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This is the first news concerning NBC's Hannibal—in keeping with the logic of seriality, part 2 will follow in the next couple of days. Together with Mike Phillips (once again), I am working on a chapter titled "Honoring the Taste and Aesthetic of What We Eat (and Kill): Porning Food and Fetishizing Murder in Hannibal," which will be included in a collection tentatively titled What's Eating You? Food and Horror on Screen edited by Cindy Miller and Bow Van Riper, slated for publication with Bloomsbury Academic. For the abstract, click the 'read more' button.

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24 Jun

Conference Presentations Fall 2015

Posted by Michael Fuchs
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Just a short update for today (more to come soon): I will be presenting papers at the 10th Annual Conference of the German Association for Comics Studies in Frankfurt and the 42nd Annual Austrian Association for American Studies Conference. The paper in Frankfurt will discuss the (re)presentation of history in Uncle Sam and will elaborate on some ideas introduced in my article on Uncle Sam published last year in Arbeiten aus Anglistik & Amerikanistik, while the paper in Graz will explore the sounds of eating humans in Grizzly Man and Frozen. Hit the 'read more' button to, well, read more (duh!).

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24 May

Call for Contributions: Fantastic Cities

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Together with Stefan Brandt (University of Graz) and Steve Rabitsch (University of Klagenfurt), I am editing a book on American urban spaces in science fiction & fantasy. Click 'read more' for the full call for contributions.

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25 Apr

Supernatural & Television Authorship

Posted by Michael Fuchs
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This the final draft of a chapter titled "Supernatural's Showrunners, Creative Teams, and Fans: Television Authorship in the Age of Participatory Culture," which will be published in a volume on 'auteur TV' edited by Ralph Poole and Saskia Fürst.
Abstract:
In his seminal article "Narrative Complexity in Contemporary American Television," Jason Mittell notes that television has earned the "reputation as a producer’s medium, where writers and creators retain control of their work more than in film's director-centered model" (31). However, it seems as if no other live-action television show has highlighted the importance of its creative team in the way Supernatural has. While, for example, naming characters after writers (e.g. Bobby Singer) may serve as a secret handshake with fans, the show, in fact, has taken its play with authorship to such a level that in seasons four and five, Eric Kripke's (the main creative force behind the show—at least during its first five seasons) fictional double Chuck Shurley (a.k.a. Carver Edlund—not surprisingly a combination of the last names of two of the show's writers) has repeated appearances on the show, culminating in the season five finale, in which Chuck serves as the episode's voiceover narrator.
While Chuck's role as the show's narrator, who metaleptically occupies intra and extra-diegetic positions simultaneously and whose narration, in fact, precedes diegetic reality, provides neat meditations not only on authorship in television series but also on postmodern theory, the season seven episode "Season Seven, Time for a Wedding" adds an important twist to the question of authorship by featuring a plot diegetically imagined by Supernatural fanfic writer Becky (a recurring character since season five) that sees her marrying her hero Sam, one of the show's main characters. Thus, the focus turns from how the show is a creative construct of a select few to how Supernatural is actually (re)created by its fans. This essay will analyze how Supernatural negotiates these two seemingly contradictory poles (the creative team's control vs. fans' 'control') in its diegesis and paratextual materials.

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Together with Jeff Thoss (FU Berlin), I am editing a book on video games and intermediality. Click 'read more' for the full call for contributions.

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