Fan-edits

Fan edits are essentially unauthorized alternative versions of films made by fans. Unlike traditional film editing, which is characterized by a new assemblage of original film or video content, fan editing is a form of recombinant filmmaking that reactivates existing arrangements of audiovisual material. Fan edits are noncommercial transformative works that illustrate the mutability of digital cinema as well as the potential for new media artists, experimental filmmakers, and diverse critical voices to emerge from a networked public.

The Phantom Edit (2000) is a seminal fan edit based on Star Wars Episode I: The Phantom Menace (1999) that established a model of production and distribution for fan edits. As a central research problem, this study recognizes that the failure of previous scholarship to account accurately for the history of The Phantom Edit, as well as an evident lack of close engagement with contemporary fan edits, have hindered the ability of scholars to grapple with significant developments in fan edit culture. In general, film and media studies have failed to account for both The Phantom Edit and nearly two decades of progressive work.

This study builds upon the limits of previous scholarship in order to illustrate a historical trajectory of fan editing from The Phantom Edit to its more diverse present state, which is exemplified by Raising Cain: Re-cut (2012), a fan edit based on Raising Cain (1992) that was eventually endorsed by Brian De Palma and sold as the official director’s cut. Furthermore, this study examines practical trends of fan edits and effective means of classification. Combining archival research, interviews, practical fan editing experience, and textual analysis of fan edits collected over several years of participation in the fan editing community, this study offers a foundation of knowledge about the technology, legal contexts, and cultural practice of fan edits.

PDF full text available: https://kuscholarworks.ku.edu/handle/1808/26032