Henry Jenkins - fandom and participatory culture
Henry Jenkins - fandom blog tasks
The following tasks will give you an excellent introduction to fandom and also allow you to start exploring degree-level insight into audience studies. Work through the following:
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 fan is someone who shows enthusiasm or zeal for a particular media text or cultural product. This enthusiasm can range from casual appreciation to a more profound and personal connection, where the media text becomes part of their identity.
2) What the different types of fan identified in the factsheet?
Hardcore/True Fan:
3) What are the different names Jenkins discusses for these active consumers that are replacing the traditional audience?
Chris Anderson suggests that investing in niche properties with small but dedicated fan bases can be economically viable. His "long tail" theory argues that by lowering production and distribution costs, companies can profit from a wide array of niche markets, supported by strong fan communities.
5) What examples does Jenkins provide to argue that fan culture has gone mainstream?
7) What does Jenkins suggest the new ideal consumer is?
Jenkins suggests that the new ideal consumer is no longer passive but an active participant who promotes, shares, and engages with content. They are fans who spread awareness and contribute to the success of media properties.
8) Why is fandom 'the future'?
Jenkins argues that fandom serves as a prototype for how media and culture industries will operate in the future. Fans' participatory practices—remixing, sharing, and co-creating content—are becoming the norm in digital culture, shaping both media production and consumption.
9) What does it mean when Jenkins says we shouldn’t celebrate ‘a process that commodifies fan cultural production’?
The following tasks will give you an excellent introduction to fandom and also allow you to start exploring degree-level insight into audience studies. Work through the following:
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 fan is someone who shows enthusiasm or zeal for a particular media text or cultural product. This enthusiasm can range from casual appreciation to a more profound and personal connection, where the media text becomes part of their identity.
2) What the different types of fan identified in the factsheet?
Hardcore/True Fan:
- Devoted enthusiasts who possess deep knowledge and have been involved with the fandom for a long time.
- They see themselves as “insiders” and often invest time and money in their fandom.
- A newcomer to a fandom, who may lack the depth of knowledge and experience of hardcore fans. Initially viewed as part of the “outgroup.”
- Someone who strongly dislikes or critiques a media text but maintains a relationship with it, often engaging through negative stereotypes and marketing materials.3) What makes a ‘fandom’?
- Shared enthusiasm and a sense of community.
- Participation in specific practices like conventions, fan art, and discussions.
- A lasting emotional connection, often referred to as “enduring fandom” by Matt Hills.
4) What is Bordieu’s argument regarding the ‘cultural capital’ of fandom?
Bordieu argues that fandom provides a form of cultural capital, a symbolic power that gives fans status within their community. This can manifest in knowledge, memorabilia, or fan-made creations, which elevate the fan’s standing among peers. For example, a room filled with memorabilia signals a fan’s commitment and expertise, conferring respect and recognition within the fandom.
5) What examples of fandom are provided on pages 2 and 3 of the factsheet?
Sherlock Holmes Fandom: One of the earliest fandoms, with fans mourning Holmes’ “death” and creating fan fiction as early as the late 19th century.
Liverpool Football Fans: Example of intense dedication, with fans decorating rooms with memorabilia.
The Rocky Horror Picture Show: Fans engage in cosplay and interactive midnight screenings.
Family Guy: Fans’ buying power resurrected the show after its cancellation.
Game of Thrones: Fans speculate and theories about plot lines, engaging with the material through online forums and discussions.
6) Why is imaginative extension and text creation a vital part of digital fandom?
Expand and reinterpret the original material through fan fiction, fan art, videos, and mods.
Express creativity and shared identity within the fandom.
Engage with other fans by offering new interpretations
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?
This quote highlights a fundamental shift in the way people engage with media. Instead of passively consuming content, individuals are now part of active, connected groups where they share, create, and collaborate. Media is no longer a one-way street but an interactive, participatory space.
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!)
Bordieu argues that fandom provides a form of cultural capital, a symbolic power that gives fans status within their community. This can manifest in knowledge, memorabilia, or fan-made creations, which elevate the fan’s standing among peers. For example, a room filled with memorabilia signals a fan’s commitment and expertise, conferring respect and recognition within the fandom.
5) What examples of fandom are provided on pages 2 and 3 of the factsheet?
Sherlock Holmes Fandom: One of the earliest fandoms, with fans mourning Holmes’ “death” and creating fan fiction as early as the late 19th century.
Liverpool Football Fans: Example of intense dedication, with fans decorating rooms with memorabilia.
The Rocky Horror Picture Show: Fans engage in cosplay and interactive midnight screenings.
Family Guy: Fans’ buying power resurrected the show after its cancellation.
Game of Thrones: Fans speculate and theories about plot lines, engaging with the material through online forums and discussions.
6) Why is imaginative extension and text creation a vital part of digital fandom?
Expand and reinterpret the original material through fan fiction, fan art, videos, and mods.
Express creativity and shared identity within the fandom.
Engage with other fans by offering new interpretations
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?
This quote highlights a fundamental shift in the way people engage with media. Instead of passively consuming content, individuals are now part of active, connected groups where they share, create, and collaborate. Media is no longer a one-way street but an interactive, participatory space.
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."This emphasises the transformation from passive consumption to active participation, aligning with the concept of participatory culture, where audiences produce, share, and reshape media content.
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
- Multipliers
Chris Anderson suggests that investing in niche properties with small but dedicated fan bases can be economically viable. His "long tail" theory argues that by lowering production and distribution costs, companies can profit from a wide array of niche markets, supported by strong fan communities.
5) What examples does Jenkins provide to argue that fan culture has gone mainstream?
- Superhero and fantasy blockbusters dominate the box office.
- Serialized television shows with complex narratives cater to fan demands.
- Modders in the gaming industry influence game design and are often hired by companies.
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’.
“The media landscape will be reshaped by the bottom-up energy of media created by amateurs and hobbyists as a matter of course.” This suggests that grassroots creativity will drive significant cultural transformation. Agreeing with this, one could argue that democratised access to media tools empowers individuals to challenge traditional media hierarchies and reshape the industry from the ground up.
“The media landscape will be reshaped by the bottom-up energy of media created by amateurs and hobbyists as a matter of course.” This suggests that grassroots creativity will drive significant cultural transformation. Agreeing with this, one could argue that democratised access to media tools empowers individuals to challenge traditional media hierarchies and reshape the industry from the ground up.
7) What does Jenkins suggest the new ideal consumer is?
Jenkins suggests that the new ideal consumer is no longer passive but an active participant who promotes, shares, and engages with content. They are fans who spread awareness and contribute to the success of media properties.
8) Why is fandom 'the future'?
Jenkins argues that fandom serves as a prototype for how media and culture industries will operate in the future. Fans' participatory practices—remixing, sharing, and co-creating content—are becoming the norm in digital culture, shaping both media production and consumption.
9) What does it mean when Jenkins says we shouldn’t celebrate ‘a process that commodifies fan cultural production’?
Jenkins warns against celebrating the commodification of fan-created content, where companies exploit fans' creative labor without fair compensation. While fan participation enhances media, the risk lies in corporations profiting from this creativity without benefiting the creators themselves.
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?
Jenkins suggests that fandom is becoming ubiquitous as participatory culture becomes integral to media consumption. While traditional fan communities may still exist as niche groups, the behaviors and values of fandom are now mainstream. This blurs the lines between casual audiences and dedicated fans, leading to a world where nearly everyone exhibits fan-like engagement.
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?
Jenkins suggests that fandom is becoming ubiquitous as participatory culture becomes integral to media consumption. While traditional fan communities may still exist as niche groups, the behaviors and values of fandom are now mainstream. This blurs the lines between casual audiences and dedicated fans, leading to a world where nearly everyone exhibits fan-like engagement.
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