| samenvatting: |
Writing about fanzines nowadays, at this very moment, makes us feel as if we were
inside an episode of Twin Peaks. A universe involves and captures us, even after we
know its story and its ending. In this same universe, we found a series of figures,
characters, eccentric stories that inhabit the cities and imaginary spaces, just like
in fanzines. As in the series, in fanzines we have the possibility to unveil mysteries.
And why did we establish this connection? Firstly, we consider that both fanzines
and the television series Twin Peaks are a landmark of postmodern texts and productions
(Albanese, 2012); secondly, in our understanding, they are both characterized by complex
narratives that are not always appreciated or taken into account (Mittell, 2006) due
to their complexity or exposition/presentation mode. They are both capable of producing
countless hidden stories from various points of view, even those that are often overlooked.
Focusing on the first reason - the fact that they are a landmark of post-modern texts
- we assess that fanzines are an interpretative lens on the world, but also on individuals
and their interactions, similarly to what happened with the series in the 1990s. With
its premiere, the series soon became a popular culture phenomenon, becoming unparalleled
for its narrative and storytelling construction. In fact, the series was itself an
interpretive lens on society at that time, making it known that every individual has
a hidden face. In Laura Palmer's case, it was drugs and sexual abuse. In fact, both
the fanzines and the series are not only an interpretive lens on the real world, but
also on imaginary universes. From a sociological and cultural studies point of view,
both show us that there is much more beyond what the eye sees. There are more interactions,
causes, consequences, perceptions,and meanings. By making other realities known, fanzines
have become spaces of freedom, thought and creation, as well as an alternative to
conventional media. The focus of this Special Issue is gender and sexual dissidence,
and in this sense feminist fanzines (Guerra & Bittencourt, 2018) have become DIY movement
communication networks (Kempson, 2015), because they have made possible the emergence
of spaces of subjectivities, allowing us to see what lies behind the fanzine. From
an analytical point of view, several scholars see feminist and queer Peaks and fanzines.
Fuses for a rebellion ZINES, n°2, 2021 6 fanzines as texts of resistance (Ferris,
2001; Downes, 2010) while others see them as logics of opposition (Schilt, 2003).
|
Nederlands
English
