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Zines have made a resurgence in the United States. What functions do these humble, self-published booklets perform in the current media landscape, where digital reigns supreme? This article explores the political salience of zines for feminists, whose social media tactics have pushed feminism into popular culture and yet who continue to make zines. While much has been written about feminist zines, little research has considered their relevance in the digital age, nor have researchers grappled with the complex relationship between digital and print activist media. Drawing on interviews with zinesters, I argue that feminist zines and online feminism are not materially polarized outlets, but practices with distinct yet symbiotic advantages working in tandem within a repertoire of feminist media tactics. [ABSTRACT FROM AUTHOR]

Historically, zines have been an alternative outlet for niche topics, or writers and writing, that are ignored by mainstream media. Zines are significant because they offer the opportunity for connection, community, and networking between those interested in these diverse topics. The developments in digital technology have enabled zines to extend into the online sphere: this increased access has resulted in increased participation (by readers and writers). This paper will focus on (digital) zines that are created by people of colour (POC). In recent years, there has been much discussion and media coverage about the lack of diversity in cultural output, and various campaigns, to promote diverse writing have followed. Through a case study of the POC Zines Project-a community-building project that promotes zines by POC-this paper will look at how creators of zines are experimenting with digital formats and social platforms, and will consider what mainstream publishers can learn from this. As Radway (in: Anouk (ed) From codex to hypertext. University of Massachusetts Press, Amherst, 2012) outlines 'zine-ing is a social phenomenon, a form of social action driven by desires for new forms of sociability and new ways of being in the world' (p. 140): this paper will highlight the important of social collaboration and production on opening up the creative process and offering a response to the under-represented in traditional publishing. [ABSTRACT FROM AUTHOR]

The article reviews several modern punk zines including "One Way Ticket to Cubesville," "Ablaze!," and "Artcore."

"I think it's one of the most important tools, especially for women...It's a form of self-publishing. It immediately gives you power [a sense that] I can do something, I can be creative, and I don't need to go through so many different processes to get my poem published to share with other people. So zines give you the power of sharing and I love this about zines. In a simple and realistic way, it doesn't cost you that much money and as I said, I think it's powerful when you think you can do so many things with zines" (Excerpt from an interview with my mother). [ABSTRACT FROM AUTHOR]

This project was born with the intention of generating and recording the artistic expression of a group of inmates in module 6 of the Albolote (ES) penitentiary center through the creation of collaborative fanzines. A workshop was created, held once a week for 4 months. Through conceptual proposals and aesthetic tools, each participant in the project developed their own language of artistic expression. The medium for expression was mainly visual, through collage and drawing, but also written, given the comfort language provided. This project, entitled Seísmo, yielded a series of four fanzines, on various themes, collaboratively created with the prisoners. [ABSTRACT FROM AUTHOR]

This article strives to lay some necessary theoretical groundwork for justifying an alliance between zining and youth-driven "philosophical inquiry" (Lipman, 2004)-two important practices that operate outside the mainstream yet can shed light on conventional (mis)understandings of youth by illustrating innovative ways of designing space for young voices to emerge and thrive in their educational experiences and beyond. By highlighting the shared ethos between zining and philosophical inquiry as practices that foster meaning-making, this article aims to emphasize their common participatory, do-it-yourself, experimental, politicizing and transformative features, while noting the challenges involved in extending them to the context of childhood. Further, it illustrates how aligning zining and philosophical inquiry can contribute to a re-envisioning of children by portraying them as capable cultural producers and social historians of their own discourse communities. Lastly, it explores issues of adult authority, suggesting conditions that may help to authenticate the philosophical use of zines with youth. [ABSTRACT FROM AUTHOR]

This essay recommends a revised framework for approaching periodicals by putting the Bay Area Dadaists' 1970s "Dadazines" into dialogue with San Francisco punk zines, and by linking these periodicals with each group's performances. For these artists and for punks, zines offered a shared, cheap, quick means of expression and communication. Their zines also show that periodicals have the potential to be dynamic sites, like performances, that foster cross-fertilization and interaction and productively hold in tension materiality and ephemerality, mediation and liveness. Indeed, we can understand them as performances in their own right. [ABSTRACT FROM AUTHOR]

The paper examines the research potential of zines and the current issues around acquiring these disparate publications for Australian academic libraries. The paper reports a review of the literature and a brief environmental scan in the form of a survey, which suggest that Australian tertiary institutions are undecided or unsure about how and why zines could be a useful research tool in the future. It is argued here that zines are an important component of the cultural fabric of a freethinking, responsive and reflective society. The subversive and at times transgressive nature of zines makes the conscious collecting of these underground texts complex. A review of the current practices of international academic libraries and the survey results undertaken for the purpose of this paper, suggest that Australian academic libraries are behind their overseas colleagues in their consideration of these issues. Zines are important cultural documents that reveal the creativity, values and complexity of unrepresented marginalised youth, among others. The author suggests that, it is imperative that Australian academic libraries actively collect zines to preserve and make available for research, records of hyper-personal, contemporary texts that proffer to the reader an insight into the individual psyche of any given period in time. IMPLICATIONS FOR PRACTICE• Creating partnerships and engaging in conversation with zinesters and library staff can assist in the development and creation of a working collection.• Collecting zines for its research potential can be speculative; identifying the strengths of your current collection can provide a clear collection development policy for acquiring zines.• Educating and demystifying zine culture can assist Australian librarians in determining whether a zine collection is suitable for their institution. [ABSTRACT FROM PUBLISHER]

The article explores the history and beginnings of "ChingoZine," one of a small handful of Latino paper art zines in Texas, created by the author in 2012, along with Mark Aguilar, Claudia Aparicio-Gamundi, and James Huizar.

The article examines feminist personal zines. Particular focus is given to how this relates to the notion of "meta-text," or an intentional rhetorical move that both contributes to and obstructs the main narrative. Additional topics discussed include DIY and punk history and historians, zines including "Everyday Pants," by Ramsey Beyer and "Everything.Is.Fine," by Nyxia Grey, and insights on the design of these zines, including their use of handwritten notes and drawings.

This conference presentation report introduces the zine collection at the Vassar College Library and describes the research and planning that went into advocating for and building the collection. The discussion addresses several key workflow factors that need to be considered when building a zine collection, including collection development, acquisitions, and cataloging. The report also shares local problems and solutions implemented at Vassar College. [ABSTRACT FROM AUTHOR]

Punk's do-it-yourself call to arms led to a widespread adoption of the rhetoric, if not always the practice, of independence from traditional means of production. During the early period of punk's development in the United Kingdom, a distinct division of labour can be seen in the impact of an 'anyone can do it' DIY ethos on a range of activities.2 These range from live performance to the creation and manufacture of punk artifacts (clothes, posters, flyers, fanzines, records). While some of these areas offered new opportunities for amateur producers, within more technical areas of manufacturing, including the physical production of records, do-it-yourself could only have a nominal impact. Many punk groups did not have access to sound recording technologies, and even of they did, they would have to hand over the cutting and pressing of vinyl to a professional outfit. There was certainly a widespread and outspoken desire to take artistic control away from mainstream sources, but in reality the ownership of the means of production was at best a naive ambition. Similarly, sleeve artwork could be created by untrained designers, but print reproduction was often left to the services of a professional print studio -- doing-it-yourself had obvious limitations when it came to large-scale production and distribution. [ABSTRACT FROM AUTHOR]

The article discusses that zines can be defined as self-published magazines, capturing a particular topic of interest, such as personal stories,hobbies, social issues, comics, fandoms, and more and are a versatile, low-cost addition to any library that serves a teenage population. Topics include Zines span many topics, enabling teen librarians to easily integrate diverse publications into their collections and displays in teen spaces.