aurumcalendula: gold, blue, orange, and purple shapes on a black background (Default)
[personal profile] aurumcalendula
...for the letter thing since I'm waiting for my LJ entries to import before I delete LJ.

(I swear about 20% of this is Coppa or Jenkins' stuff. I'm still going through some of it. Out of curiosity - does anyone know if anybody's written a book solely on vidding?)

Er, And is there a way to have a numbered list on here that's double spaced?

    1.  Balzer, D. (2016). A Bright Show With A Dark Heart. Canadian Art. Retrieved from
    2. Bradshaw, J. (2009) Borrowed and Reborn. Afterimages, the Journal of Media Arts and Cultural Criticism 37.1.Retrieved from
    3. Brown, L. (2007). " Learning how to See what Isn't There Yet": An Investigation of the Fan Music Video (Doctoral dissertation, University of Florida).Retrieved from
    4. Busse, K., & Lothian, A. (2011) Scholarly Critiques and Critiques of Scholarship: The Uses of Remix Video . Camera Obscura, 26(2 77), p. 139-146. doi:10.1215/02705346-1301575
    5. Coppa, F. (2006). A brief history of media fandom. Fan fiction and fan communities in the age of the Internet: New essays. Jefferson, NC: McFarland, 41-59.
    6. Coppa, F. (2007). Celebrating Kandy Fong: Founder of Fannish Music Video. In Media Res. Retrieved from
    7. Coppa, F. (2008a). “Pressure” - a metavid by the California Crew. In Media Res. Retrieved from
    8. Coppa, F. (2008b).Women, “Star Trek,” and the early development of fannish vidding. Transformative Works and Culture, 1.Retrieved from
    9. Coppa, F. (2009)The Media is the Message. in media res.Retrieved from
    10. Coppa, F. (2011). An Editing Room of One's Own: Vidding as Women's Work. Camera Obscura, 26(2 77), 123-130. doi: 10.1215/02705346-1301557
    11. Coppa, F. (2014). Interview with Kandy Fong. Transformative Works and Culture, 16.Retrieved from
    12. Coppa, F., & Tushnet, R. (2011). How to suppress women's remix. Camera Obscura, 26(2 77), 131-138. doi: 10.1215/02705346-1301566
    13. Eastwood, J. (2014) Recording Industry Earns More from Fan Videos Than from Official Music Videos. Toronto Star. Retrieved from
    14. Francher, P. (2010) Vidding: Grassroots Media Criticism. Gnovies, A Journal of Communication, Culture & Technology.Retrieved from
    15. Gray, J. (2010). Show Sold Separately: Promos, Spoilers, and Other Media Paratexts. New York: New York University Press.
    16. Jenkins, H. (1992) “Layers of Meaning”: Fan Music Videos and the Poetics of Poaching. In. Textual Poachers: Television Fans and Participatory Culture. (p. 228-254). New York: Routledge.
    17. Jenkins, H. (2002). Interactive audiences? The collective intelligence of media fans. The new media book, 157-76.
    18. Jenkins, H. (2006a). Convergence Culture: Where Old and New Media Collide. New York: New York University Press.
    19. Jenkins, H. (2006b) How To Watch A Fan-Vid. Retrieved from
    20. Jenkins, H. (2008a). Fan Vidding: A Labor Of Love (Part One).Retrieved from
    21. Jenkins, H. (2008b). Fan Vidding: A Labor Of Love (Part Two).Retrieved from
    22. Jenkins, H. (2010a) DIY Media 2010: Fanvids  (Part Four).Retrieved from
    23. Jenkins, H. (2010b) DIY Media 2010: Fanvids  (Part One).Retrieved from
    24. Jenkins, H. (2010c) DIY Media 2010: Fanvids  (Part Three).Retrieved from
    25. Jenkins, H. (2010d) DIY Media 2010: Fanvids  (Part Two).Retrieved from
    26. Jenkins, H. (2012). Canonical fanvids and the aca-fan. Critical Commons. Retrieved from
    27. Jenkins, H., Purushotma, R., Weigel, M., Clinton, K., & Robison, A. J. (2009). Confronting the challenges of participatory culture: Media education for the 21st century. Mit Press.
    28. kiki miserychic (2017).On Lyrical Interpretation. Videlicet.
    29. Kreisinger, E. (2012). Queer video remix and LGBTQ online communities. Transformative Works and Culture, 9.Retrieved from
    30. Kuhn, V. The rhetoric of remix. Transformative Works and Culture, 9.Retrieved from
    31. Kustritz, A. (2014). Seriality and Transmediality in the Fan Multiverse: Flexible and Multiple Narrative Structures in Fan Fiction, Art, and Vids.
    32. Leduc, M. (2012).The two-source illusion: How vidding practices changed Jonathan McIntosh’s political remix videos. Transformative Works and Culture, 9.Retrieved from
    33. Lim, Gwyn: Fan Vidders. (2017).Retrieved from
    34. Lothian, A. (2009). Living in a den of thieves: fan video and digital challenges to ownership. Cinema Journal, 48(4), 130-136.
    35. Lothian, A. (2015). A different kind of love song: vidding fandom's Undercommons. Cinema Journal, 54(3), 138-145.
    36. MacIntosh, J. (2012) A History of subversive remix video before YouTube: Thirty political video mashups made between World War II and 2005. Remix video and the crisis of the humanities. Transformative Works and Culture, 9. Retrieved from
    37. Middleton, K. (2012) Remix video and the crisis of the humanities. Transformative Works and Culture, 9.Retrieved from
    38. morgan dawn (2017). A History of Vidding. Videlicet.
    39. Organization for Transformative Works (2008a). Test Suite of Fair Use Vids. Retrieved from
    40. Organization for Transformative Works (2008b). Vidding.Retrieved from
    41. Russo, J.L. (2009). User-penetrated content: Fan video in the age of convergence. Cinema journal, 48(4), 125-130.
    42. Schiller, R. (2011). Florence And The Machine: “Shake It Out’ is written about a hangover’- video. NME. Retrieved from
    43. Seperis. (2017, March 13). God I love this and I had not heard that song before.  THANK YOU @aurumcalendula! [tumblr post]. Retrieved from
    44. Stanfill, M. (2013). Fandom, public, commons. Transformative Works and Culture, 14.Retrieved from
    45. Stanfill, M & Condis, M. (2014). Fandom and/as labor. Transformative Works and Culture, 15.Retrieved from
    46. Stein, L.E. (2014). Spreadable media: Creating value and meaning in a networked culture. Transformative Works and Culture, 17.Retrieved from
    47. Stevens, E. C. (2015). Exploring the Vid: A Critical Analysis of the Form and its Works. Warwick University. Retrieved from
    48. suelac. (2015). A Different Kind of Love Song. Metafilter. Retrieved from
    49. Trombley, S. (2007). Visions and revisions: fanvids and fair use. Cardozo Arts & Ent. LJ, 25, 647. Retrieved from
    50. Turk, T. (2014). OTW’s Tisha Turk On the Past, Present and Future of Fair Use, Digital Storytelling, Vidding and Remix Culture. DisCo. Retrieved from
    51. Turk, T. (2015) Transformation in a New Key: Music in Vids and Vidding. Music, Sound, and the Moving Image, 9(2).Retrieved from
    52. Turk, T., & Johnson J. (2012).Towards an ecology of vidding. Transformative Works and Culture, 9.Retrieved from
    53. Tushnet, R. (2010) I Put You There: User-Generated Content and Anticircumvention. Vanderbilt Journal of Entertainment and Technology Law, 12.Retrieved from
    54. Ulaby, N. (2009) Vidders Talk Back To Their Pop-Culture Muses.  All Things Considered. NPR.Retrieved from
    55. US Copyright Office (2008) In the matter of Exemption to Prohibition on Circumvention of Copyright Protection Systems for Access Control Technologies Under 17 U.S.C. 1201, EFF Docket No 2008-08.
    56. US Copyright Office. (2012) Section 1201 Rulemaking: Fifth Triennial Proceeding to Determine Exemptions to the Prohibition on Circumvention.
    57. Veller, A. (2012). Spreading the cult body on YouTube: A Case study of “Telephone” derivative videos. Transformative Works and Culture, 9.Retrieved from
    58. Walker, J. (2008) Remixing Television: Francesca Coppa on the vidding underground. Reason Magazine, August/September 2008.
    59. Wesch, M. (2009) Playful Participatory Culture.
    60. Xfm. (2011). Florence: New Single Is Like A Hangover Cure.  Retrieved from
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