Notes
1. See, for instance, C. Lee Harrington and D. Bielby, Soap Fans: Pursuing Pleasure and Making Meaning in Everyday Life (Philadelphia: Temple University Press, 1995); C. Harris and A. Alexander, Theorizing fandom: Fans, Subculture and Identity (Cresskill, NJ: Hampton Press, 1998); Nancy Baym, Tune in, Log on: Soaps, Fandom, and Online Community (Thousand Oaks, CA: Sage, 2000); E. Saxey, “Staking a Claim: The Series and its Slash Fan-fiction” in Reading the Vampire Slayer: The Unofficial Critical Companion to “Buffy” and “Angel,” ed. Roz Kaveny (New York: Tauris Park, 2001), 187–210. J. Gray, C. Sandvoss, and C. Lee Harrington, eds, Fan Audiences: Cultural Consumption and Identities in a Mediated World (New York: New York University Press, 2007); M. Deuze, C. B. Martin, and C. Allen, “The Professional Identity of Gameworkers,” Convergence: The International Journal of Research into New Media Technologies 13,4 (2007): 335–53.
2. A. Bruns, Blogs, Wikipedia, Second Life and Beyond: From Production to Produsage (New York: Peter Lang, 2008). For more critical accounts of this trend see S. M. Peterson, “Loser Generated Content: From Participation to Exploitation,” First Monday 13 (2008); and K. Jarrett, “Interactivity is Evil! A Critical Investigation of Web 2.0” in M. Zimmer, ed, “Critical Perspectives on Web 2.0,” First Monday 13 (2008), http://firstmonday.org/htbin/cgiwrap/bin/ojs/index.php/fm/issue/view/263/showToc (accessed March 8, 2009).
3. T. Terranova, “Free Labour: Producing Culture for the Digital Economy,” Social Text 18 (2000): 33–58.
4. M. Andrejevic, “Watching Television Without Pity: The Productivity of Online Fans,” Television & New Media 9 (2008): 24–46.
5. See also M. Andrejevic, Reality TV: The Work of Being Watched (Lanham, MD: Rowman & Littlefield, 2004); M. Andrejevic, I-Spy: Surveillance and Power in the Interactive Era (Lawrence: University of Kansas Press, 2007).
6. Terranova, “Free Labour,” 38.
7. H. Jenkins, Textual Poachers: Television Fans and Participatory Cultures (London: Routledge, 1992); J. Tulloch and H. Jenkins, Science Fiction Audiences: Watching “Doctor Who” and “Star Trek” (New York: Routledge, 1995); C. Penley, NASA/Trek: Popular Science and Sex in America (New York: Verso, 1997); H. Jenkins, T. McPherson, and J. Shattuc, eds, Hop on Pop: The Politics and Pleasures of Popular Culture (Durham, NC: Duke University Press, 2003); M. Hills, Fan Cultures (London: Routledge, 2002).
8. M. Hills, Fan Cultures, xii.
9. M. Hardt, “Introduction: Laboratory Italy,” in Radical Thought in Italy: A Potential Politics, ed. M. Hardt & P. Virno (Minneapolis: University of Minnesota Press, 1996), 4; M. Hardt and A. Negri, Empire (Cambridge: London, 2000).
10. M. Lazzarato, “Immaterial Labour” in Radical Thought in Italy: A Potential Politics, ed. M. Hardt & P. Virno (Minneapolis: University of Minnesota Press, 1996), 133; cf. M. Hardt, “Affective Labor,” Boundary 2 26,2 (1999): 89–100; P. Bourdieu, Distinction: A Social Critique of the Judgment of Taste, trans. R. Nice (Cambridge, MA: Harvard University Press, 1984).
11. U. Huws, The Making of a Cybertariat: Virtual Work in a Real World, Monthly Review Press, 2003); L. Fortunati, The Arcane of Reproduction, trans. H. Creek, ed. J. Fleming (New York: Autonomedia, [1981] 1995).
12. L. Fortunati, “Immaterial Labour and its Machinization,” Ephemera: Theory and Politics in Organization 7 (2007): 139, 144.
13. See also J. K. Gibson-Graham, The End of Capitalism (As We Knew It): A Feminist Critique of Political Economy (Oxford: Blackwell, 1996).
14. A. R. Hochschild, The Managed Heart: Commercialization of Human Feeling (Berkley: University of California Press, 1989).
15. E. Dowling, R. Nunes, and B. Trott, “Immaterial and Affective Labour: Explored,” Ephemera: Theory and Politics in Organization 7 (2007), http://www.ephemeraweb.org/journal/7-1/7-1index.htm (accessed March 8, 2009); J. Caldwell, Production Culture: Industrial Reflexivity and Critical Practice in Film and Television (Durham, NC: Duke University Press, 2008); D. Hesmondhalgh and S. Baker, “Creative Work and Emotional Labour in the Television Industry,” Theory, Culture & Society 25 (2008): 97–118; V. Mayer, “Guys Gone Wild? Soft-Core Video Professionalism and New Realities in Television Production,” Cinema Journal 47 (2008): 97–116.
16. For instance, A. McRobbie, “Clubs to Companies: Notes on the Decline of Political Culture in Speeded Up Creative Worlds,’ Cultural Studies 16 (2002): 516–31; A. Ross, No-Collar: The Humane Workplace and its Hidden Costs (New York: Basic Books, 2002); R. Gill, “Cool, Creative and Egalitarian? Exploring Gender in Project-Based New Media Work in Europe,” Information, Communication and Society 5 (2002): 70–89; R. Gill, Technobohemians or the New Cybertariat? New Media Work in Amsterdam a Decade After the Web (Amsterdam: Institute of Network Cultures, 2007).
17. M. Banks, The Politics of Cultural Work (Basingstoke: Palgrave, 2007); L. Boltanski and E. Chiapello, The New Spirit of Capitalism, trans Gregory Elliot (London: Verso, 2005).
18. A. Ross, Low Pay, High Profile (New York: Basic Books, 2004).
19. M. Gregg, “Function Creep: Communication Technologies and Anticipatory Labour in the Information Workplace,” New Media & Society (forthcoming).
20. See M. Gregg, “Banal Bohemia: Blogging from the Ivory Tower Hotdesk,” Feature Report, Convergence: The Journal of Research into New Media Technologies (forthcoming); M. Gregg, “Freedom to Work: The Impact of Wireless on Labour Politics” in Media International Australia, Special Issue on Wireless Technologies and Cultures (November, 2007).
21. L. Berlant, “After the Good Life, the Impasse: Human Resources, Time Out, and the Precarious Present,” Public Lecture, University of Melbourne, August, 2008; R. Gill and A. Pratt, “In the Social Factory?: Immaterial Labour, Precariousness and Cultural Work,” Theory, Culture & Society 25 (2008): 1–30.
22. M. Gregg, Cultural Studies’ Affective Voices (London: Palgrave, 2006).