Abstract
The Labor of Curating: Fandom, Museums, and the Value of Fan Heritage
Highlights
I N DECEMBER 2019, GERMAN NEWS CHANNEL N-TV BROADCASTED A special program on the world premiere of J
Taking SOTG as a case study, this article argues that do-it-yourself heritage institutions (Baker and Huber; Baker) like SOTG are central sites for understanding the cultural and potentially economic value fans generate with their curatorial labor
SOTG preserves and exhibits objects that are often sidelined by state- and industry-run film and media heritage institutions and exhibition projects, which are primarily interested in original production materials while paying less attention to mass-produced merchandise and personal fan memories
Summary
I N DECEMBER 2019, GERMAN NEWS CHANNEL N-TV BROADCASTED A special program on the world premiere of J. The vast majority of the amateur museum’s displays are dedicated to the Star Wars franchise, ranging from action figures to LEGO sets, replicas, and collectible figurines. Because of this focus, SOTG has become a popular destination for local and regional press, as well as fellow fans, to interview Manglitz about Star Wars, including the history of the films, the success of the franchise’s merchandise, its fan community, and the story behind the museum itself. Manglitz himself frames the project as a hobby without any economic agenda in such reports, the curatorial work of the fans behind SOTG should not be considered as mere leisure. Rather, following Mel Stanfill’s plea to study fan practices and projects through a labor framework and “ask who benefits from these activities” (131), fan curating should be acknowledged as a form of work that creates cultural and economic value for different agents
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