DepositA Brief Domain Guide to Star Trek: The Original Series Fanworks

A domain guide detailing the various categories of creative works in fandom subcultures. This guide relates specifically to fanworks stemming from Star Trek: The Original Series. It gives details of fanfiction, fanart, podcasts, videos, fanfilms, fanzines and songs. It also provides a few recommendations for further reading into the academic discourse surrounding Star Trek fan culture.

DepositThe Hirschfeld Archives: Violence, Death, and Modern Queer Culture

The book examines little known and forgotten writings by Magnus Hirschfeld, the influential sexologist who is best known today for his homosexual activism, transgender work and founding of the world’s first Institute of Sexual Science in 1919. Arguing that negative experiences, as much as affirmative subculture formation, shaped a collective sense of modern same-sex identity, it reveals the gendered and racialized limits of the emerging homosexual rights movement in the West.

MemberAndrew John Hodges

I am a social and linguistic anthropologist interested in the anthropology of work and leisure. My current project examines the impact of a shipyard (Uljanik, Pula) on work, leisure and sub-cultural activities (especially on fan and punk subcultures) in and around the city of Pula. I have also written extensively on football fans in Zagreb Croatia, interpreting their engagements as subculture and social movement. To date I have written about left wing/antifascist fan initiatives (White Angels Zagreb), and progressive initiatives among GNK Dinamo Zagreb’s Bad Blue Boys. I have just completed a book on this research.  I have also written on Croatian minority (language) activism in Vojvodina, Serbia and the politics of academic networks in Croatia and Serbia.   Please feel free to contact me by email if you have any questions about my work. Email: hodges (at)

DepositHipness Left Behind: White Encounters with Hip in the Early Twentieth Century

Hipness has been a recurrent subject of interest for historians and critics of American culture, as well as a common point of reference for discussions of the appropriative dialectic of “love and theft” between white and black subcultures.[1] Scholars have approached the cultural practices concentrated around mid-century black jazz musicians from multiple angles, variously characterizing hip as a distinct style, ideology, and subculture.[2] Recently, Phil Ford has argued that hipness denoted a negative “stance” towards dominant culture, an oppositional logic that undergirded the various practices associated with hipsters. Underlying these different approaches is an assumed narrative about hip’s entrance into the white imagination. It is a commonplace that in the postwar era, white artists like Mezz Mezzrow and Jack Kerouac appropriated the worldview forged by black artists and documented in the black press of the 1930s, extrapolating what LeRoi Jones called a “general alienation” from the specific alienation experienced by black jazz musicians to lay out a radical, albeit deeply problematic, critique of Cold War American culture as psychologically repressive and creatively stifling (219).

Deposit‘Golden Hatred’: anti-war sentiment and transgression in death doom metal

Doom metal music and culture have been under the influence of 1970s hippie ideologies from the beginning with the music of Black Sabbath. Tony Iommi in an interview from 2011 suggests that Black Sabbath has been using the label ‘doom’ since its early days. While during early stages of doom music, this influence or interaction took both transgressive and reinforcing roles with the ‘extreme turn’ in metal music in the 1990s, this influence became more prominent especially within the style and culture of subgenres such as stoner doom or sludge doom. These subcultures adopted the imagery, the sound, and the drug use from the hippie culture. However, even though ‘War Pigs’ remains a symbolic song in doom metal style, this 1990s adaptation excluded, for the most part, this anti-war sentiment from the subcultures mentioned. Owen Coggins shows this idea rejuvenating in drone doom subculture –a culture and style that emerged after the extreme turn- through a movement mainly focussed on the opposition to drones, i.e. the unmanned combat aerial vehicles. Death doom metal is another subgenre emerged after 1990s, which explores this anti-war sentiment consistently. Death doom culture in its sound and imagery rejects the elements of 1970s, and ethnographic data suggests that musically, the pioneers of this subgenre see themselves connected to 1980s death and black metal music rather than the more-generally-accepted roots that is Black Sabbath. Then the question arises of how one should interpret the anti-war songs existent in death doom repertoire ideologically. The proposed article analyses this repertoire in relation to its claimed roots and further shows the anti-war sentiment as a transgressive property positioned in extreme metal culture as opposed to a residue of the adaptation mentioned. Furthermore, the article shows the compelling differences between anti-war ideas in death doom and earlier styles.

MemberDrew Daniel

My teaching centers upon English literature of the 16th and 17th century, especially the drama of Shakespeare, Marlowe and Jonson and the poetry of Spenser and Milton, but I also frequently teach the intersection of that literary archive with political philosophy, metaphysics, medical writing, affect theory, eco-materialism, queer theory and psychoanalysis. In a separate stream of writing and thinking, I work on musical subculture and performance. When I’m not doing those things, I also make electronic music with my partner in a group called Matmos and by myself as The Soft Pink Truth.