Cover
Table of Contents
Acknowledgements
Introduction
Brief Introduction to Media Fandom and a History of Vids
Structure and Aims
Fannish Genres and the Vid
Conclusion
1 Critical Contexts: Television Studies, Fandom Studies, and the Vid
Scholarly Views of Vids and Vidding
Gender, ‘Quality’ Television, and Digital Technology
Televisual Flow, Segmentation, and Technologies of Control
2 Approach: How to Study a Vid
Corpus Selection
Canon Formation in a Marginal Practice
How to Study a Vid
Conclusion
3 Proximate Forms and Sites of Encounter: Music Video and Experimental Tradition
Music Video
Found Footage, Collage, and the Experimental Tradition
Vids in Gallery Spaces: Cut Up and MashUp
Distributing, Exhibiting, and Curating Vids
Titanium and Technology/Transformation: Wonder Woman – Same Source, Different Conclusion
Conclusion
4 Textures of Fascination: Archives, Vids, and Vernacular Historiography
Collection and Archive
Creating a Path Through Star Trek
Looking Archival
Vids from the Archive
The Archival Aesthetic of Vids
Conclusion
5 Critical Spectatorship and Spectacle: Multifandom Vids
Multifandom Vids
Genre Pleasures
Erotic and Bodily Spectacle
Pleasures of Transmedia Consumption
Fascinating People
Conclusion
6 Adapting Starbuck: Dualbunny’s Battlestar Galactica Trilogy
Overview of Battlestar Galactica
God Is A DJ (2006)
Popular Music and Television
Cuz I Can (2007)
I’m Not Dead (2009)
Conclusion
Vids as Vids and the Afterlife of Television
Thinking About Music
Future Work
Final Thoughts
References
Fanvids Cited
Other Audio-Visual Works Cited
Songs Cited
Index