doesn't have to accept it. If the buyer changes their mind about a purchase and wants to return an item, they may need to pay return postage costs, depending on the seller's return policy. Sellers can provide a return postage address and additional return postage information for the buyer. Sellers pay for return postage if there's a problem with the item. For example, if the item doesn't match the listing description, is damaged or defective or is counterfeit. By law, customers in the European Union also have the right to cancel the purchase of an item within 14 days beginning from the day you receive, or a third party indicated by you (other than the carrier) receives, the last good ordered by you (if delivered separately). This applies to all products except for digital items (e.g. Digital Music) that are provided immediately to you with your acknowledgement, and other items such as video, DVD, audio, video games, Sex and Sensuality products and software products where the item has been unsealed.
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