Citations:vidder

English citations of vidder

Noun: "a person who creates fanvids"

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• 2005, Jo Storm, Approaching the Possible: The World of Stargate SG-1, ECW Press (2005), →ISBN, page 106:

  “It's a fandom where everyone can be involved in some context or another,” says Meesh, “no matter whether they are a writer, reader, vidder, or someone with strong opinions on the mythology or politics of the show.”

• 2006, Kristina Busse & Karen Hellekson, "Introduction: Work in Progress", in Fan Fiction and Fan Communities in the Age of the Internet: New Essays (eds. Karen Hellekson & Kristina Busse), McFarland & Company (2006), →ISBN, page 12:

  Vidders create fan video artworks, short videos in which scenes from the canon source are set against a particular musical piece carefully chosen for its thematic meaning.

• 2006, Rochelle Mazar, "Slash Fiction/Fanfiction", in The International Handbook of Virtual Learning Environments (eds. Joel Weiss, Jason Nolan, Jeremy Hunsinger, & Peter Pericles Trifonas), Springer (2006), →ISBN, page 1148:

  Old school vidders created these forms of post-modern art using a VCR; today more and more vids are being created using video software such as Adobe premiere and imovie.

• 2007, Angelina I. Karpovich, "Reframing Fan Videos", in Music, Sound and Multimedia: From the Live to the Virtual (ed. Jamie Sexton), Edinburgh University Press (2007), →ISBN, page 20:

  Instead of video recorders, vidders now select their source clips from DVDs and from television shows available for download via both official sources and peer-to-peer sharing networks.

• 2007, Rebecca Tushnet, "Creating in the Shadow of the Law: Media Fans and Intellectual Property", in Intellectual Property and Information Wealth: Copyright and Related Rights (ed. Peter K. Yu), Praeger (2007), →ISBN, page 256:

  Later, "vidders" worked with multiple VCRs to cut footage of shows together and add music.

• 2009, Kathryn Hill, "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: Essays on Online Fandom (ed. Mary Kirby-Diaz), McFarland & Company (2009), →ISBN, page 174:

  To quote one vidder: “Due to the nature of our fannish pursuits, vidders tend to be a fairly conservative bunch and we try not to push our work out too far for fear of getting a cease and desist letter” (Vidder A, 5 January 2004).

• 2009, Women in Science Fiction and Fantasy (ed. Robin Anne Reid), Greenwood Press (2009), →ISBN, pages 313-314:

  Only once all the clips had been recorded was the audio track finally laid down, so a vidder who wanted to edit to the beat or have internal motion […]

• 2010, Kim Middleton, "Alternate Universes on Video: Fanvid and the Future of Narrative", in Writing and the Digital Generation: Essays on New Media Rhetoric (ed. Heather Urbanski), McFarland & Company (2010), →ISBN, page 121:

  In his desire to differentiate vidders' multi-layered work from MTV's commercial, iconographic aesthetic, Jenkins asserts: “fan video is first and foremost a narrative art” (233).

• 2010, Rhonda V. Wilcox, "The Aesthetics of Cult Television", in The Cult TV Book (ed. Stacey Abbott), I.B.Tauris Publishers (2010), →ISBN, page 39:

  What about the work of vidders, assembling clips of the series with musical accompaniment to create a new text?

• 2011, Patricia Aufderheide, "Copyright, Fair Use, Social Networks", in A Networked Self: Identity, Community, and Culture on Social Network Sites (eds. Zizi Papacharissi), Routledge (2011), →ISBN, page 278:

  Many bloggers, online video creators, vidders, and the scholars who studied them feel strongly that they should be permitted to do what they like with copyrighted material, because they are not making money from it.

• 2011, Patricia Aufderheide & Peter Jaszi, Reclaiming Fair Use: How to Put Balance Back in Copyright, University of Chicago Press (2011), →ISBN, page 74:

  The Organization for Transformative Works was founded in 2007, to help fan fiction creators and vidders understand how to use copyright.

• 2011, Jennifer Gillan, Television and New Media: Must-Click TV, Routledge (2011), →ISBN, page 259 (footnote):

  Angelina I. Karpovich offers an interesting take on the role of music in fan videos, examining the way sound inflects the vidder's point of view on characters and relationships.

• 2011, Eve Ng, "Reading the Romance of Fan Cultural Production: Music Videos of a Television Lesbian Couple", in Gender, Race, and Class in Media: A Critical Reader (eds. Gail Dines & Jean M. Humez), SAGE Publications (2008), →ISBN, page 560:

  In a similar vein, another vidder, who made several Lianca videos, wrote that “I would just hear a song and start seeing clips. I would be driving down the road and it would just hit.”

• 2011, Aaron Schwabach, Fan Fiction and Copyright: Outsider Works and Intellectual Property Protection, Ashgate (2011), →ISBN, page 84:

  To make a vid, a vidder must obtain video clips. These can be recorded from television or obtained from other vidders, but often the easiest way to obtain them is from a DVD.

• 2011, Juli Stone Pitzer, "Vids, Vlogs, and Blogs: The Participatory Culture of Smallville's Digital Fan", in The Smallville Chronicles: Critical Essays on the Television Series (ed. Lincoln Geraghty), Scarecrow Press (2011), →ISBN, page 122:

  Francesca Coppa, a vidder and professor at Muhlenberg College, has written about the early development of vidding in her article “Women, Star Trek, and the Early Development of Fannish Vidding.”

• 2011, Tisha Turk, "Metalepsis in Fan Videos and Fan Fiction", in Metalepsis in Popular Culture (eds. Karin Kukkonen & Sonja Klimek), De Gruyter (2011), →ISBN, page 91:

  In one small but well-established subgenre of vids, known within the community as metavids, vidders tell stories or make arguments not about a particular source text but about fans, fandom, or fannish activities; […]

• 2012, Sibylle Machat, "'Prince Arthur Spotted Exiting Buckingham Palace!": The Re-Imagined Worlds of Fanfic Trailers", in Film Remakes, Adaptations and Fan Productions: Remake/Remodel (eds. Kathleen Loock & Constantine Verevis), Palgrave Macmillan (2012), →ISBN, page 201:

  Add to this the complexity that not all fanfiction stories are based on fandoms that have filmed materials available, or that crossovers frequently combine fictional universes of which only one provides the vidder with visual material (in the case of a novel universe being crossed with a television show universe), and it is easy to see that both the complexities the vidder has to deal with, and the reinterpretatory effort the viewer is asked to make, can be profound.

• 2012, Leshu Torchin, "Anne Frank's Moving Images", in Anne Frank Unbound: Media, Imagination, Memory (eds. Barbara Kirshenblatt-Gimblett & Jeffrey Shandler), Indiana University Press (2012), →ISBN, page 131:

  Cut in between these images of Hannah Taylor-Gordon as Anne are shots of Nick Audsley as Peter looking, implicitly, at her; some of the edits are retained from the original miniseries, but others are the vidder's own invention.