A few months back I wrote about a zine-related workshop I was involved in organising. Since that workshop, I have done more work on (and research into) zine practice. Today, that work has resulted in an academic article and Creative Practice piece, published together with Dr Mihaela Brebenel on the Open Access journal MAI: Feminism and Visual Culture. I’m very pleased to have our work up on this journal, and even more excited to be part of an excellent new special issue on ‘Feminist Pedagogies’. Check out the other pieces at this link!
I’m thrilled to announce the official publication of Gothic Remixed: Monster Mashups and Frankenfictions in 21st-Century Culture!
This book explores the boundaries and connections between contemporary remix and related modes, including adaptation, parody, the Gothic, Romanticism, and postmodernism. In it, I argue that popular remix creations are the ‘monsters’ of our age, lurking at the limits of responsible consumption and acceptable appropriation. Taking a multimedia approach, case studies range from novels like Pride and Prejudice and Zombies and The Extraordinary Adventures of the Athena Club series, to television programmes such as Penny Dreadful, to popular visual artworks like Kevin J. Weir’s Flux Machine GIFs.
Continuing on from my previous research on Star Wars (and other related activities), I’ve had an article published in a special issue of the open access journal Film Criticism. I write about the Forces of Destiny Star Wars series on YouTube, addressing the tensions between Disney’s presentation of this girl-focused arm of the Star Wars universe and its reception by fans and consumers. In particular, I look at the ‘Adventure figure’ line of toys marketed with the series, tracing its ‘plastic representation’ within the broader contexts of Star Wars transmedia, commodity activism, and paratextual erasure.
The article is open access and free to read—you can find it at this link. You can also read a short excerpt from the article below:
Few films are more iconic and widely recognized than Star Wars (1977). Now an international franchise with a forty-year history and a multi-billion-dollar box office and merchandising legacy, Star Wars has become a global phenomenon. Amidst ever-intensifying waves of film and television content, transmedia tie-ins, and merchandising outreach, it has become common to speak of Star Wars as though it is a universal constant. Not only can it be found everywhere, the reasoning goes, it is also something that can be enjoyed together by people of diverse ages and backgrounds. As Rogue One (2016) reviewer Rohan Naahar writes for the Hindustan Times, “Star Wars is for everyone; every boy or girl who has ever looked up at the night sky and wondered if there are other worlds out there. It’s for every kid who has ever pretended to be a hero, saving the day, with his friends by his side. Star Wars belongs to us now.” But what parts of the franchise are we talking about when we speak of Star Wars? And is it the franchise’s omnipresence that allows it to appeal to the kid—or the boy, as Naahar’s use of personal pronouns suggests—in everyone?
At the beginning of December, students and staff at Winchester School of Art (where I work) took part in a series of Critical Media Practice workshops, focused around the theme of ‘Gendering Technology’. The workshops developed practical skills, but also explored the gendered dimensions of technology’s access and use, and the framing of debates around gender identities and technology. Together with digital media scholar Mihaela Brebenel, I ran one of these workshops, and the topic of our session was ‘Zine-Making as Feminist Practice’. You can find the session slides here. The workshop was inspired by my previous experiences with zine-making at Feminist Archive South, by the fabulous work done by Anti-Precarity Cymru to raise awareness about casualisation and neoliberalisation in academia (including a 2019 calendar!), and by an article by Carly and Jennifer Jean Bagelman.
As part of my forthcoming book project, I’ve been revisiting the Penny Dreadful series and comics. This included looking back at my online reviews of the show’s third and final season, which I will be posting here over the coming weeks. This post originally appeared on The Victorianist, 8 July 2016. It has been edited and corrected for reposting.
In my very first post I rhetorically questioned whether any of the ‘monsters’ in Penny Dreadful would be able to come to terms with their past or their actions. I also asked to what extent the show could be labelled ‘Victorian’ or ‘neo-Victorian’.
When I started writing this week’s post, I had no idea that I would be writing about the end of entire series, as well as the end of the third season. Part of the reason it’s taken me so long to finish it is the way this ending has (unexpectedly) forced me to completely re-evaluate the show, and my expectations of it.
As part of my forthcoming book project, I’ve been revisiting the Penny Dreadful series and comics. This included looking back at my online reviews of the show’s third and final season, which I will be posting here over the coming weeks. This post originally appeared on The Victorianist, 17 June 2016. It has been edited and corrected for reposting.
What does it mean to be true to yourself? What does it mean to be a good person? These are questions Penny Dreadful has frequently explored over its three seasons, but I’m not sure they ever felt as pressing or disturbing as they do in ‘Ebb Tide’. More than anything, the episode seems to suggest that the answers to these questions depend entirely on the person asking.
As part of my forthcoming book project, I’ve been revisiting the Penny Dreadful series and comics. This included looking back at my online reviews of the show’s third and final season, which I will be posting here over the coming weeks. This post originally appeared on The Victorianist, 27 May 2016. It has been edited and corrected for reposting.
Last week I wished for a quieter episode that focused on one or two characters in a bit more depth. This week, that wish was granted. Seasons one and two both used an early episode to explore a part of Vanessa’s past, and this season does the same. ‘A Blade of Grass’ is a frame narrative that starts and ends as a hypnotherapy session between Vanessa Ives and Dr Seward, and the two women are attempting to discover where Vanessa first met The Master (a.k.a. Dracula).
As part of my forthcoming book project, I’ve been revisiting the Penny Dreadful series and comics. This included looking back at my online reviews of the show’s third and final season, which I will be posting here over the coming weeks. This post originally appeared on The Victorianist, 13 May 2016. It has been edited and corrected for reposting.
This post contains plot details for seasons 1-3 of Penny Dreadful, as well as a few minor comments on the HBO series Game of Thrones that might be construed as spoilers.
Penny Dreadful’s identity as a show hinges on a small number of key characteristics. One is its appropriation of Gothic monsters. Another is its status as a premium cable series, and a work of ‘quality television’.
I’m very excited to announce a new special issue of Science Fiction Film and Television, focusing on Mary Shelley, Frankenstein, and women in science fiction! I’ve got an article in this special issue on Shelley’s fictionalised appearances in popular film and television, including Bride of Frankenstein (1935), Frankenstein Unbound (1990), Highlander (TV; 1992–1998) and Frankenstein, MD (2014).
Regular readers may remember my call for testimonials from other Star Wars fans, in which I asked ‘is Star Wars a boys’ club?’. The result of this research is now available as ‘Space Bitches, Witches, and Kick-Ass Princesses: Star Wars and Popular Feminism’, a chapter in a new edited collection.
You can read the chapter in full at this link, where it is available courtesy of the Utrecht University Open Access fund.
Read an excerpt of the chapter below:
Over the past few years, the Star Wars franchise has been widely praised for its feminism—especially since its acquisition by Disney in 2012. New heroes like Jyn Erso and Rey are hailed as feminist triumphs not just for Star Wars, but for mainstream entertainment more broadly. New characters aimed at a new generation of fans, like Rebels’s pink-clad fighter-cum-artist, Sabine Wren, and new novels devoted to existing characters like Leia Organa and Ahsoka Tano (from the animated series The Clone Wars),are often cited by mainstream news outlets as part of a growing commitment to female characters, and to feminism by association. Likewise, thanks partly to its alliance with Disney’s princess powerhouse, the marketing force of Star Wars can now be felt as strongly in female-targeted sectors (make-up, fashion, dolls) as it is outside of them.Does all of this mean, as one reviewer put it, that starting with The Force Awakens, Star Wars “finally awakens to a feminist world”?Such assertions have certainly rubbed some long-time fans the wrong way—after all, women have made up a significant and vocal portion of the Star Wars fanbase from the beginning.Moreover, one source’s assessment of what constitutes a “feminist world” (and of who is responsible for building it) is often fundamentally different from another’s.