Abstract
This article considers ‘affective economics’ in relation to the phenomenon of crowdfunding. It focuses on ‘fan-ancing’, where media fans are targeted by crowdfunding campaigns. Returning to Henry Jenkins’ work enables consideration of how Veronica Mars’ creator Rob Thomas has enacted a kind of affective economics by positioning himself as a fan-like showrunner, resistant to commercial/official industry practices, thereby according with Kevin Roberts’ notion of ‘lovemarks’, as well as discursively prefiguring Thomas’ use of Kickstarter for the Veronica Mars movie campaign in 2013. Taking this specific Kickstarter as a case study, I also theorise Veronica Mars’ fan-consumers as ‘crowdfunding poachers’ who made the Kickstarter meaningful in relation to their own fan identities at the same time as willingly auto-commodifying their fandom. Focussing on how Veronica Mars Kickstarter–related producer and fan activities illustrate multiple circuits of exchange value and use value, I argue that an intensified ‘dialectic of value’ is in operation here.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
