Henry Jenkins - fandom

 Factsheet #107 - Fandom

1) What is the definition of a fan?

Groups of people who consume a type of media product which they love and have devotion for the product and becomes part of the persons identity as suggested by Matt Hills: class, age, gender.

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

• Consumer
• Fan
• Cultist
• Enthusiast
• Petty producer

According to Abercrombie and Longhurst there are different level if fans due to their emotional commitment to that product and their levels of passion and involvement.  

3) What makes a ‘fandom’?

The passion between different enthusiasts who share different things about the product like a secret. They encompass different things like hobbies, genres and fashion to do with the product. Fiske refers to these emotions as 'power blocs' which allows them to 'escape' from the 'mundane to the marvelous'.

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

It 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?

• Rituals and participation - Fans who watch the product over and over again and go into cosplays.
• Ironic readings - Fans engage in philosophical debates and see what other meanings could be imposed in the text. e.g. if Frodo and Sam were in a homosexual relationship.
• Defy critics and institutions - Fans drive the popularity of the show and can go against production companies e.g . Family Guy was shelved but came back due to fans.
• Imaginative Extension and Text Creation - Fans who engage in creative forms by making websites, game guides, hacks, mods, private servers etc. Digital fandoms also include fans writing out their own short stories e.g. stories showing that Harry and Hermione should've been together.

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

It drives the popularity of the product gaining attention and a bigger fanbase, it also might influence the producers to what to do with the product, therefore making the audiences more happy, and therefore making more profit.

Henry Jenkins - degree-level reading

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

An audience might refer to a group of people who like a product but passively consume it, however a community actively engages with the product and with other fans.

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!)

"Some are calling them 'prosumers', suggesting that as consumers produce and circulate media, they are blurring the line between amateur and professional, some are calling them 'inspirational consumers' or 'connectors' or 'influencers' suggesting that some people play a more active role than others in shaping media flows and creating new values." 

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

Inspirational consumer, connectors and 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?

That companies can invest into niche communities with small population but with huge commitment which makes economic sense as as you can lower cost 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?

He suggests that fan tastes are ruling the box office and dominating television. Fan practices shape the gaming industry e.g. moders are being recruited by the companies and that these people will play a greater role in the future. More than of halve of teenagers could be seen are creative producers, 33% of teens share what they create online with others, 19% remixed online creations into new mixes.

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’.

"This bottom up energy will generate enormous creativity, but will also tear apart some of the categories that organise the lives and work of media makers". I agree that audiences will reshape the media landscape as more consumers are starting to produce their own products and changing the way of distribution and production.

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

Talks up the program and spreads words about the brand.

8) Why is fandom 'the future'?

They are becoming more mainstream and are starting to hold more power. 

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

As it is a an idea branched a main companies idea so it has, in some terms been stolen and unrightfully changed and could breach copyright laws, but the fan still gets profit from it.

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?

I think we are all fans in some way, but there are some fans who are extreme, but being a fan is definitely mainstream and will continue to be.