Against the background of
historically non-strictly-controlled forms of authorship and property, fan
creative production seems open for exploitation, particularly in the context of
a potential generational culture shift away from hard-line positions on these
subjects—nobody owns it, but some may be starting to want to. With things like Fifty Shades of Grey or Kindle Worlds,
the indigenous creativity and property parallel is particularly useful, as
these projects follow the line of trying to (exploitatively) modernize
alternative modes of creative production because the people doing them are
imagined to not know their worth.
The problem with such
disarticulation from fannish community is that fans are not foolish people
freely giving away things they could (and should) be selling any more than are
indigenous populations. Instead, fan creative production is productively
understood as what [Carol] Rose calls “limited common property,” which is “property
on the outside, commons on the inside.”
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