How to Suppress Women's Remix

Coppa, Francesca; Tushnet, Rebecca

doi:10.1215/02705346-1301566

Cited by 14 publications

(6 citation statements)

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“…This gender breakdown is not unusual for the community of fan creators, which is traditionally predominantly female [7,19]; though the Internet has shifted demographics of fan communities, this is largely with respect to age (younger) and nationality (more global) while maintaining the gender gap [21]. All participants lived in the U.S. and participated in primarily U.S.-based online communities.…”

Section: Methodsmentioning

confidence: 99%

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Remixers' understandings of fair use online

Fiesler

Bruckman

2014

Proceedings of the 17th ACM Conference on Computer Supported Cooperative Work &Amp; Social Computing

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How do online content creators make decisions about copyright law? In the course of day-to-day online activities, Internet users are forced to make subtle judgments about one of the most confusing and nuanced areas of law, copyright and fair use. In this study, we conducted semistructured interviews with eleven content creators who participate in remix and fan creation activities online, to try to probe their legal understandings and attitudes. We found that social norms that emerge among these content creators do not always track to what the law actually says, but are often guided more by ethical concerns. Our participants showed surprisingly similar patterns of understandings and confusions, impacting technology use and interaction online.

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Section: Methodsmentioning

confidence: 99%

“…They have specialized practices that rely on deep knowledge of the subject matter and the community, an environment that makes it easy for norms to proliferate. Fans have also been struggling with legal issues for decades, much longer than most remix communities, but chilling effects have become more common in recent years [7].…”

Section: Related Workmentioning

confidence: 99%

Remixers' understandings of fair use online

Fiesler

Bruckman

2014

Proceedings of the 17th ACM Conference on Computer Supported Cooperative Work &Amp; Social Computing

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“…Of our 15 interview participants, 13 were women and 2 were men, ranging in age from 19 to 39. This gender breakdown is typical for fan creators, a community that is traditionally predominantly female [28,60] As Jenkins described the phenomenon in early work, "Media fan writing is an almost exclusively feminine response to mass media texts" [60]. This gender balance is important, however, because gender may well play a role in attitudes towards intellectual property [51].…”

Section: Methodsmentioning

confidence: 99%

Creativity, Copyright, and Close-Knit Communities

Fiesler

Bruckman

2019

Proc. ACM Hum.-Comput. Interact.

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Social norms as a regulatory mechanism often carry more weight than formal law--particularly in contexts when legal rules are gray. In online creative communities that focus on remix, community members must navigate copyright complexities regarding how they are permitted to re-use existing content. This paper focuses on one such community--transformative fandom--where strong social norms regulate behavior beyond copyright law. We conducted interviews with fan creators about their "unwritten rules" surrounding copying and remix and identified highly consistent social norms that have been remarkably effective in policing this community. In examining how these norms have formed over time, and how they are enforced, we conclude that the effectiveness of norms in encouraging cooperative behavior is due in part to a strong sense of social identity within the community. Furthermore, our findings suggest the benefits of creating formal rules within a community that support existing norms, rather than imposing rules from external sources.

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“…This paper seeks to continue this lineage, thinking through the shifting positions and embedded meanings of archival materials. Riffing on the notion of mixed methods—where qualitative and quantitative research methods are used together (Elwood 2010), or where techniques of data collection from different schools of thought are drawn together (Meth and McClymont 2009)—our research highlights the utility of using the remix as not only a metaphor but an important art form that is a “reinterpretation of and confrontation with mainstream media culture” (Coppa and Tushnet 2011, 131). The remix is a particularly important tool in the production of new archives that connect Indigenous peoples, government documents, and territorial knowledge (for an Australian case, see Christen 2005).…”

Section: Introductionmentioning

confidence: 99%

Remixed methodologies in community‐based film research

McCreary

Murnaghan²

2020

Canadian Geographies / Géographies canadiennes

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• Remixed methodologies in film projects, informed by research in Indigenous and feminist geographies, can resituate knowledge production in the context of relationships with Indigenous communities. • Indigenous community-university collaborations should centre community goals, prioritizing interpretation and dissemination of results within contemporary Indigenous community contexts. • Archival ethnographic materials, including film, in settler institutions can be reclaimed and reconfigured through processes of Indigenous cultural revitalization. This paper explores how remixed methodologies can inform research in Indigenous communities using short films, combining archival and contemporary footage. Drawing on the lineages of Indigenous and feminist community-based research methodologies, we develop a three-part conception of remixed methodologies. We emphasize, first, the need to resituate the process of knowledge production within relationships between researchers and Indigenous community members. Second, we stress the importance of reconsidering the intended outputs of community-university collaboration to centre community goals. Third, we underscore how remixed methodologies can disrupt the narratives surrounding settler colonial archival resources, resituating historical footage with relation to contemporary Indigenous contexts. We apply this framework to our collaborative work with the Witsuwit'en Cultural and Language Authority and the Office of Aboriginal Education at British Columbia School District #54, combining archival and contemporary films to create Indigenous education resources. Specifically, we remixed footage of Witsuwit'en traditional activities from two 1927 National Museum of Canada films with contemporary interviews and footage of Witsuwit'en governance and land use activities. We highlight how making archival films relevant to contemporary Indigenous community goals required disrupting the conventions of scholarly authority, designing collaborative outputs to suit community aims, and resituating knowledge production within the context of Witsuwit'en resilience in the face of colonialism.

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How to Suppress Women's Remix

Cited by 14 publications

References 0 publications

Remixers' understandings of fair use online

Remixers' understandings of fair use online

Creativity, Copyright, and Close-Knit Communities

Remixed methodologies in community‐based film research

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