Our stories, our selves

Star Wars fanfictions as feminist counterpublic discourses in digital imaginaria

Bibliographic Data

ID21874424
AuthorsAndrea Marshall (0000-0003-1229-4694, Centre for Media and Celebrity Studies, corresponding author)
Year2020
Volume8
Issue3
Pages277-288
Publication date2020-09-01
Open AccessYes
TypeARTICLE
VenueThe Journal of Fandom Studies (JOURNAL)
Journal identifiersISSN: 2046-6692 • E-ISSN: 2046-6706
PublisherIntellect (PUBLISHER • GB)
DOI10.1386/jfs_00024_1
OpenAlexW3195475513
LanguageEN
Citations received2
References cited13

Fanfiction has a long and varied history in the Star Wars franchise since it began in 1977 with the debut of the first film, Star Wars Episode IV: A New Hope. The decade of the 1970s created new possibilities for science fiction multiverses and metanarratives; science fiction became an adaptive film genre that could be reimagined with seemingly infinite narrational results. The myriad of genre films that were released in the mid-to-late 1970s revealed dynamic syntheses with horror (e.g. Alien, Invasion of the Body Snatchers and Close Encounters of the Third Kind ), franchises that previously had existed solely on television ( Star Trek: The Motion Picture ) and musical theatre ( The Rocky Horror Picture Show ). Cinematic audiences became increasingly accustomed to science fiction tropes and themes in film; audience participation in the theatre (e.g. The Rocky Horror Picture Show ) expanded to print zines (often with fanfiction) for multiple franchises as well as fan conventions. Fanfiction’s beginnings as an analogue culture dramatically changed with the advent of the internet and the evolution of fandoms as digital cultures. Web-based platforms such as FanFiction.net and Archive of Our Own (AO3) host sundry fan communities’ creative outputs including podcasts, art and, most frequently, fanfiction stories. The release of Star Wars: The Force Awakens in 2015 immediately captured the fandom’s imagination; the animosity and tension between the new villain Kylo Ren (Ben Solo) and protagonist Rey of Jakku particularly fascinated the young adult fans who were lately converted to the Star Wars fandom due to this pairing (known as Reylo within the fandom and within cinematic circles). The newest generations of fans were acclimated to audience participation and paratextual interactions due to their positions as digital natives. The Reylo fan phenomenon particularly erupted into fanfictions as critical data artefacts, even predicting Reylo as a romantic pairing years before the second and third films in the franchise trilogy Star Wars: The Last Jedi and Star Wars: The Rise of Skywalker . The Reylo pairing is just one example of how online Star Wars fanfiction communities expand audience participation to autonomous collective identity formation. This article examines feminist fanfictions in the Star Wars fandom as gendered critical data artefacts, as collaborative communities of practice, and as counterpublic discourses that apply feminist critiques to conventional gender roles within the most recent film trilogy and the fandom itself

Alien · Art · Art history · Fandom · Literature · Media studies · Political science · Politics · Sociology · Star trek · Visual arts · Digital Games and Media · Gender, Feminism, and Media · Law

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