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The successful Veronica Mars Kickstarter campaign opens up the prospect of fans helping to provide funding in support of their favorite stars, creators or series. Yet, for all this focus on engaged audiences, does the industry value some form of viewers and viewership more than others? Which groups are being underrepresented here and why? Are the new economic arrangements between fans and producers fair to all involved? Throughout, you draw examples across a range of different media forms, including oral stories, literary texts, films, television shows, and drama, among others.

To what degree is the art of storytelling and its classic functions indifferent to medium? At what point does the affordances of media enter into your analysis? There is a set of vitally important ideas that facilitate our advancement and survival. It is the responsibility of the artists working in various formats to find unique ways to convey the wisdom of life continuation. In fact, it is the uncritical acceptance and superficial understanding of this well-know maxim that leads to embracing the inevitability of our gadgets becoming more important than our stories.

I was a graduate student in the s, and of course this was the motto of the day. This idea meant to explain to the confused contemporaries of emerging modernism that all these crazy paintings and poems had profound meaning and that their form functioned as content, and already had embedded and encoded ideas within visual and narrative representation. In fact, in Fictional Worlds I followed the Formalists, the Structuralists who effectively complicated this formula and Turner, in detailing how each genre, and many story formulas, already have — or have encoded — a powerful content found innately within their construct.

The writer can unlock this symbolic content to achieve great impact on the audience. The logic of the form will make the Journey balanced and powerful. The influential and wise screenwriting guru Robert McKee, whom I highly respect, noted that he teaches form but not formula.

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I explain these profound connections and propose creative writing methods based on formula and form in chapters of Fictional Worlds. This, incidentally, is what unites drama and games.

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  7. Extensive discussions of these issues in my classes led to the conclusion that dramatic form must boost the trajectories of choice in any story, while games will develop in the direction of multiple choices and roads more forking paths. This is what the new generation wants, and this is what makes sense to me. A fandom is often described as a community which self-organizes around their shared engagement with a story or storyworld. There are many ways of looking at this phenomenon.

    I would highlight three angles: fandom as a spontaneous ritual-symbolic activity, as discursive communities, and as a social movement. These modes overlap. As a ritual-symbolic activity, fandom signals that many people seek transformation, adjustment and belonging to a new group.

    Since ritual activity per se is not practiced by modern societies and the media is only partially effective in meeting these cultural needs, the numerous un-initiated and un-adjusted take matters into their own hands and create networks in which they try to achieve initiation, transformation and social adjustment. In fan communities, the divine Donor of New Knowledge is the Author who creates the environment of the transformative Journey in which adjustment is possible.

    The Initiating members of traditional rituals took the Initiands into imaginary mythic-symbolic lands. Many modern stories transcend textual boundaries and expand into fandom activities that come closer to such promise. Despite such possible power games, fandom indicates that the need for ritual structures and rites of passage of all kinds is great, and the void is not filled. Discursive community is one which is typically organized around a text.

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    This also signals that they have more trust and interest in fictional worlds than in their familiar reality the current state of society, law, ethics, politics, etc. On the dark side, there are pitfalls. I recall a student in my Writing for the Media class, a graduate course in which students were expected to produce an episode for television in any genre, with an option to write it as a pilot that they could submit to the networks.

    Most students elected to do a pilot, which meant that the quality must be better and the story more persuasive in order to entice a network to consider such a new series.

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    After two months of studying the nuts and bolts of storytelling, the students submitted their screenplays. One student chose a fan convention in a hotel as the setting of the assignment. Her screenplay project featured a fashionable bunch of Medieval-Gothic-Aliens, or something like this, drawn from a variety of comics, movies, and TV shows. Her play was about the protagonist her alter ego changing costumes — I can imagine! There was no action and no story, just suitcases with costumes.

    I explained that the play did not exist without a story, and she decided to choose one of my suggestions: that eager, costume-changing young parents do not notice that their toddler walks out of the hotel room and vanishes.

    This plot provided an instant chill, imagining how she wanders alone surrounded by the Medieval-Gothic-Aliens, each one scarier than the next. The rest was irrelevant. Of course, some attitudes within fandom are not about the self or others, transformation, or even belonging. They served as decorations. This is an example of fandom as a rather superficial activity. Across cultures and eras discursive communities have always been present. They were organized at first around a sacred story, and later around a book, film, or artist.

    Some discursive communities moved beyond their chosen text, developing higher goals, new communal ethics and worldviews. They also fueled social movements, becoming effective symbolic communities and advancing their societies. In the book, you argue that horror does not actually constitute a genre in the sense you are using the term here.

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    There is no question that horror abounds in screen culture and the media. But is horror a genre? If one accepts the functionalist approach of Fictional Worlds toward genre, and its anthropological genre theory, the answer is no. There is no cultural need behind, nor community-building or life-asserting function featured in, horror. You have a new adventure story. Alternatively, take any good adventure or Journey story, stop it half-way — and it turns into horror. It is the storyline of the ritual of initiation broken in half.

    Thus death occurs and becomes a permanent condition; while death-rebirth will never take place, as it should in any mythic-ritual adventure story. Consider the empowered vampires, who now demand every role in every story, from the lovers to the teachers of life. The focus is on the winners, whoever they are — zombies, serial killers, or the walking dead. And we accept their dominance, because they so convincingly win in the story. These forms — adventure vs. The writer endows his hero ine with courage, or takes it away.

    Similar elements are in place, but they are compositionally reconfigured and serve different social purposes. Caligari anytime. Second, there is the notorious Kracauer question. In his seminal book From Caligari to Hitler , Siegfried Kracauer, German film scholar and refugee, asks the core question: whether the expressionist cinema, and Dr. For several years I taught a full-year Film History class, during the course of which the students in the filmmaking program and I had enough time to investigate the relationship between cinema and politics within world cultures.

    Many students chose to investigate it. Time and time again, individual students and I came to the same conclusion. The cinema of fear may serve a warning, but it also teaches surrender. And so does horror. So horror may be an ineffective response to anxiety and crisis on the part of the audience. With one foot in this horror-world, there is no will left to fight when facing a real problem. What happens with a self-organizing system when it creates an inquiry-model of the possible future?

    It must internalize it to act on it. Stop living. To sum up: there is no cultural need behind, nor community-building or life-asserting function featured in, horror.

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    Resistance is futile.