<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0122-8285</journal-id>
<journal-title><![CDATA[Palabra Clave]]></journal-title>
<abbrev-journal-title><![CDATA[Palabra Clave]]></abbrev-journal-title>
<issn>0122-8285</issn>
<publisher>
<publisher-name><![CDATA[Universidad de La Sabana]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0122-82852017000401105</article-id>
<article-id pub-id-type="doi">10.5294/pacla.2017.20.4.10</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[&#8220;Bitches Ain&#8217;t Gonna Hunt No Ghosts&#8221;: Totemic Nostalgia, Toxic Fandom and the Ghostbusters Platonic]]></article-title>
<article-title xml:lang="es"><![CDATA[&#8220;Ninguna vieja va a cazar fantasmas&#8221;: nostalgia totémica, fandom tóxico y los Cazafantasmas]]></article-title>
<article-title xml:lang="pt"><![CDATA[&#8220;Nenhuma mulher vai caçar nenhum fantasma&#8221;: nostalgia totêmica, fandom tóxico e os Caça-Fantasmas]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Proctor]]></surname>
<given-names><![CDATA[William]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Bournemouth University  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>United Kingdom</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>10</month>
<year>2017</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>10</month>
<year>2017</year>
</pub-date>
<volume>20</volume>
<numero>4</numero>
<fpage>1105</fpage>
<lpage>1141</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0122-82852017000401105&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0122-82852017000401105&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0122-82852017000401105&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract In March 2016, the trailer for Paul Feig&#8217;s Ghostbusters reboot debuted online and suffered the unfortunate accolade of being the most disliked trailer in YouTube history. Popular news media, including professional, pro-am, and amateur commentators, picked up on the resulting online kerfuffle as clear indication that there is something rotten in the state of fandom. Feig himself frequently turned to the echo chamber of social media to denounce fans as &#8220;some of the biggest arseholes I&#8217;ve ever met in my life&#8221;. Addressing fans that singled out the reboot as &#8220;ruining my childhood,&#8221; Feig poured fuel on the fire by criticising such a perspective as merely the product of &#8220;some whacked-out teenager,&#8221; overdramatic, pathological and, perhaps more pointedly, &#8220;toxic&#8221;. In so doing, Feig-and, by extension, the cast of the Ghostbusters reboot-replicated and re-activated traditional stereotypes of the fanboy-living in his mother&#8217;s basement and obsessing over trivial entertainment. This article takes the claims of &#8220;childhood ruination&#8221; seriously to examine what is at stake for fans of the original Ghostbusters film. Despite the organs of online media heavily criticising fanboys as misogynistic relics and sexist heathens, often in aggressive ways, I argue that fans&#8217; affective, nostalgic attachment to the first Ghostbusters film-the &#8220;primary cinematic text&#8221; (Bernard, 2014)-forms a crucial component of fans&#8217; &#8220;self-narratives&#8221; (Hills, 2012) and &#8220;trajectories of the self&#8221;. By drawing on empirical work on &#8220;nostalgic narratives&#8221; conducted in the psychology field, I argue that it is not simply toxicity that drives these fans to defend the fan-object from being colonised by an invading text, but, rather, what I am terming as totemic nostalgia, a form of protectionism centred on an affective relationship with a text, usually forged in early childhood. Threats to the Ghostbusters totemic object, then, &#8220;can thus be felt as threats to these fans&#8217; self-narratives&#8221; (Hills, 2012, p. 114).]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen En marzo de 2016, el avance de la nueva versión de los Cazafantasmas de Paul Feig debutó en línea y sufrió el desafortunado honor de ser el avance más detestado en la historia de YouTube. Los medios de comunicación populares, incluyendo los comentaristas aficionados, semiprofesionales y profesionales, observaron a partir del escándalo en línea resultante que había una indicación clara de que existe algo podrido en el estado del fandom. Feig recurrió frecuentemente a la cámara de eco de las redes sociales para denunciar a los fans como &#8220;de las personas más imbéciles que he conocido en mi vida&#8221;. Dirigiéndose a los fans que calificaron a la nueva versión como una &#8220;arruina infancias&#8221;, Feig le echó leña al fuego al criticar esta perspectiva como el simple producto de &#8220;un adolescente demente&#8221;, sobreactuado, patológico y quizás, más explícitamente, &#8220;tóxico&#8221;. Al hacerlo, Feig - y, por extensión, el reparto de la nueva versión de los Cazafantasmas - replicó y reactivó los estereotipos tradicionales del fan que todavía vive con su mamá y que se obsesiona con el entretenimiento trivial. Este artículo toma con seriedad las declaraciones de la &#8220;infancia arruinada&#8221; para examinar qué es lo que se encuentra en juego para los fans de la película original de los Cazafantasmas. A pesar de que los órganos de los medios de comunicación en línea critican a los fans como reliquias misóginas y paganos sexistas, a menudo de manera agresiva, lo que argumento es el apego afectivo y nostálgico de los fans a la primera película de los Cazafantasmas - el &#8220;texto cinematográfico primario&#8221; (Bernard, 2014) - lo que forma un componente crucial de las &#8220;autonarrativas&#8221; (Hills, 2012) y &#8220;trayectorias del yo&#8221; de los fans. Basándome en trabajos empíricos sobre &#8220;narraciones nostálgicas&#8221; realizadas al campo de la psicología, argumento que no es simplemente toxicidad lo que impulsa a estos fans a defender el objeto del fan de que sea colonizado por un texto invasor, sino más bien lo que llamo nostalgia totémica, es una forma de proteccionismo centrado en una relación afectiva con un texto, usualmente forjado en la primera infancia. Las amenazas al objeto totémico de los Cazafantasmas, entonces, &#8220;puede percibirse como amenazas a las autonarrativas de estos fans&#8221; (Hills, 2012, p.114).]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Em março de 2016, o trailer da nova versão dos Caça-Fantasma de Paul Feig debutou online e sofreu a infelicidade de tornar-se o trailer mais detestado na história do YouTube. A mídia popular, incluindo os comentaristas amadores, semiprofissionais e profissionais observaram, a partir do escândalo online resultante, que havia uma indicação clara de que existe algo podre no estado do fandom. Feig recorreu frequentemente à câmara de eco das redes sociais para referir-se aos fãs como &#8220;alguns dos maiores imbecis que conheci na minha vida&#8221;. Dirigindo-se aos fãs que qualificaram a nova versão como uma &#8220;destrutora da infância&#8221;, Feig avivou o fogo ao criticar tal perspectiva como o produto meramente de &#8220;um adolescente doido&#8221;, sobre atuado, patológico e talvez, mais explicitamente, &#8220;tóxico&#8221;. Ao fazê-lo, Feig - e, por extensão, o elenco da nova versão dos Caça-Fantasmas - replicou e reativou os estereótipos tradicionais do fã que ainda mora com a mãe e que se obceca com o entretenimento trivial. Este artigo encara com seriedade as declarações da &#8220;infância arruinada&#8221; para examinar o que é que está em jogo para os fãs do filme original dos Caça-Fantasmas. Apesar de que os órgãos da mídia online criticam os fãs como relíquias misóginas e pagãos sexistas, com frequência de maneira agressiva, o que argumento é o apego afetivo e nostálgico dos fãs ao primeiro filme dos Caça-Fantasmas - o &#8220;texto cinematográfico primário&#8221; (Bernard, 2014) - o que forma um componente crucial das &#8220;auto narrativas&#8221; (Hills, 2012) e &#8220;trajetórias do eu&#8221; dos fãs. Baseando-me em trabalhos empíricos sobre &#8220;narrações nostálgicas&#8221; realizadas no campo da psicologia, argumento que não é simplesmente toxicidade o que impulsiona estes fãs a defender o objeto do fã de ser colonizado por um texto invasor, mas sim o que eu chamo de nostalgia totémica, é uma maneira de protecionismo focado em uma relação afetiva com um texto, usualmente forjado na primeira infância. As ameaças ao objeto totêmico dos Caça-Fantasmas, então, &#8220;podem sentir-se como ameaças às auto narrativas destes fãs&#8221; (Hills, 2012, p. 114).]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[Toxic fan cultures]]></kwd>
<kwd lng="en"><![CDATA[ghostbusters]]></kwd>
<kwd lng="en"><![CDATA[totemic nostalgia]]></kwd>
<kwd lng="en"><![CDATA[gender]]></kwd>
<kwd lng="en"><![CDATA[reboot]]></kwd>
<kwd lng="es"><![CDATA[Culturas de fans tóxicos]]></kwd>
<kwd lng="es"><![CDATA[Cazafantasmas]]></kwd>
<kwd lng="es"><![CDATA[nostalgia totémica]]></kwd>
<kwd lng="es"><![CDATA[género]]></kwd>
<kwd lng="es"><![CDATA[nueva versión]]></kwd>
<kwd lng="pt"><![CDATA[Culturas de fãs tóxicos]]></kwd>
<kwd lng="pt"><![CDATA[Caça-Fantasmas]]></kwd>
<kwd lng="pt"><![CDATA[nostalgia totémica]]></kwd>
<kwd lng="pt"><![CDATA[gênero]]></kwd>
<kwd lng="pt"><![CDATA[nova versão]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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