From December 1972 to March 1978, a full page of the Spirou magazine was dedicated to fanzines. The title asks "What about the fanzines?" and the page was adorned with a drawing by André Franquin, ...thereby emphasizing the importance of the subject. These pages, signed by Terence (the pseudonym of Thierry Martens, the editor-in-chief), marked the life of the journal for a few years, providing immense visibility to titles with sometimes anecdotal circulations. They present a fairly unique case of a dedicated section in widely-distributed magazine. After searching for precedents, particularly within the Belgian version of the Tintin magazine, this article conducts a detailed analysis of the columns and its themes, with an ongoing reflection on fanzines and their "crisis". The article explores how the column helped construct a fandom through reviews, with dedicated actors and a specific vocabulary. It highlights the role of this column as an influential force, both for fanzines and for the Spirou magazine itself.
La publicación de fanzines en Mendoza se encuentra en una etapa de crecimiento, al menos desde 2015, a partir de la confluencia de una serie de procesos y experiencias articuladas por la noción de ...autogestión. El presente artículo busca responder una serie de inquietudes referidas tanto a las características actuales de este tipo de revista artesanal como a sus potencialidades y límites en tanto modo de producción editorial independiente.
El trabajo analiza un corpus de fanzines producidos durante los años 1986-1993 en distintas ciudades de la provincia de Buenos Aires y en la capital argentina. Confeccionadas con técnicas y ...materiales asequibles que no perseguían fines de lucro, estas publicaciones formaban parte de distintas iniciativas políticoculturales ligadas al activismo anarquista y la escena del punk underground. Adoptando una perspectiva metodológica para la cual las revistas constituyen objetos polivalentes y heterogéneos, nuestro análisis considera sus dimensiones materiales, textuales y visuales, así como las formas de distribución adoptadas. Bajo esa premisa nos avocamos a reponer los elementos residuales y emergentes que desde allí dialogaron con el pasado y el presente de un periodo signado por el proceso recuperación y consolidación democrática. Por último rastreamos las vinculaciones entabladas entre estas publicaciones, a partir de la superposición de espacios, personas y acontecimientos aludidos dentro del corpus.
Contemporary fan fiction is overwhelmingly digital in both publication and dissemination; it has never been easier to access this subculture of writers and writing. However, fan fiction in print has ...likewise never been so accessible, as a slew of recent popular novels proudly proclaim their fannish origins and make claims such as "More Than 2 Million Reads Online—FIRST TIME IN PRINT!" Further, traditional fannish mores insist that fan work should never be done for profit, and yet numerous print works adapted from fan fiction have become best sellers. I would like to problematize how we consider form and content in both creation and reception, how the popular value of work waxes and wanes in relation to its fan fiction status. In other words, how can we read fan fiction as part of a continuum of historical publication practices by women, and problematize our hierarchies of value between print and digital?
This paper reflects on work-in-progress on archived media fans’ letterzines of the 1970s and 1980s. Growing out of the science fiction APA fanzine scene, letterzines collect letters of comment (LOCs) ...between female fans and capture conversations about their television viewing. Zines from this period go beyond science fiction and include fandoms for cop shows such as Starsky & Hutch (ABC, 1975–1979) and Simon & Simon (CBS, 1981–1989). Letterzines, which have not typically been used as a source for exploring women’s television history, contain a range of information of interest to historians: interpretations of character and narrative, reports on fan conventions and meet-ups, and discussions of how women related to contemporary television at a time when VCRs started to saturate the domestic market. These primary source documents can potentially nuance assumptions about what women watched, their views on the programmes, and the contexts in which they watched.
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