Wikipedia

Zine

For people with the surname, seeZine (surname).For the songwriter, seeZine (songwriter).
See also:ezine

Azine(/ziːn/ZEEN;short formagazineorfanzine) is a small-circulationself-publishedwork of original or appropriated texts and images, usually reproduced via acopy machine.Zines are the product of either a single person or of a very small group, and are popularly photocopied into physical prints for circulation. Afanzine(blendoffanandmagazine) is a non-professional and non-official publication produced byenthusiastsof a particular culturalphenomenon(such as a literary or musical genre) for the pleasure of others who share their interest. The term was coined in an October 1940science fiction fanzinebyRuss Chauvenetand popularized withinscience fiction fandom,entering theOxford English Dictionaryin 1949.

A box of zines

Popularly defined within a circulation of 1,000 or fewer copies, in practice many zines are produced in editions of fewer than 100. Among the various intentions for creation and publication are developing one's identity, sharing a niche skill or art, or developing a story, as opposed to seeking profit. Zines have served as a significant medium of communication in varioussubcultures,and frequently draw inspiration from a"do-it-yourself" philosophythat disregards the traditional conventions of professional design and publishing houses, proposing an alternative, confident, andself-awarecontribution.[1]Handwritten zines, or carbon zines, are individually made, emphasizing a personal connection between creator and reader,[1]turning imagined communities into embodied ones.[2]

Historically, zines have provided community for socially isolated individuals or groups through the ability to express and pursue common ideas and subjects. For this reason, zines have cultural and academic value as tangible traces of marginal communities, many of which are otherwise little-documented. Zines present groups that have been dismissed with an opportunity to voice their opinion, both with other members of their own communities or with a larger audience. This has been reflected in the creation of zine archives and related programming in such mainstream institutions as theTatemuseum and theBritish Library.[3]

Written in a variety of formats fromdesktop-publishedtext tocomics,collagesand stories, zines cover broad topics includingfanfiction,politics, poetry, art & design,ephemera,personal journals, social theory,intersectionalfeminism,single-topic obsession, or sexual content far enough outside themainstreamto be prohibitive of inclusion in more traditional media. (An example of the latter isBoyd McDonald'sStraight to Hell,which reached a circulation of 20,000.[4]) Although there are a few eras associated with zine-making, this "wave" narrative proposes a limited view of the vast range of topics, styles and environments zines occupied.

History

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Overview and origins

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Dissidents, under-represented, and marginalized groups have published their own opinions in leaflet and pamphlet form for as long as such technology has been available. The concept of zines can be traced to theamateur pressmovement of the late 19th and early 20th century, which would in turn intersect with Black literary magazines during theHarlem Renaissance,and thesubcultureofscience fiction fandomin the 1930s. The popular graphic-style associated with zines is influenced artistically and politically by the subcultures ofDada,Fluxus,Surrealism,andSituationism.[1]

Many[citation needed]trace zines' lineage from as far back asThomas Paine's exceptionally popular 1776 pamphletCommon Sense,Benjamin Franklin's literary magazine for psychiatric patients at a Pennsylvania hospital andThe Dial(1840–44) byMargaret FullerandRalph Waldo Emerson.[5][1]

Zines were given a pop culture revival in March 2021 with the release of theAmy Poehler-directed filmMoxie,released byNetflix,about a 16-year old high school student who starts a feminist zine to empower the young women at her school.[6]

1920s

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"Little magazines" during the Harlem Renaissance

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In the 1920s during theHarlem Renaissance,a group of Black creatives inHarlembegan a literary magazine "the better to express ourselves freely and independently – without interference from old heads, white or [black]."[7]This led to the creation of a "little magazine"entitledFire!!.Only one issue ofFire!!was released, but this inspired the creation of other "little magazines" by Black authors. Contributions by Black writers, artists, and activists to the zine movement are often overlooked, in part "because they had such short runs and were spearheaded by a single or small group of individuals."[8]

1930s–1960s and science fiction

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Aukštaičių kova(The Fight of Aukštaitians) - a zine published by theLithuanian partisans,1949
"The Reign of the Superman",a short story from the 1933 zineScience Fiction: The Advance Guard of Future Civilization,which led to the creation of the comic book heroSuperman.

During and after theGreat Depression,editors of "pulp" science fiction magazines became increasingly frustrated with letters detailing the impossibilities of their science fiction stories. Over time they began to publish these overly-scrutinizing letters, complete with their return addresses.Hugo Gernsbackpublished the firstscience fiction magazine,Amazing Storiesin 1926. In January 1927, Gernsback introduced a large letter column which printed reader's addresses. allowing them to write to each other; it was out of this mailing list that fans' ownscience fiction fanzinesbegan.[9]Fans also began writing to each other not only about science fiction but about fandom itself, leading toperzines.[10]Science fiction fanzinesvary in content, from short stories to convention reports to fanfiction were one of the earliest incarnations of the zine and influenced subsequent publications.[11]"Zinesters" likeLisa BenandJim Kepnerhoned their talents in the science fiction fandom before tackling gay rights, creating zines such as "Vice Versa" and "ONE" that drew networking and distribution ideas from their science fiction roots.[12]A number of leading science fiction and fantasy authors rose through the ranks of fandom, creating "pro-zines" such asFrederik PohlandIsaac Asimov.The first science fiction fanzine,The Comet,was published in 1930 by the Science Correspondence Club in Chicago and edited byRaymond A. Palmerand Walter Dennis.[13]The first version ofSuperman(a bald-headed villain) appeared in the third issue ofJerry SiegelandJoe Shuster's 1933 fanzineScience Fiction.[14]

Star Trek

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The first media fanzine was aStar Trekfan publication calledSpockanalia,published in September 1967[15][16]by members of theLunarians.[17]Some of the earliest examples of academic fandom were written onStar Trekzines, specifically K/S (Kirk/Spock)slashzines, which featured a gay relationship between the two. AuthorJoanna Russwrote in her 1985 analysis of K/S zines that slash fandom at the time consisted of around 500 core fans and was 100% female.[18]

"K/S not only speaks to my condition. It is written in Female. I don't mean that literally, of course. What I mean is that I can read it without translating it from the consensual, public world, which is sexist, and unconcerned with women per se, and managing to make it make sense to me and my condition."[19]

Russ observed that while science fiction fans looked down onStar Trekfans,Star Trekfans looked down on K/S writers.[19]Kirk/Spock zines containedfanfiction,artwork, and poetry created by fans. Zines were then sent to fans on a mailing list or sold at conventions. Many had high production values and some were sold at convention auctions for hundreds of dollars.[18]

JanusandAurora

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Janus,later calledAurora,was a science fiction feminist zine created by Janice Bogstad andJeanne Gomollin 1975. It contained short stories, essays, and film reviews. Among its contributors were authors such asOctavia Butler,Joanna Russ,Samuel R. Delany,andSuzette Hayden Elgin.Janus/Aurorawas nominated for theHugo Awardfor "Best Fanzine" in 1978, 1979, and 1980.Janus/Aurorawas the most prominent science fiction feminist zine during its run, as well as one of the only zines that dealt with such content.[20]

Comics

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Comics were mentioned and discussed as early as the late 1930s in thefanzinesofscience fiction fandom.They often included fan artwork based on existing characters as well as discussion of the history of comics. Through the 1960s, and 1970s, comic fanzines followed general formats, such as the industry news and information magazine (The Comic Readerwas one example), interview, history and review-based fanzines, and the fanzines which basically represented independent comic book-format exercises.[citation needed]

In 1936,David KylepublishedThe Fantasy World,possibly the first comics fanzine.[21][22]

Malcolm Willits and Jim Bradley startedThe Comic Collector's Newsin October 1947.[23]In 1953,Bhob StewartpublishedThe EC Fan Bulletin,[22]which launchedECfandom of imitative Entertaining Comic fanzines. Among the wave of EC fanzines that followed, the best-known wasRon Parker'sHoo-Hah!In 1960,RichardandPat Lupofflaunched theirscience fictionand comics fanzineXeroand in 1961,Jerry Bails'Alter Ego,devoted tocostumed heroes,became a focal point for superhero comics fandom.[22]

Horror

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Calvin T. Beck'sJournal of Frankenstein(laterCastle of Frankenstein) and Gary Svehla'sGore Creatureswere the first horror fanzines created as more serious alternatives to the popularForrest J Ackerman1958 magazineFamous Monsters of Filmland.[citation needed]Garden Ghouls Gazette– a 1960s horror title under the editorship of Dave Keil, then Gary Collins—was later headed byFrederick S. Clarkeand in 1967 became the respected journalCinefantastique.It later became a prozine under journalist-screenwriterMark A. Altmanand has continued as a webzine.[24]Richard Klemensen'sLittle Shoppe of Horrors,[25]having a particular focus on "Hammer Horrors",began in 1972 and is still publishing as of 2017.[26]TheBaltimore-basedBlack Oracle(1969–1978) from writer-turned-John Watersrepertory memberGeorge Stoverwas a diminutive zine that evolved into the larger-formatCinemacabre.Stover'sBlack Oraclepartner Bill George published his own short-lived zineThe Late Show(1974–1976; with co-editor Martin Falck), and later became editor of theCinefantastiqueprozine spinoffFemme Fatales.[citation needed][27]In the mid-1970s,North CarolinateenagerSam Irvinpublished the horror/science-fiction fanzineBizarrewhich included his original interviews with UK actors and filmmakers; Irvin would later become a producer-director in his own right.[28]Japanese Fantasy Film Journal(JFFJ) (1968–1983) from Greg Shoemaker coveredToho'sGodzillaand his Asian brethren.Japanese Giants(JG) appeared in 1974 and was published for 30 years.[29]In 1993,G-FANwas published, and reached its 100th regularly published issue in Fall 2012.[30]FXRH(Special effectsbyRay Harryhausen) (1971–1976) was a specialized zine co-created by futureHollywoodFXartistErnest D. Farino.[citation needed]

Board games

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Board game-focused zines, especially those focused on the board gameDiplomacy,took off in the 1960s. These not only contained news and articles about the hobby, but also served as a common form for the organisation ofplay-by-mail games.[31][32]

Rock and roll

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Several fans active in science fiction and comics fandom recognized a shared interest in rock music, and the rock fanzine was born.Paul WilliamsandGreg Shawwere two such science fiction fans turned rock zine editors. Williams'Crawdaddy!(1966) and Shaw's two California-based zines,Mojo NavigatorRock and Roll News(1966) andWho Put the Bomp(1970), are among the most popular early rock fanzines.

Crawdaddy!(1966) quickly moved from its fanzine roots to become one of the first rock music "prozines" with paid advertisers and newsstand distribution.[33]Bompremained a fanzine, featuring many writers who would later become prominent music journalists, includingLester Bangs,Greil Marcus,Ken Barnes,Ed Ward,Dave Marsh,Mike SaundersandR. Meltzeras well as cover art by Jay Kinney and Bill Rotsler (both veterans of science fiction and Comics fandom). Other rock fanzines of this period includedenim delinquent(1971) edited by Jymn Parrett,Flash(1972) edited by Mark Shipper,Eurock Magazine(1973–1993) edited by Archie Patterson andBam Balamwritten and published by Brian Hogg in East Lothian, Scotland (1974).

In the 1980s, with the rise of stadium superstars, many home-grown rock fanzines emerged. At the peak ofBruce Springsteen's megastardom following theBorn in the U.S.A.album andBorn in the U.S.A. Tourin the mid-1980s, there were no less than five Springsteen fanzines circulating at the same time in the UK alone, and many others elsewhere.[citation needed]Gary Desmond'sCandy's Room,coming from Liverpool, was the first in 1980. This was quickly followed by Dan French'sPoint Blank,Dave Percival'sThe Fever,Jeff Matthews'Rendezvous,and Paul Limbrick'sJackson Cage.[citation needed]In the US,Backstreets Magazinestarted in Seattle in 1980 and still continues today as a glossy publication, now in communication with Springsteen's management and official website.[citation needed]Crème Brûléedocumented post-rock genre and experimental music (1990s).[citation needed]

1970s and punk

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Punk zinesemerged as part of thepunk subculturein the late 1970s, along with the increasing accessibility to copy machines, publishing software, and home printing technologies.[34]Punk became a genre for the working class because of the economic necessity to use creative DIY methods, which were echoed in both zine and Punk music creation. Zines became vital to the popularization and spread of punk spreading to countries outside the UK and America, such as Ireland, Indonesia, and more by 1977.[35][36]Amateur, fan-created zines played an important role in spreading information about different scenes (city or regional-based subcultures) and bands (e.g. British fanzines like Mark Perry'sSniffin Glueand Shane MacGowan'sBondage) in the pre-Internet era. They typically included reviews of shows and records, interviews with bands, letters, and ads for records and labels.

Thepunk subculturein the United Kingdom spearheaded a surge of interest in fanzines as a countercultural alternative to established print media.[citation needed]The first and still best known UK 'punk zine' wasSniffin' Glue,produced byDeptfordpunk fanMark Perrywhich ran for 12 photocopied issues; the first issue produced by Perry immediately following (and in response to) the London debut ofthe Ramoneson 4 July 1976.[citation needed]Other UK fanzines includedBlam!,Bombsite,Burnt Offering,Chainsaw,New Crimes,Vague,Jamming,Artcore Fanzine,Love and Molotov Cocktails,To Hell With Poverty,New Youth,Peroxide,ENZK,Juniper beri-beri,No Cure,Communication Blur,Rox,Grim Humour,Spuno,Cool NotesandFumes.

UK and US zines

By 1990,Maximum Rocknroll"had become the de facto bible of the scene, presenting a" passionate yet dogmatic view "of whathardcorewas supposed to be. "[37]HeartattaCkandProfane Existencetook the DIY lifestyle to a religious level foremoandpost-hardcoreandcrust punkculture.Slug and Lettucestarted at the state college of PA and became an international 10,000 copy production – all for free.[38]In Canada, the zineStandard Issuechronicles the Ottawa hardcore scene. The Bay Area zineCometbuswas first created at Berkeley by the zinester and musicianAaron Cometbus.Gearhead Nationwas a monthly punk freesheet that lasted from the early 1990s to 1997 in Dublin, Ireland.[39]Some hardcore punk zines became available online such as the e-zine chronicling theAustralian hardcorescene,RestAssured.In Italy,Mazqueraderan from 1979 to 1981 and Raw Art Fanzine ran from 1995 to 2000.[40][41]

In the US,Flipside(created by Al Kowalewski, Pooch (Patrick DiPuccio), Larry Lash (Steven Shoemaker), Tory, X-8 (Sam Diaz)) andSlash(created by Steve Samioff and Claude Bessy) were important punk zines for the Los Angeles scene, both debuting in 1977.[42]In 1977 in Australia,Bruce MilneandClinton Walkerfused their respective punk zinesPlastered PressandSuicide Alleyto launchPulp;Milne later went on to invent the cassette zine withFast Forward,in 1980.[43][44]In the American Midwest, a zine called Touch and Go described the area's hardcore scene from 1979 to 1983. We Got Power described the LA scene from 1981 to 1984, and included show reviews and band interviews with groups includingDOA,theMisfits,Black Flag,Suicidal Tendencies,and theCircle Jerks.My Rules was a photo zine that included photos of hardcore shows from across the US an in Effect, launched in 1988 described the New York City punk scene. Among later titles,Maximum RocknRollis a major punk zine, with over 300 issues published. As a result, in part, of the popular and commercial resurgence of punk in the late 1980s, and after, with the growing popularity of such bands asSonic Youth,Nirvana,Fugazi,Bikini Kill,Green Dayandthe Offspring,a number of other punk zines have appeared, such asDagger,Profane Existence,Punk Planet,Razorcake,Slug and Lettuce,SobriquetandTail Spins.The early American punk zineSearch and Destroyeventually became the influential fringe-cultural magazineRe/Search.

"In the post-punk era several well-written fanzines emerged that cast an almost academic look at earlier, neglected musical forms, including Mike Stax'Ugly Things,Billy Miller andMiriam Linna'sKicks,Jake Austen'sRoctober,Kim Cooper'sScram,P. Edwin Letcher'sGarage & Beat,and the UK'sShindig!and Italy'sMisty Lane."[citation needed]Mark Wilkins, the promotion director for 1982 onwards US punk/thrash labelMystic Records,had over 450 US fanzines and 150 foreign fanzines he promoted to regularly. He and Mystic Records owner Doug Moody editedThe Mystic News Newsletterwhich was published quarterly and went into every promo package to fanzines. Wilkins also published the highly successful Los Angeles punk humor zineWild Timesand when he ran out of funding for the zine syndicated some of the humorous material to over 100 US fanzines under the name of Mystic Mark.[citation needed]

Factsheet Five

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During the 1980s and onwards,Factsheet Five(the name came from a short story byJohn Brunner), originally published byMike Gunderloyand now defunct, catalogued and reviewed any zine or small press creation sent to it, along with their mailing addresses. In doing so, it formed a networking point for zine creators and readers (often the same people). The concept ofzineas an art form distinct fromfanzine,and of the "zinesters" as member of their own subculture, had emerged. Zines of this era ranged from perzines of all varieties to those that covered an assortment of different and obscure topics. Genres reviewed by Factsheet Five included quirky, medley, fringe, music, punk, grrrlz, personal, science fiction, food, humour, spirituality, politics, queer, arts & letters, comix.[1]

1990s and riot grrrl

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Theriot grrrlmovement emerged from the DIY Punk subculture in tandem with the American era ofthird-wave feminism,and used the consciousness-raising method of organizing and communication.[45][46][47]As feminist documents, they follow a longer legacy of feminist and women's self-publication that includesscrapbooking,periodicals and health publications, allowing women to circulate ideas that would not otherwise be published.[45]The American publicationBikini Kill(1990) introduced the Riot Grrrl Manifesto in their second issue as a way of establishing space.[1]Zinesters Erika Reinstein and May Summer founded the Riot Grrrl Press to serve as a zine distribution network that would allow riot grrrls to "express themselves and reach large audiences without having to rely on the mainstream press".[48]

"BECAUSE we girls want to create mediums that speak to US. We are tired of boy band after boy band, boy zine after boy zine, boy punk after boy punk after boy... BECAUSE in every form of media I see us/myself slapped, decapitated, laughed at, trivialized, pushed, ignored, stereotyped, kicked, scorned, molested, silenced, invalidated, knifed, shot, choked, and killed... BECAUSE every time we pick up a pen, or an instrument, or get anything done, we are creating the revolution. We ARE the revolution."

 Erika Reinstein, Fantastic Fanzine No. 2

Women use this grassroots medium to discuss their personal lived experiences, and themes including body image, sexuality, gender norms, and violence to express anger, and reclaim/refigure femininity.[45][49][50][51]Scholar and zinester Mimi Thi Nguyen notes that these norms unequally burdened riot grrrls of color with allowing white riot grrrls access to their personal experiences, an act which in itself was supposed to address systemic racism.[52]

BUST- "The voice of the new world order" was created by Debbie Stoller, Laurie Hanzel and Marcelle Karp in 1993 to propose an alternate to the popular mainstream magazinesCosmopolitanandGlamour.[1]Additional zines following this path are Shocking Pink (1981–82, 1987–92), Jigsaw (1988– ), Not Your Bitch 1989–1992 (Gypsy X, ed.)Bikini Kill(1990),Girl Germs(1990), Bamboo Girl (1995– ),BITCH Magazine(1996– ),Hip Mama(1997– ), Kitten Scratches (1999) andROCKRGRL(1995–2005).

In the mid-1990s, zines were also published on the Internet ase-zines.[53]Websites such asGurlandChickClickwere created out of dissatisfaction of media available to women and parodied content found in mainstreamteenand women's magazines.[54][55]Both Gurl and ChickClick had a message board and free web hosting services, where users could also create and contribute their own content, which in turn created a reciprocal relationship where women could also be seen as creators rather than consumers.[53][56]: 154 

Commercialization

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Starting in this decade, multinational companies started appropriating and commodifying zines and DIY culture.[1]Their faux zines created a commercializedhipsterlifestyle. By late in the decade, independent zinesters were accused of "selling out" to make a profit.[1]

Distribution and circulation

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Zines are sold, traded or given as gifts at symposiums, publishing fairs, record and book stores and concerts, via independent media outlets, zine 'distros', mail order or through direct correspondence with the author. They are also sold online on distro websites,Etsyshops, blogs, or social networking profiles and are available for download. While zines are generally self-published, there are a few independent publishers who specialize in art zines such as Nieves Books inZurich,founded by Benjamin Sommerhalder, andCafé Royal Booksfounded by Craig Atkinson in 2005. In recent years a number of photocopied zines have risen to prominence or professional status and have found wide bookstore and online distribution. Notable among these areGiant Robot,Dazed & Confused,Bust,Bitch,Cometbus,Doris,Brainscan,The Miscreant, andMaximum RocknRoll.[citation needed]

Live map of zine distributors worldwide

There are many catalogued and online based mail-order distros for zines. The longest running distribution operation isMicrocosm PublishinginPortland, Oregon.Some other longstanding operations include Great Worm Express Distribution inToronto,CornDog Publishing inIpswichin the UK,Café Royal Booksin Southport in the UK,AK PressinOakland, California,[57]Missing Link RecordsinMelbourne.[58]and Wasted Ink Zine Distro in Phoenix, AZ.[59]

The Papercut Zine Library in Cambridge, Massachusetts

Libraries and archives

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A number of major public and academiclibrariesand museums carry zines and other small press publications, often with a specific focus (e.g. women's studies) or those that are relevant to a local region.

Libraries and institutions with notable zine collections include:

The Indie Photobook Library, an independent archive in the Washington, D.C., area, is a large collection of photobooks and photo zines dating from 2008 to 2016 which theBeinecke Rare Book and Manuscript LibraryatYale Universityacquired in 2016.[70][71]In California, theLong Beach Public Librarybegan to be the first public library in the state to start circulating zines for three weeks at a time in 2015. In 2017 theLos Angeles Public Librarystarted to circulate zines publicly to its patrons as well. Both projects have been credited to librarian Ziba Zehdar who has been an advocate in promoting circulating zines publicly at libraries in California.[72][73][74]

It has been suggested that the adoption of zine culture by powerful and prestigious institutions contradicts their function as declarations of agency by marginalized groups.[3]

Zine fests, workshops, and clubs

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Zebrapizza tabling at the Los Angeles Zinefest in 2017

There has been a resurgence in the alternative publication culture beginning in the 2010s, in tandem with the influx ofzine librariesand as a result of the digital age, which has sparked zine festivals across the globe. The San Francisco Zine Fest started in 2001 and features up to 200+ exhibitors, while the Los Angeles Zine Fest started in 2012 with only a handful of exhibitors, now hosting over 200 exhibitors.These are considered to be some of the biggest zine fests in the United States,[75]

Zine workshop with SUNY New Paltz Zine Community and Design Society, 2017

Other big zine fests across the globe include, San Francisco Zine Fest, Brooklyn Zine Fest, Chicago Zine Fest, Feminist Zine Fest, Amsterdam Zine Jam, and Sticky Zine Fair. At each zine fest, the zinester can be their own independent distributor and publisher simply by standing behind a table to sell or barter their work. Over time, zinesters have added posters, stickers, buttons and patches to these events. In many libraries, schools and community centers around the world, zinesters hold meetings to create, share, and pass down the art of making zines.

2000s and the effect of the Internet

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With the rise of the Internet in the mid-1990s, zines initially faded from public awareness possibly due to the ability of private web-pages to fulfill much the same role of personal expression. Indeed, many zines were transformed intoWebzines,such asBoing Boingormonochrom.The metadata standard for cataloging zines isxZineCorex,which maps toDublin Core.[76]E-zine creators were originally referred to as "adopters" because of their use of pre-made type and layouts, making the process less ambiguous.[1]Since, social media, blogging and vlogging have adopted a similar do-it-yourself publication model.

In the UKFractureandReason To Believewere significant fanzines in the early 2000s, both ending in late 2003.Rancid Newsfilled the gap left by these two zines for a short while. On its tenth issueRancid Newschanged its name toLast Hourswith 7 issues published under this title before going on hiatus.Last Hoursstill operates as awebzinethough with more focus on the anti-authoritarian movement than its original title.Artcore Fanzine(established in 1986) continues to this day, recently publishing a number of 30-year anniversary issues.[77]

Mira Bellwether's zineFucking Trans Women,published in 2010 online and 2013 in print, proved influential in the field oftransgender sexuality,receiving both scholarly[78][79]and popular-culture attention.[80][81]It was described inSexuality & Cultureas "a comprehensive guide to trans women's sexuality"[79]: 965 andThe Mary Sueas "the gold standard intransfemininesex and masturbation ".[81]

In the early 2000s, zines withcomicsin them had a "thriving"fandom.[82]

Television shows

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Two popular kids shows in the late 1990s and early 2000s featured zine-making:Our Hero(2000–02) andRocket Power(1999–2004).[1]The main character inOur Hero,Kale Stiglic, writes about her life in the Toronto suburbs. The episodes are narrated and presented in the form of zine issues that she creates, inheriting her father's storytelling passion. The show won titles from the Canadian Comedy Awards and Gemini Awards during its development.[83]

See also

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References

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  1. ^abcdefghijkTriggs, Teal (2010).Fanzines The DIY Revolution.San Francisco, CA: Chronicle Books.ISBN978-0-8118-7692-6.
  2. ^Piepmeier, Alison (2008). "Why Zines Matter: Materiality and the Creation of Embodied Community".American Periodicals: A Journal of History, Criticism, and Bibliography.18(2): 213–238.doi:10.1353/amp.0.0004.S2CID145377264.
  3. ^abFife, Kirsty (2019)."Not for you? Ethical implications of archiving zines".Punk & Post Punk.8(2): 227–242.doi:10.1386/punk.8.2.227_1.S2CID199233569– via EBSCOhost.
  4. ^William E. Jones,True Homosexual Experiences: Boyd McDonald and "Straight to Hell",Los Angeles: We Heard You Like Books, 2016,ISBN9780996421812,p. 6.
  5. ^Piepmeier, Alison (2009).Girl Zines: Making Media, Doing Feminism.NYU Press. p. 215 – via Google Books.
  6. ^Ehrlich, Brenna (8 March 2021)."How Amy Poehler's 'Moxie' Is Bringing Riot Grrrl -- and Bikini Kill -- to a New Generation".Rolling Stone.Retrieved15 November2021.
  7. ^Johnson, Abby Ann Arthur; Johnson, Ronald M. (1974)."Forgotten Pages: Black Literary Magazines in the 1920s".Journal of American Studies.8(3): 363–382.doi:10.1017/S0021875800015930.ISSN0021-8758.JSTOR27553130.
  8. ^Jensen, Kelly (6 February 2019)."Get To Know The Little Magazines of The Harlem Renaissance".BOOK RIOT.Retrieved14 May2022.
  9. ^Iamandi, Petru (2007). "The SF Fandom: A Subculture with a Difference".Proceedings of the Culture, Subculture, Counterculture Conference.Galaţi: 9.
  10. ^"zine info".allthumbspress.net.Archived fromthe originalon 7 May 2017.Retrieved18 October2016.
  11. ^"Bingham Center Zine Collections |".library.duke.edu.Archived fromthe originalon 9 October 2015.Retrieved9 November2015.
  12. ^"LGBT found a voice in science fiction".Scpr.org.Southern California Public Radio. 4 September 2015.Retrieved24 October2015.
  13. ^Moskowitz, Sanders, Sam, Joe (1994).The Origins of Science Fiction Fandom: A Reconstruction.Westport, CT: Greenwood Press. pp. 17–34.{{cite book}}:CS1 maint: multiple names: authors list (link)
  14. ^"Jerry Siegel and Joe Shuster -" Reign of the Superman "-- Science Fiction Fanzine V1#3 And Others (1933)".c. 2006.Archivedfrom the original on 14 May 2022.
  15. ^Verba, Joan Marie (2003).Boldly Writing: A Trekker Fan & Zine History, 1967–1987(PDF).Minnetonka MN: FTL Publications.ISBN978-0-9653575-4-8.Archived fromthe original(PDF)on 10 September 2016.Retrieved18 April2018.
  16. ^Grimes, William (21 September 2008)."Joan Winston, 'Trek' Superfan, Dies at 77".The New York Times.Retrieved2 April2010.
  17. ^Bacon-Smith, Camille (2000).Science Fiction Culture.University of Pennsylvania Press.pp. 112–113.ISBN978-0-8122-1530-4.
  18. ^abGrossberg, Lawrence; Nelson, Cary; Treichler, Paula (1 February 2013).Cultural Studies.Routledge.ISBN9781135201265.
  19. ^ab"Concerning K/S." Joanna Russ Papers, Series II: Literary Works: Box 13, Folder #, Page 25. University of Oregon Special Collections.
  20. ^"Janus & Aurora |".Sf3.org.Retrieved24 November2015.
  21. ^Kyle, David."Phamous Phantasy Phan".Mimosano. 24, pp. 25–28.
  22. ^abcThe Power of Comics: History, Form and Culture,p. 175, atGoogle Books
  23. ^Everyday Information: The Evolution of Information Seeking in America,p. 286, atGoogle Books
  24. ^"Cinefantastique: The Website with a Sense of Wonder".cinefantastiqueonline.
  25. ^"Little Shoppe of Horrors".littleshoppeofhorrors.
  26. ^"Little Shoppe of Horrors".littleshoppeofhorrors.
  27. ^"Women in Horror: A Look Back at Femme Fatales Magazine".
  28. ^"School of Cinematic Arts Directory Profile – USC School of Cinematic Arts".usc.edu.
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Further reading

edit
  • Anderberg, Kirsten.Alternative Economies, Underground Communities: A First Hand Account of Barter Fairs, Food Co-ops, Community Clinics, Social Protests and Underground Cultures in the Pacific Northwest & CA 1978–2012.US: 2012.
  • Anderberg, Kirsten.Zine Culture: Brilliance Under the Radar.Seattle, US: 2005.
  • Bartel, Julie.From A to Zine: Building a Winning Zine Collection in Your Library.American Library Association, 2004.
  • Biel, Joe$100 & a T-shirt: A Documentary About Zines in the Northwest.Microcosm Publishing, 2004, 2005, 2008 (Video)
  • Biel, JoeMake a Zine: Start Your Own Underground Publishing Revolution(20th anniversary 3rd edn) Microcosm Publishing, 1997, 2008, 2017ISBN978-1-62106-733-7
  • Block, Francesca LiaandHillary Carlip.Zine Scene: The Do It Yourself Guide to Zines.Girl Press, 1998.
  • Brent, Bill.Make a Zine!.Black Books, 1997 (1st edn.),ISBN0-9637401-4-8.Microcosm Publishing,with Biel, Joe, 2008 (2nd edn.),ISBN978-1-934620-06-9.
  • Brown, Tim W.Walking Man, A Novel.Bronx River Press, 2008.ISBN978-0-9789847-0-0.
  • Duncombe, Stephen.Notes from Underground: Zines and the Politics of Alternative Culture.Microcosm Publishing, 1997, 2008, 2017.ISBN978-1-62106-484-8.
  • Kennedy, Pagan.Zine: How I Spent Six Years of My Life in the Underground and Finally...Found Myself...I Think(1995)ISBN0-312-13628-5.
  • Klanten, Robert, Adeline Mollard, Matthias Hübner, and Sonja Commentz, eds.Behind the Zines: Self-Publishing Culture.Berlin: Die Gestalten Verlag, 2011.
  • Piepmeier, Alison.Girl Zines: Making Media, Doing Feminism.NYU Press. (2009)ISBN978-0-8147-6752-8.
  • Spencer, Amy.DIY: The Rise of Lo-Fi Culture.Marion Boyars Publishers, Ltd., 2005.
  • Watson, Esther and Todd, Mark. "Watcha Mean, What's a Zine?" Graphia, 2006.ISBN978-0-618-56315-9.
  • Vale, V.Zines! Volume 1(RE/Search,1996)ISBN0-9650469-0-7.
  • Vale, V.Zines! Volume 2(RE/Search,1996)ISBN0-9650469-2-3.
  • Wrekk, Alex.Stolen Sharpie Revolution.Portland:Microcosm Publishing,2003.ISBN0-9726967-2-5.
  • Richard Hugo House Zine Archives and Publishing Project (ZAPP). "ZAPP Seattle". Seattle, US.
  • "The Ragged Edge Collection," Skateboarding, Music, and Art Zines from the '1980s and'1990s.Internet Archive
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