Abstract
Internet memes are a significant component of online discourse on the social web in the late 2010s. Cherry explores the ways in which viewers of Twin Peaks: The Return make and make use of memes in their discussions and analysis of the series on Facebook, Reddit, and Twitter. This analysis explores the creation and use of memes to communicate affective responses to the text, the processing of possible meanings of the text, the expectations raised for the series or for particular episodes, recognition of the creative process with respect to David Lynch and Mark Frost, and the positioning of the viewer vis-à-vis both the text and the wider community. Cherry concludes with a discussion of memes in the context of fan production, specifically fan art.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
References
Booth, Paul. 2015. Playing Fans: Negotiating Fandom and Media in the Digital Age. Iowa City: University of Iowa Press.
Cherry, Brigid. 2010. ‘Squee, Retcon, Fanwank and the Not-We: Computer-Mediated Discourse and the Online Audience for NuWho.’ In Ruminations, Peregrinations and Regenerations: A Critical Approach to Doctor Who, edited by Chris Hansen, 209–232. Newcastle upon Tyne: Cambridge Scholars.
———. 2018. ‘Doctor Who Belongs to All of Us: Fan Texts and Fans’ Imaginings of the Future Twelfth Doctor.’ In Doctor Who Twelfth Night, edited by Andrew A. O’Day. London: I.B. Tauris.
Davison, Patrick. 2012. ‘The Language of Internet Memes.’ In The Social Media Reader, edited by Michael Mandiberg, 120–134. New York: New York University Press.
Derecho, Abigail. 2006. ‘Archontic Literature: A Definition, A History, and Several Theories of Fan Fiction.’ In Fan Fiction and Fan Communities in the Age of the Internet, edited by Karen Hellekson and Kristina Busse, 61–78. Jefferson: McFarland.
Hills, Matt. 2002. Fan Cultures. London: Routledge.
Ivie, Devon. 2017. ‘The Hidden Significance Behind Dougie’s Favorite Statue in Twin Peaks: The Return.’ Vulture, 16 October. http://www.vulture.com/2017/10/dougies-twin-peaks-statue-the-meaning-behind-it.html. Accessed on 18 October 2017.
Jenkins, Henry. 1992. Textual Poachers: Television Fans and Participatory Culture. London: Routledge.
Jenkins, Henry, Sam Ford, and Joshua Green. 2013. Spreadable Media: Creating Value and Meaning in a Networked Culture. New York: New York University Press.
Knobel, Michele, and Colin Lankshear, eds. 2007. ‘Online Memes, Affinities, and Cultural Production.’ In A New Literacies Sampler, 199–227. New York: Peter Lang.
Miltner, Kate M. 2014. ‘There’s No Place for Lulz on LOLCats: The Role of Genre, Gender, and Group Identity in the Interpretation and Enjoyment of an Internet Meme.’ First Monday 19, no. 8. http://firstmonday.org/ojs/index.php/fm/article/view/5391/4103. Accessed on 7 November 2017.
Vickery, Jacqueline Ryan R. 2014. ‘The Curious Case of Confession Bear: The Reappropriation of Online Macro-Image Memes.’ Information, Communication & Society 17, no. 3: 301–325.
Author information
Authors and Affiliations
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2019 The Author(s)
About this chapter
Cite this chapter
Cherry, B. (2019). ‘The Owls Are Not What They Meme’: Making Sense of Twin Peaks with Internet Memes. In: Sanna, A. (eds) Critical Essays on Twin Peaks: The Return. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-04798-6_5
Download citation
DOI: https://doi.org/10.1007/978-3-030-04798-6_5
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-030-04797-9
Online ISBN: 978-3-030-04798-6
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)