Thesis (M.S.)--Rochester Institute of Technology, 2007. / Typescript. Includes bibliographical references (leaves 25-26).

La autora de esta publicación explica, mediante un minucioso estudio semiótico, el fenómeno fanfiction como una forma para construir versiones paralelas o alternativas de la historia original. La primera parte del libro se centra en la base teórica y contextual para comprender la interacción de los participantes que generan fanfictions. La segunda parte explica el análisis de la interacción a través de la recopilación de casos de intercambios en la plataforma fanfiction.net / The publication’s author explore, by a thorough semiotic study, the communicative phenomenon named fanfiction which is a way to build alternatives stories of the original plot. The first part of the book focusses on the theoretical and contextual basis to comprehend the participant’s interaction with fanfictions. The second part explains the analysis of the participant’s interaction through the collection of cases in the fanfiction.net web site.

Inspired by 2009 pastiche Inglourious Basterds (US/DE), my research presents counterfactual historical film, firstly, as a marginalised type of film: the 2000s and 2010s have seen an abundance of overtly fictional films which do not intend to represent the past but nonetheless playfully refer to imageries of National Socialist and Holocaust history. These films have so far been neglected by historical film studies which, despite a consensus not to judge films according to their factual accuracy, tend to focus on genres close to historiography. My research considers as historical films the counterfactual parodies Churchill: The Hollywood Years (GB 2004) and Mein Führer: Die wirklich wahrste Wahrheit über Adolf Hitler (DE 2007), as well as Inglourious Basterds and, in a brief conclusion, Nazi zombie films. In this sense, counterfactual historical film is, secondly, a research approach which suggests reconfiguring academic definitions of the field of history and film and historical film. Assuming that historical film never visualises past reality but engages with a history that is always already medialised, I propose that the above films despite their counterfactual plots embark on a visual historical discourse, and what is more reflect upon cinema and history in their own enlightening ways. My analyses show how twenty-first century counterfactual historical films revise Nazi and Holocaust visual history, and how they describe National Socialist history as visually constructed and historical Nazism as an eclectic amalgamation drawing on fictional as well as factual media sources. In regard to the present, they explore tensions between popular and academic culture through the dissolving binaries of fiction film and historiographical fact, and propose to recognise the reciprocity of media representation and actual past as an object of research in its own right. My research demonstrates the value of cinema's playful engagement with history as a potential contribution to the theory and practise of historical film studies.