Ideological Ephemera: Why Zines will survive the internet ?

Jessica F.

Order the writing of a tailor-made Literature Essay

Free quote online

Essay Format .doc

Ideological Ephemera: Why Zines will survive the internet ?

Download

Read an extract

Reader
Abstract
Contents
Extract

Abstract

According to some arguments of literary analysis, Zines should have ceased to exist, or at least should be well on their way to a doomed demise, some years ago. The availability and accessibility of blogs, web journals and social networking sites ostensibly offer ample outlets for the immediate display of individual expression, seemingly constituting a formidable threat to the grassroots culture surrounding Zines as a medium. And yet, despite the easy appeal of publications that eschew print for online posting, Zines continue to be published by a geographically, politically and culturally diverse set of authors, and special collections of Zines are sprouting in libraries across the country to house their literary efforts. The resilience of Zines as a form of artistic expression can in many ways be explained by contrasting their origins with mainstream offerings of culture and media

Introduction.
A brief history of Zines.
1. Definition for a genre of publication that resists generalization.
2. Freedman's definition.
3. Artistic intensity and ideological purposefulness.
4. The radical trend of Dada publications as an ideological predecessor.
The appeal of underground, DIY publication.
1. Understanding the resilience of Zines.
2. Blithe subsuming of multiple subcultures, ethnicities, sexual identities, political leanings and cultural experiences
3. The allure of Zines and DIY culture.
4. The status-quo and determination to formulate ideas and social networks that opposed conventionality.
Surviving the technological revolution.
1. The decline in quantity of Zines since the 1990s.
2. Common objections to allegations of Zines' demise at the hands of the internet.
3. The comparison between blogs and Zines.
4. Abandonedment of zine writing in favor of the internet.
5. The publishing industry as a source of competition for Zines.
Conclusion: The resilience of Zines as underground art.
Works cited.

Get this table of contents for free after login.

Extract

[...] Additionally, Zines tend to be diametrically opposed to the publishing industry, conceptually and practically, raising the question of whether or not professional printing even constitutes a source of competition. Still, speculation has arisen within the zine community as to identifying certain trends in the publishing world that may make for a more or less hospitable environment in which to produce Zines. R. Seth Friedman has suggested that finding it cheaper to publish on DC-ROMs and computer on-line systems, corporate magazines may stop printing on paper altogether. [...]

[...] If the requirements for fostering zine creation consists of questioning hegemonic constructions and social apparatuses, Zines are assured fertile ideological breeding grounds, in that there will always be a conventional framework to interpret, critique, reject and question. Works Cited Chezzi, Derek. counterculture zine.” Maclean's, vol no p 139. Cirelli, Julie. "Life After Zines." New York Review of Magazines 2007. http://www.nyrm.org/cirelli_well.html Accessed 25 March 2008. Dodge, Chris. “Pushing the Boundaries: Zines and Libraries.” Wilson Library Bulletin vol May 1995. pp. 26-30. [...]

[...] Zines are often seen as “bibliographic versions of Speakers' Corner, de facto loudhailers for single-issue demagogues" (Sandhu and in that sense, early precursors could include self-published pamphlets, political and religious doctrines, manifestos and cartoons, which have circulated as literary artifacts almost since the inception of moveable type. Political, religious and artistic movements have all employed flyers, factsheets and community newspapers to educate communities and disseminate ideas. These efforts were largely bound by the availability of printing technology, and the invention and eventual mass production of the mimeograph in the early 20th century enabled self-publishing on a scale never before possible. [...]

[...] In a very basic (and perhaps nearly all-encompassing) sense, Zines are produced as a statement that the current supply of magazines, books and mass media are ultimately insufficient. This inadequacy can be formulated as both a lack of venues in which deviant or marginalized groups are allowed a voice, or more generally as a rejection of majority ideology inextricably-linked with corporate productions. Regarding the latter, Zines can be seen as a "grassroots reaction to a crisis in the media landscape” in which “what was formerly communication has become a fully implemented control process. [...]

[...] Message boards, topical forums and comment posts have radically altered the way that readers can interact with texts and authors, making the process of mailing Zines back and forth seem outdated and inadequate. Against this interpretation is the argument that online discussion represents an alternative to but in no way exact duplication of zine exchange. It's impossible to "think of a blogging service that comes close to fostering the community that surrounds zine publishing, not to mention allowing the privacy and control that print distribution afford" (Freedman "Radio Isn't Dead"). [...]

doc