recommended for cultural studies without subscribing to "overly "mentalistic" commitments"

Hill's book features a discussion of previous literature in the field of cultural & fan studies, followed by his own argument of fandom as a dually-natured entity. Much of Hill's ideas focus on the formation of fan communities and the actions within them. This book is a good resource for understanding different theories of fandom, but Hill's community model may not be as appropriate, since Morrissey's Latino fans have been predefined as a community by their ethnicity before their identity as fellow Morrissey fans.

This article argues that the authenticity of real-life images (instead of reenactments) in documentaries is essential, and powerful restrictions on fair use are increasingly erasing the real images from our film culture. Images and video clips, the backbone of documentaries, are increasingly in the hands of high-priced corporate archives. This fact, coupled with the fact that rights are often cleared for only very short periods (thanks to the advent of DVD technology) is severely limiting the leeway filmmakers have in producing genuine cultural products.

In Who Owns Culture? Susan Scafidi navigates the unstable relationship between cultural creation and legal protection of cultural works. Scafidi is particularly interested in the notion of individual creation. The book highlights how American law privileges individual creation over group or communal works. In this book, the basics behind cultural commoditization, ownership and commercialization are explored, as well as the uneven legal framework that governs cultural products.