Henry Jenkins - fandom blog tasks

Factsheet #107 - Fandom

Read Media Factsheet #107 on Fandom. Use our Media Factsheet archive on the M: drive Media Shared (M:\Resources\A Level\Media Factsheets) or log into your Greenford Google account to access the link. Read the whole of Factsheet and answer the following questions:

1) What is the definition of a fan?

A person who has a strong interest in or admiration for a particular person or thing.

2) What the different types of fan identified in the factsheet?

Hardcore/True Fan

Newbie

Anti-fan

3) What makes a ‘fandom’?

Fandoms are subcultures within which fans experience and share a sense of camaraderie with each other and engage in particular practices of their given fandom.

4) What is Bordieu’s argument regarding the ‘cultural capital’ of fandom?

For example, in the image below we see a Liverpool fan’s room with duvet cover, wallpaper, memorabilia etc. Clearly this level of display is not simply about preferring one team over another, it is, as Bordieu argues a kind of ‘cultural capital’ which confers a symbolic power and status for the fan, especially within the realm of their fandom.

5) What examples of fandom are provided on pages 2 and 3 of the factsheet?

Midnight screenings of The Rocky Horror Picture Show (1975) helped secure its cult status with students and gay and lesbian fans who would cross-dress like the characters, use props and re-enact the actions in particular scenes. Also is gave heterosexual fans opportunity to transgress gender and sexuality boundaries in a fantasy environment.

6) Why is imaginative extension and text creation a vital part of digital fandom?

Fans use the original media texts and get creative and innovative with the material. Crawford suggests that it is this which distinguishes fans from ordinary consumers. They engage in diverse activities such as ‘the production of websites, mods and hacks, private servers, game guides, walkthroughs and FAQs, fan fiction and forms of fan art, fan vids’ all of which have been aided by digital technology.

Henry Jenkins - degree-level reading

Read the final chapter of ‘Fandom’ – written by Henry Jenkins (note: link may be blocked in school - try this Google Drive link if you need it.) This will give you an excellent introduction to the level of reading required for seminars and essays at university as well as degree-level insight into our current work on fandom and participatory culture. Answer the following questions:

1) There is an important quote on the first page: “It’s not an audience, it’s a community”. What does this mean?

Social media services transform the relationship between media producers and consumers. They aren’t places to go, but things to do, ways to express yourself, means to connect with others and extend your own horizons.

2) Jenkins quotes Clay Shirky in the second page of the chapter. Pick out a single sentence of the extended quote that you think is particularly relevant to our work on participatory culture and the ‘end of audience’ (clue – look towards the end!)

In the age of the internet, no one is a passive consumer anymore because everyone is a media outlet.

3) What are the different names Jenkins discusses for these active consumers that are replacing the traditional audience?

Loyals

Media-actives

Prosumers

Inspirational consumers

Connectors

Influencers

4) On the third page of the chapter, what does Wired editor Chris Anderson suggest regarding the economic argument in favour of fan communities?

Anderson argues that investing in niche properties with small but committed consumer bases may make economic sense if you can lower costs of production and replace marketing costs by building a much stronger network with your desired consumers.

5) What examples does Jenkins provide to argue that fan culture has gone mainstream?

Jenkins provides several examples to argue that fan culture has gone mainstream. He references Newsweek's article from 2006, which discusses the rise of "social media" or "web 2.0" and the convergence of factors that have led to the success of companies like MySpace, YouTube, and Facebook. These companies are reaching critical mass by harnessing collective intelligence and supporting user-generated content. Despite this, the article does not use the term "fan." Jenkins also mentions various commentators who discuss the changing role of consumers and the impact of grassroots intermediaries on media, such as Chris Anderson's concept of the "long tail" and the emergence of prosumers, multipliers, and other terms for active consumers.

6) Look at the quote from Andrew Blau in which he discusses the importance of grassroots creativity. Pick out a sentence from the longer quote and decide whether you agree that audiences will ‘reshape the media landscape from the bottom up’.

One of the sentences from Andrew Blau's quote is: "The media landscape will be reshaped by the bottom-up energy of media created by amateurs and hobbyists as a matter of course." I agree with this statement, as it reflects the idea that grassroots creativity and user-generated content have the potential to reshape the media landscape by giving audiences a more active role in content creation and distribution. The rise of social media, online platforms, and participatory culture has already demonstrated the significant influence of user-generated content on media industries.

7) What does Jenkins suggest the new ideal consumer is?

Jenkins suggests that the new ideal consumer is not the traditional passive viewer but an active fan or participant. The new ideal consumer is someone who talks up a programme, spreads the word about a brand, and actively engages with media content. This shift in consumer behaviour is characterised by fans who are more involved in shaping media, creating communities, and influencing the content they consume. In this context, the ideal consumer is more of a fan than a passive viewer.

8) Why is fandom 'the future'?

Jenkins argues that fandom is the future because it represents a model of active and engaged consumer behaviour that is becoming central to the way media and culture industries operate. The shift from passive consumption to active participation, facilitated by the rise of digital media and online communities, has a profound impact on how media content is produced, distributed, and consumed. Fandom, with its passionate and engaged fan communities, plays a significant role in shaping the cultural and economic landscape of the media industry.

9) What does it mean when Jenkins says we shouldn’t celebrate ‘a process that commodifies fan cultural production’?

When Jenkins says we shouldn't celebrate "a process that commodifies fan cultural production," he is cautioning against turning fan culture and creativity into commercial commodities without giving proper credit or compensation to the fans who contribute to it. This warning is especially relevant in cases where media companies benefit from fan-generated content or ideas without adequately acknowledging or rewarding the fans. Jenkins is advocating for a more balanced and ethical approach to the relationship between fans and the media industry, where fans are not exploited or marginalised.

10) Read through to the end of the chapter. What do you think the future of fandom is? Are we all fans now? Is fandom mainstream or are real fan communities still an example of a niche media audience?

In my opinion, the future of fandom is characterised by a significant shift towards mainstream acceptance and integration. Fan culture has evolved from a niche subculture into a pervasive and influential force in the media and entertainment industries. This transformation blurs the lines between fans and non-fans, as more people actively engage with media content and participate in fan-like activities.

While traditional fan communities continue to exist, the distinction between fan and non-fan has become less clear. Fan culture has penetrated mainstream society, shaping the way we interact with media and the role we play in its production and distribution. This blurring of boundaries signifies that we are all becoming fans to some extent, as active participation in media consumption becomes the new norm.

Fandom is no longer confined to specific niches but has a significant impact on the media landscape. The rise of grassroots creativity and user-generated content has reshaped how media is produced and consumed, giving audiences more agency in shaping the content they love. As a result, the future of fandom is marked by a more inclusive and participatory media culture, where everyone has the potential to be a fan.