Abstract
| Original language | English |
|---|---|
| Pages (from-to) | 183-197 |
| Number of pages | 15 |
| Journal | New Media and Society |
| Volume | 17 |
| Issue number | 2 |
| Early online date | 24 Nov 2014 |
| DOIs | |
| Publication status | Published - 1 Feb 2015 |
| Externally published | Yes |
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Veronica Mars, fandom, and the 'Affective Economics' of crowdfunding poachers. / Hills, Matthew.
In: New Media and Society, Vol. 17, No. 2, 01.02.2015, p. 183-197.Research output: Contribution to journal › Article
TY - JOUR
T1 - Veronica Mars, fandom, and the 'Affective Economics' of crowdfunding poachers
AU - Hills, Matthew
PY - 2015/2/1
Y1 - 2015/2/1
N2 - This article considers ‘affective economics’ in relation to the phenomenon of crowdfunding. It focuses on ‘fan-ancing’, where media fans are targeted by crowdfunding campaigns. Returning to Henry Jenkins’ work enables consideration of how Veronica Mars’ creator Rob Thomas has enacted a kind of affective economics by positioning himself as a fan-like showrunner, resistant to commercial/official industry practices, thereby according with Kevin Roberts’ notion of ‘lovemarks’, as well as discursively prefiguring Thomas’ use of Kickstarter for the Veronica Mars movie campaign in 2013. Taking this specific Kickstarter as a case study, I also theorise Veronica Mars’ fan-consumers as ‘crowdfunding poachers’ who made the Kickstarter meaningful in relation to their own fan identities at the same time as willingly auto-commodifying their fandom. Focussing on how Veronica Mars Kickstarter–related producer and fan activities illustrate multiple circuits of exchange value and use value, I argue that an intensified ‘dialectic of value’ is in operation here.
AB - This article considers ‘affective economics’ in relation to the phenomenon of crowdfunding. It focuses on ‘fan-ancing’, where media fans are targeted by crowdfunding campaigns. Returning to Henry Jenkins’ work enables consideration of how Veronica Mars’ creator Rob Thomas has enacted a kind of affective economics by positioning himself as a fan-like showrunner, resistant to commercial/official industry practices, thereby according with Kevin Roberts’ notion of ‘lovemarks’, as well as discursively prefiguring Thomas’ use of Kickstarter for the Veronica Mars movie campaign in 2013. Taking this specific Kickstarter as a case study, I also theorise Veronica Mars’ fan-consumers as ‘crowdfunding poachers’ who made the Kickstarter meaningful in relation to their own fan identities at the same time as willingly auto-commodifying their fandom. Focussing on how Veronica Mars Kickstarter–related producer and fan activities illustrate multiple circuits of exchange value and use value, I argue that an intensified ‘dialectic of value’ is in operation here.
KW - Fandom
KW - Crowdfunding
KW - Kickstarter
KW - Veronica Mars
KW - Affective economics
KW - dialectic of value
U2 - 10.1177/1461444814558909
DO - 10.1177/1461444814558909
M3 - Article
VL - 17
SP - 183
EP - 197
JO - New Media and Society
JF - New Media and Society
SN - 1461-4448
IS - 2
ER -