Suzanne Scott – författare

In recent years, geeks have become chic, and the fashion and beauty industries have responded to this trend with a plethora of fashion-forward merchandise aimed at the increasingly lucrative fan demographic. This mainstreaming of fan identity is reflected in the glut of pop culture T-shirts lining the aisles of big box retailers as well as the proliferation of fan-focused lifestyle brands and digital retailers over the past decade. While fashion and beauty have long been integrated into the media industry with tie-in lines, franchise products, and other forms of merchandise, there has been limited study of fans’ relationship to these items and industries. Sartorial Fandom shines a spotlight on the fashion and beauty cultures that undergird fandoms, considering the retailers, branded products, and fan-made objects that serve as forms of identity expression. This collection is invested in the subcultural and mainstream expression of style and in the spaces where the two intersect. Fan culture is, in many respects, an optimal space to situate a study of style because fandom itself is often situated between the subcultural and the mainstream. Collectively, the chapters in this anthology explore how various axes of lived identity interact with a growing movement to consider fandom as a lifestyle category, ultimately contending that sartorial practices are central to fan expression but also indicative of the primacy of fandom in contemporary taste cultures.

The role that the social and behavioural sciences play in the daily practice of dentistry is now an essential part of all dentistry training, but it can often seem distant from the reality of daily clinical practice. Dentists often ask: what is sociology? Why do I need to know about psychology? Why do I need sociology and psychology to be an effective dentist? How can they help improve my clinical practice?This new textbook answers these important questions and shows how the social and behavioural sciences can inform the practice of dentistry and allied healthcare services in the twenty-first century. It provides a comprehensive, accessible introduction to sociology and psychology for students and members of the dental team with no prior knowledge of the subject, and although the book assumes little or no previous knowledge of psychology or sociology, it also provides enough depth to meet the needs of those with some background in these fields. Throughout, the links between sociology and psychology and everyday practice are emphasized and explained and theoretical concepts are put into the context of everyday clinical work. The authors have extensive experience in teaching and researching the social and behavioural sciences from undergraduate to post-doctoral levels. This book will be an indispensable teaching aid within dental health education, and other allied health and social care disciplines.

The role that the social and behavioural sciences play in the daily practice of dentistry is now an essential part of all dentistry training, but it can often seem distant from the reality of daily clinical practice. Dentists often ask: what is sociology? Why do I need to know about psychology? Why do I need sociology and psychology to be an effective dentist? How can they help improve my clinical practice?This new textbook answers these important questions and shows how the social and behavioural sciences can inform the practice of dentistry and allied healthcare services in the twenty-first century. It provides a comprehensive, accessible introduction to sociology and psychology for students and members of the dental team with no prior knowledge of the subject, and although the book assumes little or no previous knowledge of psychology or sociology, it also provides enough depth to meet the needs of those with some background in these fields. Throughout, the links between sociology and psychology and everyday practice are emphasized and explained and theoretical concepts are put into the context of everyday clinical work. The authors have extensive experience in teaching and researching the social and behavioural sciences from undergraduate to post-doctoral levels. This book will be an indispensable teaching aid within dental health education, and other allied health and social care disciplines.

This companion brings together an internationally and interdisciplinarily diverse group of emerging and established fan studies scholars to reflect on the state of the field and to chart new directions for research.Engaging an impressive array of media texts and formats, and incorporating a variety of methodologies, this collection is designed to survey, complicate, and expand core concerns. This second edition includes 20 new chapters, 11 revised chapters, and 12 reprinted chapters organized into four main sections: Methods, Ethics and Theoretical Approaches; Fan Practices and Platforms; Identities; and Industry and Labor. Each section features a short introduction that discusses the section’s scope and contributions, highlights the importance of the section’s topic to fan studies, and offers suggestions for further reading.This collection remains an essential volume for students and scholars interested in fandom and fan studies, popular culture, media studies, and film and television studies.

This companion brings together an internationally and interdisciplinarily diverse group of emerging and established fan studies scholars to reflect on the state of the field and to chart new directions for research.Engaging an impressive array of media texts and formats, and incorporating a variety of methodologies, this collection is designed to survey, complicate, and expand core concerns. This second edition includes 20 new chapters, 11 revised chapters, and 12 reprinted chapters organized into four main sections: Methods, Ethics and Theoretical Approaches; Fan Practices and Platforms; Identities; and Industry and Labor. Each section features a short introduction that discusses the section’s scope and contributions, highlights the importance of the section’s topic to fan studies, and offers suggestions for further reading.This collection remains an essential volume for students and scholars interested in fandom and fan studies, popular culture, media studies, and film and television studies.

The field of fan studies has seen exponential growth in recent years and this companion brings together an internationally and interdisciplinarily diverse group of established scholars to reflect on the state of the field and to point to new research directions. Engaging an impressive array of media texts and formats and incorporating a variety of methodologies, this collection is organized into six main sections: methods and ethics, technologies and practices, identities, race and transcultural fandom, industry, and futures. Each section concludes with a conversation among some of the field’s leading scholars and industry insiders to address a wealth of questions relevant to each section topic.

Reveals the systematic marginalization of women within pop culture fan communitiesWhen Ghostbusters returned to the screen in 2016, some male fans of the original film boycotted the all-female adaptation of the cult classic, turning to Twitter to express their disapproval and making it clear that they considered the film's "real" fans to be white, straight men. While extreme, these responses are far from unusual, with similar uproars around the female protagonists of the new Star Wars films to full-fledged geek culture wars and harassment campaigns, as exemplified by the #GamerGate controversy that began in 2014.Over the past decade, fan and geek culture has moved from the margins to the mainstream as fans have become tastemakers and promotional partners, with fan art transformed into official merchandise and fan fiction launching new franchises. But this shift has left some people behind. Suzanne Scott points to the ways in which the "men's rights" movement and antifeminist pushback against "social justice warriors" connect to new mainstream fandom, where female casting in geek-nostalgia reboots is vilified and historically feminized forms of fan engagement—like cosplay and fan fiction—are treated as less worthy than male-dominant expressions of fandom like collection, possession, and cataloguing. While this gender bias harkens back to the origins of fandom itself, Fake Geek Girls contends that the current view of women in fandom as either inauthentic masqueraders or unwelcome interlopers has been tacitly endorsed by Hollywood franchises and the viewer demographics they selectively champion. It offers a view into the inner workings of how digital fan culture converges with old media and its biases in new and novel ways.

Reveals the systematic marginalization of women within pop culture fan communitiesWhen Ghostbusters returned to the screen in 2016, some male fans of the original film boycotted the all-female adaptation of the cult classic, turning to Twitter to express their disapproval and making it clear that they considered the film's "real" fans to be white, straight men. While extreme, these responses are far from unusual, with similar uproars around the female protagonists of the new Star Wars films to full-fledged geek culture wars and harassment campaigns, as exemplified by the #GamerGate controversy that began in 2014.Over the past decade, fan and geek culture has moved from the margins to the mainstream as fans have become tastemakers and promotional partners, with fan art transformed into official merchandise and fan fiction launching new franchises. But this shift has left some people behind. Suzanne Scott points to the ways in which the "men's rights" movement and antifeminist pushback against "social justice warriors" connect to new mainstream fandom, where female casting in geek-nostalgia reboots is vilified and historically feminized forms of fan engagement—like cosplay and fan fiction—are treated as less worthy than male-dominant expressions of fandom like collection, possession, and cataloguing. While this gender bias harkens back to the origins of fandom itself, Fake Geek Girls contends that the current view of women in fandom as either inauthentic masqueraders or unwelcome interlopers has been tacitly endorsed by Hollywood franchises and the viewer demographics they selectively champion. It offers a view into the inner workings of how digital fan culture converges with old media and its biases in new and novel ways.