Introduction - Glover David and Scott McCracken
[alert-success] New Media Environments
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[alert-primary] Short Summary [/alert-primary]
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When new media tools meet old ones, it leads to a complicated process of redefining both form and content. This includes making changes for theatre, film, TV, comic books, and video games. This process includes both licenced and illegal sequels to well-known books like Frankenstein by Mary Shelley or Rebecca by Daphne du Maurier. Late remediation is very different from early remediation in the 1900s because digital technologies in the 21st century have given us a wide range of options for reusing stories.
But bestsellers and blockbusters are still important because authors and bookstores are still obsessed with how many copies of each book are sold. There is still not enough work that tries to look at the social lives of famous texts as they move across continents, with publishing conglomerates keeping close track of their sales numbers. This lack of information adds to the feeling that the best-seller is mysterious because it is hard to find, hard to predict, and hard to measure.
Some people think that even the best-selling book has reached its peak. This is because electronic inventories make it easier to keep track of sales, which highlights the differences between the two main trends in popular fiction: the fact that a mass audience decides what is popular and the fact that that audience splits into different groups based on the form or genre of the book. This creates a divide between the books that are on the weekly bestseller lists and the books that are bought by the large but scattered readership. This creates what business analyst Chris Anderson has called "the long tail" of how cultural goods are sold.
In conclusion, the digital inventory has huge implications for the study of popular fiction, and questions of consumption and circulation have become more common in the past few years. People who talk too confidently about a global culture, which is often linked to the international hit, can learn a lot from the digital inventory. But it's important to remember that the market for popular fiction is always changing, with different weekly charts in different countries and different ways of putting together lists of the best-selling fiction. India and Japan have made it hard to tell the difference between facts, public opinion, and fiction. This has made people wonder if famous stories can change. The tension between what's familiar and what's new creates the conditions for cultural change, and the people who listen to popular stories can become the source of a wish for a better world. Fiction is interesting because it gives readers the chance to write their own futures. However, this view rests on a democratic and transformative view of society.
Pulps, graphic novels, computer games, and fan stories are all examples of subcultures that can help readers move towards a new sense of who they are as a group. In the 1950s and 1960s, lesbian pulps gave a place for a public lesbian identity to grow, while graphic novels grew out of the intersection of comic strips in the mainstream press and drawings and pop art from the counterculture. These subcultures show how powerful it can be to show what is hidden or unsaid. The results have been both rebellious and popular.
In these highly charged situations, questions of cultural change can't be separated from a language of cultural and artistic value. Comics and interactive games start out as products, but they bring together a group of fans who believe in the art and political importance of these texts and practises. When popular literature is remade, it not only gives us new stories, but it also sets up new ways for people to talk and argue in public.
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