If trauma cannot be represented, how can this gap be illustrated? In the framework of cinema for example, creating a gaping hole in the representation of the trauma would be like inserting a void or some form of emptiness within the image itself.

Therefore, a traumatic event is linked to the lack or the impossibility of its representation a gaping hole takes place where the trauma stands. This indescribable impact creates an unspeakable and unrepresentable area within the trauma itself. Trauma and incommunicability are intimately connected: there are no words or images to describe the horrific event at the origin of the trauma. We thus argue that this cultural disavowal of Fifty Shades is based upon cultural distinctions of taste (Bourdieu, 1984) and lastly suggest that the BDSM community's rejection of the books' sexual politics is founded upon its own distinction of taste.'

We structure this analysis of the anti-fandom's denigration of Fifty Shades as 'bad literature', and furthermore 'bad eroticism' to be consumed by 'bad female readers' who know no better. James' trilogy), generated an ironic, even guilty fandom, in which readers and viewers bemoan the series’ flaws, while enjoying (sometimes furtively) the texts. We suggest that the Fifty Shades of Grey trilogy (2011-2012) has, in a similar way to Twilight (the series which inspired author E. This article seeks to build on the ideas put forth by Gray and Sandvoss by expanding on Francesca Haig's (2013) discussion of ‘snark’ fandom. Gray and Sandvoss argue that to fully understand what it means to interact with media texts we must examine both anti-fans and nonfans. Recently, however, with the work of Jonathan Gray (2003, 2005, 20) and Cornell Sandvoss (2005), this approach has been questioned. Anne Gilbert (2012) notes that this scholarship often has a positive slant, with academics focussing on the potential for agency and self-enrichment inherent in audience activity.

Studies such as Henry Jenkins’ (1992) Textual Poachers: Television, Fans and Participatory Culture and Camille Bacon-Smith's (1992) Enterprising Women: Television Fandom and the Creation of Popular Myth examined fan communities and suggested that activities such as fan fiction and vidding were forms of resistance, enabling fans to reclaim ownership of popular culture and repair the damage done by corporations. 'Audience studies has traditionally focussed on the fan as a means of understanding a text.

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