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Fan Video Diversity Showcase

Enviado por fcoppa el 27 Abril 2012 - 7:31de la tarde.
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Fan videos have been of interest to the Organization for Transformative Works for a long time, and last year various video and multimedia projects came to fruition. We have revamped the Fan Video and Multimedia project pages on the official OTW website and expanded our scope beyond the media fandom vidding tradition, to make it clearer that we aim to be inclusive of diverse traditions, and to be useful to a wide range of fan artists, be they vidders or AMV editors or fan film directors or remixers or any other involved creators.

2012 has already been an exciting year for the Fan Video & Multimedia project, with the release of Transformative Works and Cultures' Fan/Remix Video issue on March 15th. In the wake of this release, we wanted to raise awareness about the embedding option of the Archive of Our Own that allows users to embed videos from a variety of streaming platforms. This option is particularly useful to fan video makers who may be worried about their work being taken down. Embedding your work on the Archive of Our Own means that, regardless of where your video is hosted, you will have a stable URL for your work as well as stable comments and hit counts. A different embed code can be swapped into the AO3 page for your work in case you decide to switch platforms, or face site closures or takedowns.

Initiated by the Fan Video & Multimedia group, this project benefited from the International & Outreach Committee’s collaboration. We have invited fan video makers to our Fan Video Diversity Showcase to declare, loudly and passionately, that all forms of fan video are welcome at the AO3. The OTW is committed to representing and protecting the history and creations of fan video makers from all traditions and nationalities.

This Fan Video Diversity Showcase is but an ‘appetizer’, a ‘trailer’, and we invite others to embed their videos on Archive of Our Own. Other video-related projects will follow as time and technology allow, but we believe that this is an important declaration of our commitment to fan video makers and viewers.

Natacha Guyot
OTW's Vidding and International & Outreach Committees

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Extending the DMCA Exemption for Noncommercial Remixers

Enviado por fcoppa el 23 Diciembre 2011 - 7:19de la tarde.
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Legal and vidding committee members Rebecca Tushnet, Rachael Vaughn and Francesca Coppa have collaborated with the EFF on a proposal (download the .pdf) to the Library of Congress to renew and extend the DMCA exemption for Noncommercial Remixers. The current exemption gives noncommercial remix artists - like fan video artists and political remixers - the right to rip DVDs, breaking their encryption, for the purpose of making a fair use video, and the request covers that as well as using sources like Amazon Unbox where material isn't available on DVD.

The papers were filed December 1, 2011 and contain statements from and interviews with a number of fans - so thank you everyone who told us their stories!

The OTW will be sending representatives to Washington in the early part of next year to testify in favor of these exemptions, so stay tuned for more news.

Lastly, those of you interested in fan vidding might be interested in this documentary by Abigail Christensen.

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DMCA Exemption Proposal - Video Makers, We Need YOU!

Enviado por fcoppa el 30 Octubre 2011 - 6:54de la tarde.
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The OTW's Legal and Vidding Committees have started working on the renewal of our hard-won exemption to the US DMCA (Digital Millenium Copyright Act)'s provisions on digital rights management for noncommercial remixers--and we need your help! If you vid or make other forms of fan video by ripping DVDs or Blueray discs; if you rip footage from a streaming service like Hulu, Itunes Streaming, or Amazon Unbox, please get in touch! You don't have to use your real name: Depending on your choice, we can describe you using your pseudonym or as "a vidder" or "a fan filmmaker." We are trying to compile stories of how fans work and what they need to make their fanworks.

We are seeking your own words about:
(1) Why vidding is a transformative and creative act;
(2) Why you need to circumvent (rip) DVDs or other sources such as Blu-Ray, Amazon Unbox, Hulu, or YouTube--we are particularly interested in cases where you were only able to find a copy of the source at one of the online services because the source wasn't available on DVD;
(3) Whether you've tried screen capture software and how it worked for you;
(4) Whether you could make use of the "alternative" proposed by the MPAA, which is that you set up a separate camera to record your screen as it plays the source;
(5) Why high-quality source is important to you, whether your reasons are technical or aesthetic or something else;
(6) Anything else you think we ought to know as we work with the EFF to put together our request!

So please contact Francesca Coppa directly (fcoppa at transformativeworks dot org) or use the Vidding committee webform.

The OTW works hard to engage with and influence the US laws regarding fair use not only to help fans in the US or who use US-based services, but because we are aware that these laws have a ripple effect all over the world. For example, in South Korea, there was a huge crackdown on online copyrighted content as a result of a fair trade agreement with the U.S., and US policymakers are pushing these other countries to enact laws that are even harsher and don't provide for exemptions the way that the US's own domestic law does. Strong DMCA exemptions help send the message that such a system doesn't work for the US and wouldn't be a good idea elsewhere either. (We are interested in hearing from non-US vidders with answers to the questions above too!)

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In Practice: Vidding

Enviado por fcoppa el 26 Septiembre 2011 - 11:12de la tarde.
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The new issue of Camera Obscura: a journal of Feminism, Culture, and Media Studies published by Duke University Press, features a special section on vidding consisting of essays written by various current and former OTW staffers Kristina Busse, Francesca Coppa, Alexis Lothian, and Rebecca Tushnet.

The essays in the section include: (the link goes to the abstract; full text is not yet available on this site for nonsubscribers.)

* Francesca Coppa, An Editing Room of One's Own: Vidding as Women's Work

* Francesca Coppa and Rebecca Tushnet, How to Suppress Women's Remix

* Kristina Busse and Alexis Lothian, Scholarly Critiques and Critiques of Scholarship: The Uses of Remix Video

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New Fan Video Project Pages!

Enviado por fcoppa el 25 Septiembre 2011 - 1:07de la mañana.
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Following our previously outlined roadmap, the OTW is proud to be hosting a number of new resources for fan video makers. These new Fan Video and Multimedia pages include:

There are also resources for scholars interested in fan video, including a Bibliography of Fan Video and a Fan Works Style Guide which will tell you how to cite fan vids (and other fan works) in academic contexts. You can also find our extant Vidding Projects - the Oral History Project, the Test Suite of Fair Use Vids, and Vidding (2008), a documentary produced by the OTW for MIT's New Media Literacy project - linked from this page.

We'd like to give particular shout-outs to TWC editor Karen Hellekson, Vidding volunteers Laura Shapiro, Tisha Turk, Nele Noppe, and Margie, and International Outreach team member Natacha Guyot for work above and beyond the call of duty on these pages. Thank you!

Technology - and the culture surrounding it - moves very fast. If you can help us improve or update these resource pages, or want to suggest and work on new ones - please contact us.

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A Quick and Dirty Guide to Embedding Video on the Archive of Our Own

Current as of August 15, 2010

This has been adapted from astolat's "Quick and Dirty Guide to Posting Vividcon 2011 Vids on the AO3", but the process is the same for all fan video at this time. As the guide notes, we are currently revising the works form so that it will be video-specific, but this is currently the best way to post your video to the archive.

Currently, the Archive of Our Own supports embed codes from: YouTube, Vimeo, Blip.tv, Ning, Dailymotion, Viddler, MetaCafe, 4shared, Vidders.net, Critical Commons, and Google. If you would like us to add a site to this list, please contact the Vidding Committee and we will happily do so if possible. Please note that for security reasons, we can't allow embeds from personal websites.

Among the advantages of posting your video to the Archive of our Own are: being able to keep all your works together, even if they're hosted on different sites; giving your works stable URLS, even if you change the behind-the-scenes hosting; making your vids searchable and findable by fans; conversely, being able to lock down your embedded video to archive users only; preserving your comments and hit counts in case of takedowns or site meltdowns; the ability to tag and annotate your work. You will also have all the standard archive features: subscriptions, so that your fans will be notified when you've posted a new video; kudos; bookmarks; the ability to put vids into collections; the ability to create challenges, etc.

We hope that you will choose to archive your fan video at the Archive of Our Own; if you do, please consider posting the following code to journal or blog to let people know: (just remove extra spaces and substitute your username for YOUR_USERNAME)

"I'm at <a href="http://archiveofourown.org/users/YOUR_USERNAME"><img alt="favicon" border="0" src="http://archiveofourown.org/favicon.ico" /></a><a href="http://archiveofourown.org/users/YOUR_USERNAME"><strong>YOUR_USERNAME </strong></a>!"

Super fast guide:

  1. Get an AO3 account if you don't have one (You can sign up here; the Vidding Committee also has extra invites they can send out.)
  2. Log in and go to Post New Work.
  3. Put the 'vid' tag on your vids:
    screenshot
  4. Put your embed and/or download links in the work text (click for larger size):

    screenshot, click for full

  5. You can also add your vid to a collection, such as the 'vividcon2011' collection, if you know that an appropriate open collection exists. (You can also make your own collections of yourself and other vids; you collect videos like any other fan works on the archives. Check out the FAQs on Collections for more information.)

    screenshot

  6. When completed, your vid should look roughly like this: Murder On The Dance Floor (vid). (You can even link elaborate credits and other notes like this: Debauchery in the UK (vid).)

How to Get and Use an Advanced User Account at Critical Commons

Critical Commons is a non-profit advocacy coalition that supports the use of media for a variety of scholarly, educational, and creative purposes. It describes itself as "a showcase for innovative forms of electronic scholarship and creative production that are transformative, culturally enriching and both legally and ethically defensible," and its founders say their showcase explicitly includes transformative works like vids and other forms of fan video. In fact, the site specifically invites the work of remixers of all kinds.

While getting and using an account at Critical Commons is a little more complicated than using YouTube or most other commercial services, the site's nonprofit status and explicit commitment to fair use may make it an attractive option for some fans. It is also worth noting that in addition to allowing users to stream and embed video, the site also allows users to download videos in their original resolution and quality.

As you'll see from the instructions below, all uploaded videos must have some commentary attached to them to fulfill the site's mission of "display[ing] media that is placed in a critical context that transforms and recontextualizes the media, adding value and significance to the original work." This can be your typical vidders notes section, or it can be something as simple as "This fan video is a transformative work." (See, for example, lamardeuse's Sherlock vid, Not Responsible.)

Note: There is currently a transcoding bug affecting some videos which forces them to be shown in 4:3 fullscreen regardless of their original aspect ratio. The developers are working to fix this; the film geeks who run the site are as horrified as vidders are.

Create an Account for Vidding

  1. On the Critical Commons homepage, click “register” in the top right of the menu bar. Or, go directly to the registration form. You must first create a Basic User account before you can be upgraded to Advanced User status, at which point you can upload vids.
  2. “Full Name” is what name will appear on the site profile that viewers will see. This can be your vidding handle. “Username” is for your login purposes. “Institutional Email” can be your regular email address; this will appear visibly on your profile. (Remember, this site is geared toward academics, who often use more identifying information than vidders.)
  3. Once your account is created, login and click Edit Profile. You need to add further information (upgrading your status) before you can upload vids. All fields are mandatory (except Location) to reach Advanced User status.
    1. “Title” can be something like “vidder.”
    2. If you have an "institutional" affiliation, enter it here. If you are an independent creator, fan, non-affiliated scholar, etc. you can indicate this here. Some vidders may want to affiliate themselves with the Organization for Transformative Works.
    3. If you don't have a URL where Critical Commons can verify your identity (even a blog or publicly viewable Facebook page will do), CC recommends creating an account at the Archive of Our Own.
  4. Save your information at the bottom. If you have addressed all fields in your profile, you should now have a link on your profile that says “Apply for Advanced User Status." When clicked, this generates a message to the site administrator. Advanced user requests are processed manually after verifying your identity. This usually happens very quickly (within 10 minutes of when your request is received). Then, log back in and return to your profile to start uploading vids.

Upload a vid

Every vid you upload must have an attached commentary (either text or audio, even just brief notes are fine). Your vid will not be visible until the commentary is attached. You will upload your vid first, create your commentary, then link them.

  1. On your profile page, select Upload a Clip. Enter the vid’s title and browse for your file. There is a 300MB limit. (You can upload multiple files, but this should be used if you are attaching the same commentary to all files, which as a vidder, you probably won’t be. Therefore, it is recommended to do one vid at a time.) The upload bar will appear, but you must click "Start File Upload" to initiate uploading. When completed, click "Next" to move to Step 2.
  2. Enter a summary line for the vid (i.e. a one-line blurb) and rate its quality (probably “high”). If possible, select a thumbnail image to represent the clip; this could be a 100x100 icon used for a LJ/DW post. This image will appear on the embed screen before viewers press play.
  3. Enter vid info: “Creator” is the vidder, “Distributor” can be left blank, “Name of the Film” is the source footage, and “Year Produced” can be either the date of the source or the date of the vid, as you wish.
  4. You can add keyword tags (one per line) that help you and others to identify your vid in the database. Tags can be “vid” or “vidding” if you like, or more specific. Click Next to go to Step 3.
  5. Every vid must have a commentary of some length. To add a new commentary, select "Create a text commentary for this clip" (for instructions on adding an audio commentary see separate section below). This takes you to the "Edit Text Commentary" page.
    1. “Commentary Title” can be the name of the vid, or something like Vid Notes.
    2. Enter any tags (this will add to the list from before)
    3. The “Commentary Summary” line can be left blank, or you can repeat your blurb. This will appear as part of the text you enter later.
    4. Select your mode of text before entering your commentary.
      • Plain Text will have no line breaks or formatting.
      • Structured Text can have line breaks but no formatting.
      • HTML can have tags for both line breaks and formatting (if you know html code.)
      • Do NOT select Microsoft Word.
    5. You can copy/paste a commentary from a vid release or type your notes. If your commentary is a text file, you can instead upload that.
    6. Leave the copyright license as “Site Default.”
  6. Next, to attach the commentary to your vid, click inside the text box under “Clips” at the very bottom of the screen. You can type the name of your vid, but a list of files should appear automatically when you click in the box. The most recently uploaded file should appear at the top of the list. Click its name to select it.
  7. Save and review your commentary on the next screen. You cannot make changes here. When finished, click your username on the top right of the menu bar to go back to your profile.

View/Edit your Published Vid

  1. In your profile, the default view is to list “Your Clips,” which is a list of your vid files. You can click on any vid title to go to its viewing page. To edit the vid’s tech details, click “edit” on your profile next to the vid’s name. Note: If any vid is listed as “private” (i.e. not “published”), then it does not have a linked commentary and is therefore not visible to the public. See steps above for linking commentaries to vids.
  2. To edit a text commentary, first use the drop-down menu to select “Your Commentaries.” This will pull up a list of your commentaries. Click “edit” next to the name to go to the edit screen. After editing, you will be able to see the updated commentary itself. To see it on the vid viewing page, click on the vid name at the bottom under “Related Clips,” or just go back to your profile and click on the vid’s name.

Audio Commentaries

Critical Commons also allows you to add audio commentaries. To do this, you have to record an audio commentary on your computer and upload it as an MP3 file then link it to a clip the same way you link text commentaries. This can also be done via the mobile site using the voice memo feature in most smart phones.

Viewers can then play the clip either with or without the audio commentary. Here is a sample clip that has both audio and text commentaries: Blade Runner 3D photo scene

How to Cite Fan Works In Academic Contexts

This style guide was developed by Karen Hellekson, editor of Transformative Works and Cultures.

NOTE

General Information

This style is designed as a guideline only, and users should modify freely to fit their discipline and context. This guide provides bibliographic information that will help readers find a fan-created artwork. Some information that is usually provided in bibliographic contexts is not relevant and may be omitted. For example, fanzine presses often do not identify the city or the state, and thus they may simply be left off.

This style is designed to be lifted wholesale and placed elsewhere, so it provides context outside the fan world. If you are using an established style, like MLA, APA, or the Chicago Manual of Style, then you may modify it as needed to fit their protocols. For example, months may be abbreviated; the order Month 00, 2000, may be preferred; an identifier, such as "Web" or "Print," may be added at the end of the entry; or quotation marks may be removed and titles edited to sentence style (Cap then all lowercase) rather than headline style ("Cap and Cap").

The capitalization of the author's name will reflect her preference. Because many fan pseudonyms are only one word, or because they may include honorifics such as "Miss," or because the two words together may make a play on words, they ought to be treated as an unalterable single unit, and thus this style guide does not invert names. For fans who use a single-word pseudonym and whose preferences are unclear, the word ought to be capitalized both in text and in the bibliography, for ease of reading.

Fan texts may be considered to be gen, or general (that is, no romantic pairing), unless specifically indicated otherwise. Any term current in your fandom, such as ship, het, femslash, or femmeslash, may be used. If no date is provided, you may use n.d. (for "no date") and insert your estimation of the date (at least the year) in brackets. For hard-copy fanzines that are photocopied reprints, the original date is always provided, never the date the item was copied.

Note that the social sciences and humanities styles are identical except for the placement of the year. This styling reflects the most recent revision of the Chicago Manual of Style (16th ed.). As a rule, in humanities style, the year will always come last, unless there is a URL, in which case, the URL appears last.

If you are consulting a fanzine located in a library's special collections, the physical location of the document does not appear in the bibliography. Instead, it ought to appear in the paper's acknowledgments section, or in the body of the paper itself when describing the research methods.

Ethics

It is polite in the fan world to obtain the permission of the person who created the artwork you are citing and to use the URL that she prefers, which may lead not directly to the artwork.

In older fan fiction, authors published under their names, not under pseudonyms. Please err on the side of caution and redact the author's name to initials if you suspect this to be the case. Similarly, do not post listings of tables of contents of print fanzines in publicly available sites for these older texts unless you are the author or publisher.

To protect the privacy of fans and to retain the fan expectation of privacy even when citing publicly posted items, omit direct URLs to fan spaces, such as Dreamwidth.org and LiveJournal.com. Instead, provide an exact date and a general URL that includes the blog's username. However, if the author gives explicit permission to link, either in correspondence with you or via a "don't ask, just link" note on the item in question, a direct URL may be provided.

In the academic world, it is considered unethical to refer to e-mails or listserv posts without the permission of the writers of these texts. Such citation will appear cited parenthetically in text; they do not appear in bibliographic listings.

CITATION

Social sciences style (media studies)

Author Pseud, Never Inverted. 2000. "Name of Fan Artwork." Media Title [or Multifandom or Media Title/Media Title crossover] fan fiction. [or fan vid or manipulated artwork] Fullcharname/Fullcharname slash. [or het/ship] Italic Archive Name, 00 Month. [omit rest of date if not relevant] http://url_of_fanwork.com.

Author Pseud, Never Inverted. 2000. "Name of Short Story." In Name of Fanzine, edited by Fan Editor, 00-00. Media Title fan fiction. Fullcharname/Fullcharname slash. [or het/ship] Press Name. http://press.url. [Omit URL; or provide street address.]

Author Pseud, Never Inverted. 2000. "Name of Fan Vid." In Name of Compilation, edited by Fan Editor. Media Title fan vid. Fullcharname/Fullcharname slash. [or het/ship] Press Name. http://press.url. [Omit URL; or provide street address.]

Poster Pseud, Never Inverted. 2000. "Thread Name." Name of Fan Forum. Media Title fan forum. 00 Month. http://url_of_fanwork.com.

Author Pseud, Never Inverted. 2000. "Name of Meta Post." Media Title fan meta. [Omit media title if irrelevant.] Site Name, 00 Month. http://url_of_fanwork.com.

Humanities style (English)

Author Pseud, Never Inverted. "Name of Fan Artwork." Media Title [or Multifandom or Media Title/Media Title crossover] fan fiction. [or fan vid or manipulated artwork] Fullcharname/Fullcharname slash. [or het/ship] Italic Archive Name, 00 Month 2000. [omit month and day if not relevant] http://url_of_fanwork.com.

Author Pseud, Never Inverted. "Name of Short Story." In Name of Fanzine, edited by Fan Editor, 00-00. Media Title fan fiction. Fullcharname/Fullcharname slash. [or het/ship] Press Name, 2000. http://press.url. [Omit URL; or provide street address.]

Author Pseud, Never Inverted. "Name of Fan Vid." In Name of Compilation, edited by Fan Editor. Media Title fan vid. Fullcharname/Fullcharname slash. [or het/ship] Press Name, 2000. http://press.url. [Omit URL; or provide street address.]

Poster Pseud, Never Inverted. "Thread Name." Name of Fan Forum. Media Title fan forum. 00 Month 2000. http://url_of_fanwork.com.

Author Pseud, Never Inverted. "Name of Meta Post." Media Title fan meta. [Omit media title if irrelevant.] Site Name, 00 Month 2000. http://url_of_fanwork.com.

EXAMPLES

Social sciences style

Alexis Fegan Black. 1979. "Though This Be Madness." In Naked Times #2 (fanzine), edited by Alexis Fegan Black, 00-00. Star Trek fan fiction. Kirk/Spock slash.

Bill Koenig. 1996. "The Phoenix Affair." In Affairs to Remember (fanzine), 00-00. Man from U.N.C.L.E. fan fiction. Criterion Press.

bookshop. 2010. "I'm Done Explaining to People Why Fanfic Is Okay." Fan meta. LiveJournal, 3 May. http://bookshop.livejournal.com/1044495.html.

crysothemis. 2010. "Never Quite What It Looks Like (The Virtual Remix)." Stargate Atlantis fan fiction. John Sheppard/Rodney McKay slash. Archive of Our Own, 10 May. http://archiveofourown.org/works/85895.

counteragent. 2010. "Good Fourth Walls Make Good Neighbors." Supernatural fan comic. LiveJournal, 9 January. http://community.livejournal.com/supernaturalart.

Della Van Hise. 1979. "The Naked Truth." Editorial. In Naked Times #1, edited by Alexis Fegan Black, 00-00. Star Trek fanzine.

Gayle F. 1979. Illustration to "Though This Be Madness," by Alexis Fegan Black. In Naked Times #2 (fanzine), edited by Alexis Fegan Black, 00. Star Trek fan artwork. Kirk/Spock slash.

Lim. 2008. "Us." Multifandom fan vid. In Media Res, 1 February. http://mediacommons.futureofthebook.org/imr/2008/02/01/us-a-multivid-by-lim.

Mary Crawford. 2010. "Trust in Me." V fan vid. LiveJournal, 9 August. http://marycrawford.livejournal.com.

Naked Times #2. 1979. Edited by Alexis Fegan Black. Star Trek fanzine. Kirk/Spock slash.

Speranza. N.d. [16 May 2009]. "One-Way Ticket." Stargate Atlantis fan fiction. Rodney McKay/John Sheppard slash. Trickster.org. http://trickster.org/speranza/cesper/onewaytix.html.

SuzyQ. 2010. "What about Everything." In VividCon 2010 (convention compilation). Harry Potter fan vid.

Viktor von Domm. 2010. "Imperial Steam Punk." Dakka Dakka. Warhammer 4K fan forum. 6 November. http://www.dakkadakka.com/dakkaforum/posts/list/326515.page.

Humanities style

Alexis Fegan Black. "Though This Be Madness." In Naked Times #2 (fanzine), edited by Alexis Fegan Black, 00-00. Star Trek fan fiction. Kirk/Spock slash. 1979.

Bill Koenig. "The Phoenix Affair." In Affairs to Remember (fanzine), 00-00. Man from U.N.C.L.E. fan fiction. Criterion Press. 1996.

bookshop. "I'm Done Explaining to People Why Fanfic Is Okay." Fan meta. LiveJournal, 3 May 2010. http://bookshop.livejournal.com/1044495.html.

crysothemis. "Never Quite What It Looks Like (The Virtual Remix)." Stargate Atlantis fan fiction. John Sheppard/Rodney McKay slash. Archive of Our Own, 10 May 2010. http://archiveofourown.org/works/85895.

counteragent. "Good Fourth Walls Make Good Neighbors." Supernatural fan comic. LiveJournal, 9 January 2010. http://community.livejournal.com/supernaturalart.

Della Van Hise. "The Naked Truth." Editorial. In Naked Times #1, edited by Alexis Fegan Black, 00-00. Star Trek fanzine. 1979.

Gayle F. Illustration to "Though This Be Madness," by Alexis Fegan Black. In Naked Times #2 (fanzine), edited by Alexis Fegan Black, 00. Star Trek fan artwork. Kirk/Spock slash. 1979.

Lim. "Us." Multifandom fan vid. In Media Res, 1 February 2008. http://mediacommons.futureofthebook.org/imr/2008/02/01/us-a-multivid-by-lim.

Mary Crawford. "Trust in Me." V fan vid. LiveJournal, 9 August 2010. http://marycrawford.livejournal.com.

Naked Times #2. Edited by Alexis Fegan Black. Star Trek fanzine. Kirk/Spock slash. 1979.

Speranza. "One-Way Ticket." Stargate Atlantis fan fiction. Rodney McKay/John Sheppard slash. Trickster.org, n.d. [16 May 2009]. http://trickster.org/speranza/cesper/onewaytix.html.

SuzyQ. "What about Everything." In VividCon 2010 (convention compilation). Harry Potter fan vid. 2010.

Viktor von Domm. "Imperial Steam Punk." Dakka Dakka. Warhammer 4K fan forum. 6 November 2010. http://www.dakkadakka.com/dakkaforum/posts/list/326515.page.

How To Add Subtitles and Translations to Your Videos

This page was developed by Laura Shapiro.

There are a lot of reasons to add subtitles to a video:

  • They make the video accessible to people who are deaf or hard of hearing
  • They make it easier to track and understand the lyrics if it's a music video
  • They offer an alternative to posting lyrics alongside the video of a music video
  • They provide the opportunity to translate your video into any language

Fortunately, it's quite easy to subtitle a video. There are many different ways to do it, but perhaps the easiest is to use the handy tools at DotSub. One of the advantages of DotSub is that you can time each lyric to appear exactly when you want it to, so they can come in on the beat if you're making a music video and be fully integrated with the vid's aesthetics. And if you mark your video as "public", other DotSub users can add translations in any language, which is really pretty cool.

Creating the Subtitles

  1. Register with DotSub and upload your video there.
  2. Follow the tutorial to add timestamped subtitles to your video in any language. This is super-super easy and it only takes about 10 minutes to subtitle a 3-minute video.
  3. Mark your translation/subtitles as complete. You can then test them on DotSub.
  4. If you want to use DotSub as your video host, you're done. Link to the video there, or use DotSub's embed code to embed the video wherever you want.

If you want to add the subtitles to your videos on other streaming services or for download, read on.

Add Subtitles to Videos on Other Streaming Hosts

At the end of the subtitle creation process above, DotSub provides you with a SubRip subtitle file (.srt). This file can be used on a number of different streaming sites, including YouTube and Blip.tv. It can also be offered for download along with a video. The .srt file can also be used to create a subtitle track for a DVD.

Add subtitles to a video on Blip.tv:

  1. Download the .srt file from DotSub.
  2. Upload your video to Blip.tv. When configuring your upload, click "Add additional format/captioning", browse to select your .srt file, and select the language from the drop-down.
  3. Upload the .srt file.
  4. Done! You can now use Blip's embed code to have your subtitled video appear wherever you want — your journal, your website, etc. Clicking the "CC" icon in the Blip.tv player turns the subtitles on.

Add subtitles to a video on YouTube:

  1. Download the .srt file from DotSub.
  2. Upload your video to YouTube. When configuring your upload, click "Captions".
  3. Click "Add a Caption Track" and browse to select your .srt file. Select the language from the drop-down, and make sure "Caption file" is selected, not "Transcript file".
  4. Upload the .srt file.
  5. Done! You can now use YouTube's embed code to have your subtitled video appear wherever you want — your journal, your website, etc. Clicking the "CC" icon in the YouTube player turns the subtitles on.

The process is similar for many other streaming sites.

Offer Subtitles for Downloaded Videos

VLC will play a video with subtitles as long as the video file and the subtitle file are in the same directory (folder).

  1. Download the .srt file from DotSub.
  2. Rename the .srt file so it has the exact same name as your video. For instance, "MyVideo.avi" and "MyVideo.srt".
  3. Make a folder with both files in it.
  4. Use Win-Zip or the Mac OS's "Make archive" feature to make a .zip archive of the folder.
  5. Offer this .zip file for download, and you're done. You may want to provide instructions to viewers about keeping the two files together.

Alternatives to DotSub

Captioning is taking off and there are now several alternatives to DotSub. The best seems to be Universal Subtitles, which works the same way as DotSub but has a better interface. However, with Universal Subtitles one does not necessarily need to re-upload the video.

Fan Video Bibliographies

This bibliography was produced on August 17, 2011 from a shared bibliography maintained by OTW at Zotero and will be updated roughly twice a year.

If you know of references that are not on this list, please contact us. We welcome scholarly references and articles about any form of fan video, including but not limited to: fan vids, anime music videos, fan trailers, machinima, fan filmmaking, and multimedia fan art.

Blankinship, E., B. Smith, H. Holtzman, and W. Bender. “Closed caption, open source.” BT Technology Journal 22, no. 4 (2004): 151–159.

Boulaire, Christele, and Guillaume Hervet. “Creativity chains and playing in the crossfire on the video-sharing site YouTube.” Journal of Research in Interactive Marketing 4, no. 2 (2010): 111-141.

Bradford, D., and J. Hull. “Another Blinding Documentary on Channel 4?” Journal of Visual Culture 10, no. 1 (April 2011): 125-133.

Bradshaw, Julia. “Borrowed and reborn.” Entrepreneur.com, August 2009. http://www.entrepreneur.com/tradejournals/article/205863249.html.

Burgess, Jean, and Joshua Green. YouTube: Online Video and Participatory Culture. Polity, 2009.

Busse, Kristina. “Affective Aesthetics.” The Symposium Blog, November 23, 2010. http://symposium.transformativeworks.org/2010/11/affective-aesthetics/.

———. “Supernatural ‘At the Movies’: Context, canon, and genre in AU vids.” In Media Res: A Media Commons Project, November 16, 2009. http://mediacommons.futureofthebook.org/imr/2009/11/16/supernatural-movi....

———. “‘Us’ - A multivid by Lim.” In Media Res: A Media Commons Project, February 1, 2008. http://mediacommons.futureofthebook.org/imr/2008/02/01/us-a-multivid-by-lim.

———. “vidding intro via imeem.” ephemeral traces, June 28, 2007. http://kbusse.wordpress.com/2007/06/28/vidding-intro-via-imeem/.

Carter, K. R, and C. Penley. “Freestyle, Flow, and Fanculture: Mapping the Technical Mediation of Fan Communities” (N.d.).

Coppa, Francesca. “A fannish taxonomy of hotness.” Cinema Journal 48, no. 4 (2009): 107-113.

———. “Celebrating Kandy Fong: Founder of fannish music video.” In Media Res: A Media Commons Project, November 19, 2007. http://mediacommons.futureofthebook.org/imr/2007/11/19/celebrating-kandy....

———. “DIY Media 2010: Fan Vids (Part Four).” Confessions of an Aca-Fan, December 1, 2010. http://henryjenkins.org/2010/12/diy_media_2010_fan_vids_part_f.html.

———. “DIY Media 2010: Fan Vids (Part One).” Confessions of an Aca-Fan, November 24, 2010. http://henryjenkins.org/2010/11/diy_media_2010_fan_vids.html.

———. “DIY Media 2010: Fan Vids (Part Three).” Confessions of an Aca-Fan, November 29, 2010. http://henryjenkins.org/2010/11/diy_media_2010_fan_vids_part_t_1.html.

———. “DIY Media 2010: Fan Vids (Part Two).” Confessions of an Aca-Fan, November 26, 2010. http://henryjenkins.org/2010/11/diy_media_2010_fan_vids_part_t.html.

———. “‘Mission Report’: The medium is the message.” In Media Res: A Media Commons Project, November 16, 2009. http://mediacommons.futureofthebook.org/imr/2009/11/16/mission-report-me....

———. MIT TechTV – OTW Fanvidding series: What is Vidding?, n.d. http://techtv.mit.edu/tags/1189-library/videos/1246-otw-fanvidding-serie....

———. “‘Pressure’: A metavid by the California Crew.” In Media Res: A Media Commons Project, January 28, 2008. http://mediacommons.futureofthebook.org/imr/2008/01/28/pressure-metavid-....

———. “Vidding.” In Women in Science Fiction and Fantasy, 313-315. Greenwood Publishing Group, 2009.

———. “Women, ‘Star Trek,’ and the early development of fannish vidding.” Transformative Works and Cultures 1 (2008). http://journal.transformativeworks.org/index.php/twc/article/viewArticle/44.

Cornblatt, M. “Censorship as Criticism: Performance Art and Fair Use in Virtual Territory.” Journal of Visual Culture 10, no. 1 (April 2011): 74-79.

Crypto. “I have heard the mermaids singing. So far, though, no suckling pigs or stray dogs yet.” Dreamwidth Journal. Frameshift, n.d. http://crypto.dreamwidth.org/67495.html.

Cupitt, Cathy. “Nothing but Net: When cultures collide.” Transformative Works and Cultures 1 (2008). http://journal.transformativeworks.org/index.php/twc/article/viewArticle....

Dellario, F. R. “The Future of Machinima as a Professional Animation Resource and its Growth as Real-Time Animation in Virtual Worlds.” Journal of Visual Culture 10, no. 1 (April 2011): 89-92.

Falkenstein, J. “Machinima as a Viable Commercial Medium.” Journal of Visual Culture 10, no. 1 (April 2011): 86-88.

Fosk, K. “Machinima is Growing Up.” Journal of Visual Culture 10, no. 1 (April 2011): 25-30.

Freund, Katharina. “I’m glad we got burned, think of all the things we learned‘: Fandom conflict and context in Counteragent’s ’Still Alive.” Transformative Works and Cultures 4 (2010). http://journal.transformativeworks.org/index.php/twc/article/viewArticle....

Furman, Charlie. “Dueling with Censorship: Yu-Gi-Oh: The Abridged Series’ Pastiche of Dubbing”, n.d. http://angelingo.usc.edu/index.php/humanities/dueling-with-censorship-yu....

Gayeton, D. “Molotov Alva’s Further Adventures: A Conversation Which Could’ve Happened (But Never Did).” Journal of Visual Culture 10, no. 1 (April 2011): 93-99.

Genealogy of Vidding with Francesca Coppa - “24/7 a DIY Video Summit”, 2009. http://www.youtube.com/watch?v=aYdllH7jZxg&amp;feature=youtube_gdata_player.

Hackleman, C. “Where Were You the Day Onyxia Died?” Journal of Visual Culture 10, no. 1 (April 2011): 38-41.

Hancock, H. “Machinima: Limited, Ghettoized, and Spectacularly Promising.” Journal of Visual Culture 10, no. 1 (April 2011): 31-37.

Harwood, T. “Towards a Manifesto for Machinima.” Journal of Visual Culture 10, no. 1 (April 2011): 6-12.

Hill, Kathryn. “‘Easy to Associate Angsty Lyrics with Buffy’: An Introduction to a Participatory Fan Culture: Buffy the Vampire Slayer Vidders, Popular Music, and the Internet.” In Buffy and Angel Conquer the Internet, 172 - 96. McFarland, 2009.

Hill, Logan. “Q&A With Ultimate Fan Luminosity - Online Videos 2007 -- New York Magazine”, n.d. http://nymag.com/movies/features/videos/40622/.

Horwatt, Eli. “A Taxonomy of Digital Video Remixing: Contemporary Found Footage Practice on the Internet.” Scope: an online journal of film and tv studies June, no. 17 (2010). http://www.scope.nottingham.ac.uk/cultborr/chapter.php?id=8.

Ito, Mizuko. “Machinima in a Fanvid Ecology.” Journal of Visual Culture 10, no. 1 (01 2011): 51-54.

Itō, Mizuko. “The rewards of non–commercial production: Distinctions and status in the anime music video scene.” First Monday 15, no. 5 (2010). http://www.uic.edu/htbin/cgiwrap/bin/ojs/index.php/fm/article/viewArticl....

Jenkins, Henry. “DIY Media 2010: Anime Music Videos (Part Three)”, December 17, 2010. http://henryjenkins.org/2010/12/diy_media_2010_anime_music_vid_2.html.

———. “DIY Media 2010: Anime Music Videos (Part One)”, December 13, 2010. http://henryjenkins.org/2010/12/diy_media_2010_anime_music_vid.html.

———. “DIY Media 2010: Anime Music Videos (Part Two)”, December 15, 2010. http://henryjenkins.org/2010/12/diy_media_2010_anime_music_vid_1.html.

———. “Fan Vidding: A Labor Of Love (Part One).” Confessions of an Aca-Fan, December 5, 2008. http://henryjenkins.org/2008/12/fanvidding.html.

———. “Fan Vidding: A Labor Of Love (Part Two).” Confessions of an Aca-Fan, December 8, 2008. http://henryjenkins.org/2008/12/in_many_ways_the_emergence.html.

———. “How to watch a fan-vid.” Confessions of an Aca-Fan, September 18, 2006. http://www.henryjenkins.org/2006/09/how_to_watch_a_fanvid.html.

———. “How YouTube Became OurTube.” Confessions of an Aca-Fan, October 18, 2010. http://henryjenkins.org/2010/10/how_youtube_became_ourtube.html.

———. “‘Layers of meaning’: Fan music video and the poetrics of poaching.” In Textual Poachers. Routledge, 1992.

———. Textual Poachers: Television Fans and Participatory Culture. Studies in Culture and Communication. Routledge, 1992.

———. “Vidder Luminosity Profiled in New York Magazine.” Confessions of an Aca-Fan, November 20, 2007. http://henryjenkins.org/2007/11/vidder_luminosity_profiled_in.html.

———. “Vidding Kung Fu Panda in China.” Confessions of an Aca-Fan, March 10, 2010. http://henryjenkins.org/2010/03/vidding_kung_fu_panda_in_china.html.

———. “What the Chinese Are Making of Avatar.” Confessions of an Aca-Fan, March 12, 2010. http://henryjenkins.org/2010/03/avatar_and_chinese_fan_culture.html#comm....

———. “What’s Behind ‘The Glass’?” Confessions of an Aca-Fan, May 8, 2008. http://henryjenkins.org/2008/05/the_glass.html.

Jones, R. “Does Machinima Really Democratize?” Journal of Visual Culture 10, no. 1 (April 2011): 59-65.

Joshua Diltz, J. “journal of visual culture: Digital Voices.” Journal of Visual Culture 10, no. 1 (April 2011): 55-58.

Karpovich, A. I. “Reframing Fan Videos.” In Music, sound and multimedia: from the live to the virtual, 17-28, 2007.

Kirschner, F. “Machinima’s Promise.” Journal of Visual Culture 10, no. 1 (April 2011): 19-24.

Kjono, Jacqueline. “A Day in the Life: Using the Music - A ‘Dead Zone’ vid by Shalott and Speranza.” In Media Res: A Media Commons Project, January 30, 2008. http://mediacommons.futureofthebook.org/imr/2008/01/30/a-day-in-the-life....

Klink, Madeline LeNore. “Laugh out loud in real life : women’s humor and fan identity”, n.d. http://dspace.mit.edu/handle/1721.1/59730.

Knobel, Michele, and Lankshear, Colin. “Remix: The Art and Craft of Endless Hybridization.” Journal of Adolescent & Adult Literacy; 52 (2008): 22-33.

Kraus, K. “‘A Counter-Friction to the Machine’: What Game Scholars, Librarians, and Archivists Can Learn from Machinima Makers about User Activism.” Journal of Visual Culture 10, no. 1 (April 2011): 100-112.

Kuhn, Virginia. “The YouTube Gaze: Permission to Create?” Enculturation 7 (2010). http://enculturation.gmu.edu/the-youtube-gaze.

Lamerichs, N. “It’s a small world after all: Metafictional fan videos on YouTube.” Cultures of Arts, Science and Technology 1, no. 1 (2008): 52-60.

LantisEscudo. “The History of the Org.” Forum. AnimeMusicVideos.org, December 10, 2008. http://www.animemusicvideos.org/forum/viewtopic.php?f=2&amp;t=91946&amp;....

Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid Economy. Penguin (Non-Classics), 2009.

Lipton, Jacqueline D. “Copyright’s Twilight Zone: Digital Copyright Lessons from the Vampire Blogosphere.” SSRN eLibrary (n.d.). http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1574460##.

Lothian, Alexis. “Living in a den of thieves: Fan video and digital challenges to ownership.” Cinema Journal 48, no. 4 (2009): 130–136.

Lowood, H. “A ‘Different Technical Approach’? Introduction to the Special Issue on Machinima.” Journal of Visual Culture 10, no. 1 (April 2011): 3-5.

———. “Perfect Capture: Three Takes on Replay, Machinima and the History of Virtual Worlds.” Journal of Visual Culture 10, no. 1 (April 2011): 113-124.

Manovich, Lev. “The Practice of Everyday (Media) Life: From Mass Consumption to Mass Cultural Production?” Critical Inquiry 35, no. 2 (January 1, 2009): 319-331.

McCracken, Allison. “‘A Trek for our time’: The continuing relevance and resonance of ‘Star Trek: Deep Space Nine’.” In Media Res: A Media Commons Project, March 19, 2007. http://mediacommons.futureofthebook.org/imr/2007/03/19/a-trek-for-our-ti....

Methenitis, M. “Opportunity and Liability: The Two Sides of Machinima.” Journal of Visual Culture 10, no. 1 (April 2011): 80-85.

Micole. “Women’s Art and ‘Women’s Work’.” Ambling Along the Aqueduct, August 29, 2007. http://aqueductpress.blogspot.com/2007/08/womens-art-and-womens-work.html.

Middleton, Kim. “Alternate Universes on Video: Ficvid and the Future of Narrative.” In Writing and the Digital
Generation: Essays on New Media Rhetoric, 117-131. Jefferson, NC: McFarland, 2010.

Milstein, Dana. “Case Study: Anime Music Videos.” In Music, Sound and Multimedia: From the Live to the Virtual, 29-47. Edinburgh: Edinburgh University Press, 2007.

Mittell, Jason. “Understanding vidding.” Just TV, November 7, 2007. http://justtv.wordpress.com/2007/11/21/understanding-vidding/.

Monaghan, Whitney. “Identity scavengers: Queer girl fandom and ‘South of Nowhere’.” Jump Cut: A Review of Contemporary Media 52, no. Summer (2010). http://www.ejumpcut.org/currentissue/monaghanIndentityScav/text.html.

Ng, Eve. “Reading the Romance of Fan Cultural Production: Music Videos of a Television Lesbian Couple.” Popular Communication: The International Journal of Media and Culture 6, no. 2 (2008): 103.

Nideffer, R. F. “Eight Questions (and Answers) about Machinima.” Journal of Visual Culture 10, no. 1 (April 2011): 66-73.

Nitsche, M. “A Look Back at Machinima’s Potential.” Journal of Visual Culture 10, no. 1 (April 2011): 13-18.

Pandey, Ashish. “Definitions of Vidder, Vidding, vid-making, Vid-fic, Vids.” In Dictionary of Fiction, 273. Gyan Books, 2005.

Penrod, Diane. “Writing and rhetoric for a ludic democracy: YouTube, fandom, and participatory pleasure.” In Writing and the Digital Generation: Essays on New Media Rhetoric, 141-151. Jefferson, NC: McFarland, 2010.

Perez-Gomez, Miguel. “Fan-Made Vids: Una introducción al vidding, los song vids, el recut, los mash-ups, el fan edit y otros artefactos audiovisuales.” Text.Serial.Journal, 2009. http://fcom.us.es/revista-e/index.php/Admira/article/viewArticle/46.

Pitzer, Juli Stone. “Vids, Vlogs and Blogs: The Participatory Culture of Smallville's Digital Fan." In Lincoln Geraghty, ed. The Smallville Chronicles: Critical Essays on the Television Series, Lanham, MD: Scarecrow Press, 2011, pp. 109-128.

Pohnert, Vlad. “History of AMV.” Forum. AnimeMusicVideos.org, January 7, 2005. http://www.animemusicvideos.org/forum/viewtopic.php?f=2&amp;t=44607&amp;....

Russo, J. L. “‘Battlestar Redactica’: Visual revision of narrative error.” In Media Res: A Media Commons Project, November 17, 2009. http://mediacommons.futureofthebook.org/imr/2009/11/17/battlestar-redact....

———. “User-Penetrated Content: Fan Video in the Age of Convergence.” Cinema Journal 48, no. 4 (2009): 125–130.

Santo, Avi. “Make a fan vid for MTV and win cool prizes: Participatory pleasures and profits converge.” In Media Res: A Media Commons Project, May 11, 2005. http://mediacommons.futureofthebook.org/imr/2007/05/11/make-a-fan-vid-fo....

Sarkeesian, Anita. “‘Remixing Pop Culture’ event videos.” Feminist Frequency: Conversations With Pop Culture, August 11, 2010. http://www.feministfrequency.com/2010/08/remixing-pop-culture-event-videos/.

Sexton, Jamie. Music, sound and multimedia:from the live to the virtual. Edinburgh University Press, 2007.

Shannon, Tashery. “Move Over, MTV! Here Come the Song Vids! Fan Music Videos.” Strange New Worlds, October 1993. http://web.archive.org/web/20080215174645/http://www.strangenewworlds.co....

Springall, Dana. “Popular music meets Japanese cartoons: A history of the evolution of anime music videos”. Birmingham, Ala.: Samford University, 2004.

starlady. “AMVs versus vids (Can o’ worms? Check! Can opener? Check! Let’s rock and roll!).” Blog, April 10, 2010. http://starlady.dreamwidth.org/308172.html.

Stasi, Mafalda. “‘So Damn Hot’: A ‘From Eroica with Love’ vid by Diana Williams.” In Media Res: A Media Commons Project, November 15, 2009. http://mediacommons.futureofthebook.org/imr/2009/11/15/so-damn-hot-eroic....

Stein, L. E. “‘What you don’t know’:‘ Supernatural’ fan vids and millennial theology.” Transformative Works and Cultures 4 (2010).

Stein, Louisa. “‘Bricks’: A ‘Supernatural’ vid by Luminosity.” In Media Res: A Media Commons Project, January 31, 2008. http://mediacommons.futureofthebook.org/imr/2008/01/31/bricks-a-supernat....

Stern, E. “Massively Multiplayer Machinima Mikusuto.” Journal of Visual Culture 10, no. 1 (April 2011): 42-50.

Stevens, E. C. “Chasing semiotic rabbits: The proliferation of secondary meaning in‘ Doctor Who’ fanvids”. YORK UNIVERSITY, 2011.

Thornton, N. “YouTube: transnational fandom and Mexican divas.” Transnational Cinemas 1, no. 1 (2010): 53–67.

Trombley, S. “Visions and Revisions: Fanvids and Fair Use.” Cardozo Arts & Ent. LJ 25 (2007): 647.

Turk, Tisha. “Metalepsis in Fan Vids and Fan Fiction.” In Metalepsis in Popular Culture. Berlin: Walter de Gruyter, 2010.

———. “‘New Slang’: Happily ever after.” In Media Res: A Media Commons Project, November 20, 2009. http://mediacommons.futureofthebook.org/imr/2009/11/19/new-slang-happily....

———. “‘Not Only Human’: An ‘X-Files’ vid by Killa and Laura Shapiro.” In Media Res: A Media Commons Project, January 29, 2008. http://mediacommons.futureofthebook.org/imr/2008/01/29/not-only-human-x-....

———. “‘Your Own Imagination’: Vidding and Vidwatching as Collaborative Interpretation.” Film & Film Culture 5 (2010): 88-110.

Tushnet, Rebecca. “Creating in the Shadow of the Law: Media Fans and Intellectual Property.” In Intellectual Property and Information Wealth: Copyright and related rights. Vol. One. Greenwood Publishing Group, 2007.

———. “Hybrid Vigor: Mashups, Cyborgs, and Other Necessary Monsters.” Georgetown Law Faculty Publications and Other Works (January 25, 2010). http://scholarship.law.georgetown.edu/facpub/168.

———. “I Put You There: User-Generated Content and Anticircumvention.” Vanderbilt Journal of Entertainment and Technology Law 12, no. 4 (2010): 889.

———. “Payment in Credit: Copyright Law and Subcultural Creativity.” SSRN eLibrary (n.d.). http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1010395.

Ulaby, Neda. “Vidders Talk Back To Their Pop-Culture Muses : NPR.” All Things Considered. National Public Radio, February 25, 2009. http://www.npr.org/templates/story/story.php?storyId=101154811.

Walker, Jesse. “Remixing Television: Francesca Coppa on the vidding underground.” Reason Magazine, 2008. http://reason.com/archives/2008/07/18/remixing-television.

White, Michele. The body and the screen: theories of Internet spectatorship. MIT Press, 2006.

Wikipedia. “Vidding.” Wikipedia, the free encyclopedia, N.d. http://en.wikipedia.org/wiki/Vidding.

Williams, Kathleeen. “Never Coming to a Theatre near You: Recut Film Trailers” 12, no. 2 (2009). http://www.journal.media-culture.org.au/index.php/mcjournal/article/view....

Young, Clive. Homemade Hollywood: Fans Behind the Camera. Illustrated edition. Continuum, 2008.

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