Memes and popular culture have become central to our understanding of contemporary politics. Recent fan scholarship has shown how popular culture encourages audiences into discussion, participation, creativity, intervention, and evaluation in politics. In this article, we build on existing scholarship analysing political meme creation and distribution, which to date has primarily focused primarily on American politics. Using a case study of the Facebook group The Simpsons Against the Liberals (the conservative ruling party in Australia), we examine how the anti-fannish behaviors of appropriating and remixing content, affective investment, and community collective identity formation is activated through othering or a “politics of against” (Sandvoss, 2019). The Simpsons Against the Liberals page features memes which insert current Australian political issues, scandals, and controversies into the fictional world of The Simpsons. As we argue, the community is bound by its anti-fandom of the Australian Liberal party, rather than a specific unifying feature. While anti-fandom is driven from hate and dislike, this case study demonstrates that a form of anti-fandom exists in which pleasure is derived from the use of humor to perform acts of citizenship and imagined community. Specifically, this article will examine the flurry of creative production during the 2019/20 Australian bushfire crisis—centered around the controversial behavior of Prime Minister Scott Morrison—as a form of contemporary civic action and activism rooted in anti-fan practices.
Upon its 2014 release, Australian film The Babadook (Kent, 2014), gained critical acclaim worldwide. While the film gathered high praise, its domestic release was impeded by a lack of marketing support and ongoing debate about the quality of Australian horror films. By 2015, The Babadook was available to stream on Netflix in the United States, and one would imagine, to gradually fade from view. Yet a seemingly innocent categorization error on Netflix in 2016, which listed The Babadook as an LGBT interest film, resulted in a revival of the film's popularity as a cult film and the emergence of the Babadook as 'a frightening, fabulous new gay icon'. This article will trace the production history of The Babadook from its theatrical release through to its Netflix premiere and the evolution of the Babadook as a gay icon. Using Jenkins et al.'s work on spreadable media, the influence and spread of Internet content will be highlighted against the backdrop of contemporary political movements. In turn I will propose a number of categories essential to gay iconography, and explore how Internet cultures continually refine and expand these categories for widespread dissemination. The case study of the Babadook's representation at American Pride Month in June 2017 will be used to illustrate the ability of Internet cultures to appropriate popular culture for political impact in marginalized communities.
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