Abstract only
Writing from the dark underground, 1976–92
Claire Nally

associated with working-class dissatisfaction, goth is emphatically white and middle-class.3 Despite this caveat, the post-industrial North of England was a focal point for 1980s goth, as evinced by Whippings and Apologies. This zine was produced in Leeds from 1981 and ran to 11 issues. Richard Rouska describes it as ‘the most prolific and glossy of all Leeds zines.’4 Mick Mercer’s fanzine Panache (1976–92), which ultimately evolved into Mercer’s online zine The Mick, represents one of the foremost zines in UK post-punk, articulating both an early goth aesthetic in content

in Ripped, torn and cut
From Manchester United as a ‘global leisure brand’ to FC United as a ‘community club’
George Poulton

of a PhD research project (Poulton 2013). As part of the ethnography, I also drew on textual sources, analysing the supporters’ internet forum, online blogs written by supporters and ‘fanzines’, fan written and produced magazines sold at low cost around matches or in local shops, which were a key part of the group culture.1 In this material, supporters often used identifiers such as ‘A.H’, ‘House of Style’ and ‘Red Heads’ rather than real names. In addition, I conducted archival research studying Manchester United fanzines from the late 1980s onwards, which allowed

in Realising the city
Paul Moody

A romanticised concept of pastoral life was widely established in British culture by the start of the twentieth century, having been popularised by, amongst others, the pre-Raphaelites as an ‘idealised medieval vision’ (Lowenthal 1991) since the late 1800s, and used as shorthand for the essence of the British national character. This conflation of land and identity became integral to the message disseminated by the rapid increase in film publicity in the wake of the 1909 Cinematograph Films Act, as distributors had to convince a far larger audience than ever before of the connection it shared with the characters viewed on screen. Using sources ranging from the trade press through to fanzines and production company pressbooks, I show how this advertising presented rural landscapes as ‘authentic’, and how firstly, female characters of the 1920s embodied the homely, reassuring aspects of rural life, to be followed by a more rugged, untamed landscape that was embodied by male characters throughout the late 1930s. Ultimately, both representations would feed into the notion of ‘realism’ that would become a defining quality of British cinema, and these publicity materials were integral to the development of this myth.

in British rural landscapes on film
Abstract only
David Ranc

critical of the press, which is particularly perceptible in their written productions (fanzines, internet forums) and in interviews. Resent revolved chiefly around the question of violence. Violence Within the French context, violence has long been a unique feature in the behaviour of some PSG supporters and has, therefore, attracted particular interest from the journalists. Periods of relative calm (1993–2004) with the occasional upsurge of violence (PSG–Galatasaray in 2001) have been followed by more widespread fights. As of 2010, there have been ongoing fights between

in Foreign players and football supporters
David Ranc

large enough. Supporters were fairly repetitive, since they were asked about fairly general issues on which there is a general level of agreement. The interviews indeed only served to triangulate (or cross-check) the findings made through the study of the press and of available media from the supporters (fanzines, internet, etc.). Yet the methodological challenges posed by fans of both clubs were different. Arsenal supporters were very responsive to enquiries for face-to-face or email interviews. Parisian supporters have proved more difficult. They commonly feel

in Foreign players and football supporters
Abstract only
Anna Dahlgren

Creative Camera the dynamics of the British pop and magazine world was indebted to the British art school system with its ‘resistance of rationalization and death-like grip on fine art and craft and laissez-faire values’.20 In short, many in the British music and magazine industry had an art school background and i-D was typical in this respect. i-D initially took the form and layout of a fanzine. It consisted of forty A4 pages, photocopied and stapled together, covered with text produced on a typewriter and simple black and white photographs, in an edition of 2000

in Travelling images
Nick Crossley

published (Perry 2009). Started by Mark Perry, Sniffin Glue was originally intended as a fanzine for the Ramones and some of the more exciting bands on the pub rock circuit, such as Eddie and the Hot Rods. When Perry saw the Sex Pistols and the other London-based punk bands, however, he shifted focus. Moreover, over time he drafted in punk world insiders, including Steve Walsh (with whom he briefly formed a band), who were better connected and could get interviews with such bands as the Clash. Roger Armstrong had agreed to stock and sell the fanzine on his stall, as he

in Networks of sound, style and subversion
‘Crisis music’ and political ephemera in the emergent ‘structure of feeling’, 1976–83
Herbert Pimlott

more than disposable literature; it includes a range of media, from graffiti long since painted over (‘Eat the Rich’; ‘Kill the Poor’; ‘The lemmings were pushed’) to faded fly-posters and poorly photocopied zines, which retain the structure of feeling in typeface, layout, words, phrases and symbols. The music and lyrics played a role in politicising working-class youth and were linked intertextually with struggles expressed via leaflets, fanzines and pamphlets, which were produced, for example, by welfare claimants in north London and by an anonymous collective

in Fight back
Abstract only
From protest to resistance
Matthew Worley, Keith Gildart, Anna Gough-Yates, Sian Lincoln and Bill Osgerby

. Not surprisingly, perhaps, there have been numerous attempts to claim punk as reflective of a particular political perspective.10 Punk, particularly in its British incarnation, appeared to contain explicit political content; in the USA, fanzines such as Maximum Rock ’n’ Roll sought to imbue punk with a relatively distinct political philosophy.11 Certainly, many drawn to and involved in punk have endeavoured to filter or apply political ideas through its cultural medium. Others have espoused an anti-politics position that nevertheless retains an implicit political

in Fight back
Fourthwrite and the Blanket
Paddy Hoey

inspiration was primarily the style and spirit of the Southern Californian punk fanzine Flipside rather than An Phoblacht: ‘I was introduced to this world through fanzines and free information sheets at record stores and I soon started doing my own fanzine. The Do-It-Yourself ethic, that anyone could make their own media was always important to me.’57 However, it is remarkable that her vision for her magazine instinctively drew on a culture of dissent which sought to highlight inconsistencies within mainstream republican dogma as the older mosquito press had done sixty

in Shinners, Dissos and Dissenters