AUDIENCE THEORY -- FANDOM -- JENKINS.pptx

AUDIENCE THEORY - JENKINS

1. MEDIA AUDIENCES JENKINS ON FANDOM

2. FANDOM – JENKINS FANDOM – JENKINS Fans act as ‘textual poachers’ taking elements from media texts to create their own culture . The development of the ‘new’ media has accelerated ‘participatory culture’ in which audiences are active and creative participants rather than passive consumers. They create online communities, produce new creative forms, collaborate to solve problems, and shape the flow of media . This generates ‘collective intelligence.’ From this perspective, convergence is a cultural process rather than a technological one. Jenkins prefers the term ‘spreadable media’ to terms such as ‘viral’ as the former emphasises the active, participatory element of the ‘new’ media.

3. FANDOM – JENKINS FANDOM – JENKINS Fans act as ‘textual poachers’ taking elements from media texts to create their own culture . The development of the ‘new’ media has accelerated ‘participatory culture’ in which audiences are active and creative participants rather than passive consumers. They create online communities, produce new creative forms, collaborate to solve problems, and shape the flow of media . This generates ‘collective intelligence.’ From this perspective, convergence is a cultural process rather than a technological one. Jenkins prefers the term ‘spreadable media’ to terms such as ‘viral’ as the former emphasises the active, participatory element of the ‘new’ media.

4. FANDOM – JENKINS FANDOM – JENKINS Fans act as ‘textual poachers’ taking elements from media texts to create their own culture . The development of the ‘new’ media has accelerated ‘participatory culture’ in which audiences are active and creative participants rather than passive consumers. They create online communities, produce new creative forms, collaborate to solve problems, and shape the flow of media . This generates ‘collective intelligence.’ From this perspective, convergence is a cultural process rather than a technological one. Jenkins prefers the term ‘spreadable media’ to terms such as ‘viral’ as the former emphasises the active, participatory element of the ‘new’ media. Jenkins introduced this term in his book "Textual Poachers: Television Fans and Participatory Culture." He uses this term to describe fans who engage with media texts actively and creatively, often subverting or appropriating the original content for their own purposes. Here are four characteristics of textual poaching: Active Engagement : Rather than passively consuming media, textual poachers actively engage with it. They may analyse, interpret, and reinterpret media texts in ways that were not intended by the creators. Creative Appropriation : Textual poachers appropriate elements from media texts and incorporate them into their own creative works. This can include fan fiction, fan art, remix videos etc. Subversion of Authority : By appropriating and transforming media content, textual poachers challenge the authority of the original creators and disrupt traditional power dynamics between producers and consumers. Participatory Culture : Jenkins argues that textual poaching is a form of participation in a larger participatory culture, where fans actively contribute to and shape the meanings of media texts within a community of fellow enthusiasts.

5. FANDOM – JENKINS FANDOM – JENKINS Fans act as ‘textual poachers’ taking elements from media texts to create their own culture . The development of the ‘new’ media has accelerated ‘participatory culture’ in which audiences are active and creative participants rather than passive consumers. They create online communities, produce new creative forms, collaborate to solve problems, and shape the flow of media . This generates ‘collective intelligence.’ From this perspective, convergence is a cultural process rather than a technological one. Jenkins prefers the term ‘spreadable media’ to terms such as ‘viral’ as the former emphasises the active, participatory element of the ‘new’ media.

6. FANDOM – JENKINS FANDOM – JENKINS Fans act as ‘textual poachers’ taking elements from media texts to create their own culture . The development of the ‘new’ media has accelerated ‘participatory culture’ in which audiences are active and creative participants rather than passive consumers. They create online communities, produce new creative forms, collaborate to solve problems, and shape the flow of media . This generates ‘collective intelligence.’ From this perspective, convergence is a cultural process rather than a technological one. Jenkins prefers the term ‘spreadable media’ to terms such as ‘viral’ as the former emphasises the active, participatory element of the ‘new’ media.

7. FANDOM – JENKINS FANDOM – JENKINS Fans act as ‘textual poachers’ taking elements from media texts to create their own culture . The development of the ‘new’ media has accelerated ‘participatory culture’ in which audiences are active and creative participants rather than passive consumers. They create online communities, produce new creative forms, collaborate to solve problems, and shape the flow of media . This generates ‘collective intelligence.’ From this perspective, convergence is a cultural process rather than a technological one. Jenkins prefers the term ‘spreadable media’ to terms such as ‘viral’ as the former emphasises the active, participatory element of the ‘new’ media. Jenkins describes a cultural environment where individuals actively engage with media content, create and share their own content, and collaborate within a community of enthusiasts. Participatory culture is characterised by the following key attributes: Low Barriers to Entry : Individuals can easily contribute their own content, opinions, and ideas. e.g. f an fiction, fan art, remixes, commentary etc. 2. Strong Support for Sharing: There is a strong emphasis on sharing and distributing content freely. Sharing is seen as a way to foster creativity, collaboration, and community building. 3. Collaboration and Co-Creation : Individuals work together to produce and improve content, often building upon each other's ideas and contributions to create something new and innovative. 4. Fandom and Community Engagement : Fandoms and communities providing spaces where individuals with shared interests can connect, interact, and collaborate. These communities often have their own norms, practices, and forms of cultural expression. 5. Blurring of Producer/Consumer Roles : T he traditional distinction between producers and consumers of media blurs. Participants are not just passive consumers of content but also active producers who contribute to and shape the media landscape. 6. Democratisation : D emocratic participation allows diverse voices and perspectives to be heard. It empowers audience s to have a say in the creation, distribution, and interpretation of media content, challenging traditional hierarchies and power structures.

8. FANDOM – JENKINS FANDOM – JENKINS Fans act as ‘textual poachers’ taking elements from media texts to create their own culture . The development of the ‘new’ media has accelerated ‘participatory culture’ in which audiences are active and creative participants rather than passive consumers. They create online communities, produce new creative forms, collaborate to solve problems, and shape the flow of media . This generates ‘collective intelligence.’ From this perspective, convergence is a cultural process rather than a technological one. Jenkins prefers the term ‘spreadable media’ to terms such as ‘viral’ as the former emphasises the active, participatory element of the ‘new’ media.

9. FANDOM – JENKINS FANDOM – JENKINS Fans act as ‘textual poachers’ taking elements from media texts to create their own culture . The development of the ‘new’ media has accelerated ‘participatory culture’ in which audiences are active and creative participants rather than passive consumers. They create online communities, produce new creative forms, collaborate to solve problems, and shape the flow of media . This generates ‘collective intelligence.’ From this perspective, convergence is a cultural process rather than a technological one. Jenkins prefers the term ‘spreadable media’ to terms such as ‘viral’ as the former emphasises the active, participatory element of the ‘new’ media.

10. FANDOM – JENKINS FANDOM – JENKINS Fans act as ‘textual poachers’ taking elements from media texts to create their own culture . The development of the ‘new’ media has accelerated ‘participatory culture’ in which audiences are active and creative participants rather than passive consumers. They create online communities, produce new creative forms, collaborate to solve problems, and shape the flow of media . This generates ‘collective intelligence.’ From this perspective, convergence is a cultural process rather than a technological one. Jenkins prefers the term ‘spreadable media’ to terms such as ‘viral’ as the former emphasises the active, participatory element of the ‘new’ media. Distributed Knowledge : K nowledge and expertise are distributed across a group or network of people. Each individual possesses unique skills, insights, and experiences that contribute to the collective pool. Collaborative Problem-Solving : By working together, sharing ideas, and pooling resources, group members can collectively solve problems, address challenges, and generate creative solutions. Amplification of Abilities : Collaborative efforts allow individuals to tap into a broader range of knowledge and expertise than they could access independently, leading to more robust and effective outcomes. Iterative Feedback Loops : Collective intelligence often involves iterative processes of feedback and refinement. Group members provide input, critique, and feedback on each other's ideas and contributions, leading to continuous improvement and iteration of solutions over time. 5. Decentralised Decision-Making : Collective intelligence challenges the notion of centralised decision-making authority. Instead of relying on a single leader or expert to make decisions, decisions are often made collaboratively, with input from multiple stakeholders. 6. Emergent Properties : Collective intelligence can give rise to emergent properties that emerge from the interactions and dynamics within a group. These may include new ideas, insights, patterns, or solutions that emerge from the collective efforts of group members. Jenkins characterises collective intelligence in the following ways:

11. FANDOM – JENKINS FANDOM – JENKINS Fans act as ‘textual poachers’ taking elements from media texts to create their own culture . The development of the ‘new’ media has accelerated ‘participatory culture’ in which audiences are active and creative participants rather than passive consumers. They create online communities, produce new creative forms, collaborate to solve problems, and shape the flow of media . This generates ‘collective intelligence.’ From this perspective, convergence is a cultural process rather than a technological one. Jenkins prefers the term ‘spreadable media’ to terms such as ‘viral’ as the former emphasises the active, participatory element of the ‘new’ media.

12. FANDOM – JENKINS FANDOM – JENKINS Fans act as ‘textual poachers’ taking elements from media texts to create their own culture . The development of the ‘new’ media has accelerated ‘participatory culture’ in which audiences are active and creative participants rather than passive consumers. They create online communities, produce new creative forms, collaborate to solve problems, and shape the flow of media . This generates ‘collective intelligence.’ From this perspective, convergence is a cultural process rather than a technological one. Jenkins prefers the term ‘spreadable media’ to terms such as ‘viral’ as the former emphasises the active, participatory element of the ‘new’ media.

13. FANDOM – JENKINS FANDOM – JENKINS Fans act as ‘textual poachers’ taking elements from media texts to create their own culture . The development of the ‘new’ media has accelerated ‘participatory culture’ in which audiences are active and creative participants rather than passive consumers. They create online communities, produce new creative forms, collaborate to solve problems, and shape the flow of media . This generates ‘collective intelligence.’ From this perspective, convergence is a cultural process rather than a technological one. Jenkins prefers the term ‘spreadable media’ to terms such as ‘viral’ as the former emphasises the active, participatory element of the ‘new’ media. Jenkins describes some of the characteristics of “spreadable media”: Ease of Sharing : Unlike traditional media, which may be tightly controlled and distributed by centralised gatekeepers, spreadable media encourages audiences to freely share content with their social networks, either through direct sharing or by participating in discussions and interactions around the content. Participatory Culture : Spreadable media facilitates participatory culture. Audiences are active participants who play a role in distributing, remixing, and reinterpreting content, often adding their own commentary and perspectives. Networked Distribution : Use of digital networks and social media platforms facilitates distribution. N etworked distribution allows content to gain momentum rapidly through likes, shares, retweets, and other forms of social engagement. User Agency : Spreadable media emphasises user agency and autonomy. Audiences have the freedom to curate their own media experiences, selecting and sharing content that aligns with their interests, values, and identities, which contrasts with traditional media that relies on top-down control and broadcast distribution. Cultural Currency : Spreadable media often gains cultural currency through its circulation within online communities and social networks. Content that resonates with audiences may become part of broader cultural conversations, memes, or trends, shaping public discourse and influencing popular culture.

14. FANDOM – JENKINS FANDOM – JENKINS Fans act as ‘textual poachers’ taking elements from media texts to create their own culture . The development of the ‘new’ media has accelerated ‘participatory culture’ in which audiences are active and creative participants rather than passive consumers. They create online communities, produce new creative forms, collaborate to solve problems, and shape the flow of media . This generates ‘collective intelligence.’ From this perspective, convergence is a cultural process rather than a technological one. Jenkins prefers the term ‘spreadable media’ to terms such as ‘viral’ as the former emphasises the active, participatory element of the ‘new’ media.

15. FANDOM – JENKINS FANDOM – JENKINS - NEWSPAPERS Fans act as ‘textual poachers’ taking elements from media texts to create their own culture . The development of the ‘new’ media has accelerated ‘participatory culture’ in which audiences are active and creative participants rather than passive consumers. They create online communities, produce new creative forms, collaborate to solve problems, and shape the flow of media . This generates ‘collective intelligence.’ From this perspective, convergence is a cultural process rather than a technological one. Jenkins prefers the term ‘spreadable media’ to terms such as ‘viral’ as the former emphasises the active, participatory element of the ‘new’ media.

16. FANDOM – JENKINS FANDOM – JENKINS - NEWSPAPERS Jenkins primarily focused on television and popular media, but his theory can still be applied to newspapers: Commentary and Criticism : Readers may engage in textual poaching by writing letters to the editor or online comments that critique or analyse newspaper articles. Many newspapers offer opportunities for participation through social media platforms like Twitter (X), Facebook etc. These responses can offer alternative perspectives or interpretations that challenge the original intent of the articles. Satire/Memes/Remixes/Mashups : Audiences may poach from newspaper content by creating satirical content. This form of appropriation can provide social commentary or critique through humour and visual storytelling. Citizen Journalism : Citizen journalism initiatives involve individuals contributing their own news stories, photographs, or videos to document local events or issues not covered by mainstream newspapers. This grassroots approach to news production empowers ordinary citizens to participate in shaping the media landscape.

17. FANDOM – JENKINS FANDOM – JENKINS - NEWSPAPERS QUESTION MIGHT BE: Evaluate the usefulness of Jenkins on participation in understanding audience use of online newspapers such as The Guardian and MailOnline.

18. FANDOM – JENKINS FANDOM – JENKINS - NEWSPAPERS QUESTION MIGHT BE: Evaluate the usefulness of Jenkins on participation in understanding audience use of online newspapers such as The Guardian and MailOnline. Mark scheme says that candidates might write about some of the following: >>>The development of the ‘new’ media has accelerated participation, in which audiences are active and creative participants rather– triggering engagement with news online, the contribution of user generated content.  >>>They create online communities, and shape the flow of media. This generates collective intelligence, for example, citizen journalism.  >>>Apply the idea that Jenkins uses the idea of spreadable media as this emphasises the active, participatory element of the ‘new’ online media.  >>>Explain that participatory culture is less likely to occur in relation to online newspapers when compared to other areas of the internet due to their type of content and the ethos of professional journalism.  >>>Evaluate the view that the power of online audiences may underestimate the power of the oligarchy of media conglomerates to shape and control online content and the importance of journalism as a professional practice.

19. FANDOM – JENKINS FANDOM – JENKINS - NEWSPAPERS >>>The development of the ‘new’ media has accelerated participation, in which audiences are active and creative participants rather– triggering engagement with news online, the contribution of user generated content. 

20. FANDOM – JENKINS FANDOM – JENKINS - NEWSPAPERS >>>The development of the ‘new’ media has accelerated participation, in which audiences are active and creative participants rather– triggering engagement with news online, the contribution of user generated content. Jenkins's work has been instrumental in highlighting the transformative impact of new media on audience participation and engagement. He argues that the proliferation of digital platforms has accelerated the shift towards a participatory culture, where audiences are no longer passive consumers but active and creative participants in the production and dissemination of content. In the realm of online news, platforms like The Guardian Online and MailOnline have embraced user-generated content to enhance reader engagement. Both outlets encourage audiences to contribute comments, share articles on social media, and even submit their own stories and multimedia content. By opening their platforms to user participation, these news organisations empower audiences to play a more active role in shaping the news agenda. Jenkins's framework helps us understand how the development of new media technologies has democratised the news-making process, allowing for diverse voices and perspectives to be heard in the digital public sphere.

21. FANDOM – JENKINS FANDOM – JENKINS - NEWSPAPERS >>>The development of the ‘new’ media has accelerated participation, in which audiences are active and creative participants rather– triggering engagement with news online, the contribution of user generated content. Jenkins's work has been instrumental in highlighting the transformative impact of new media on audience participation and engagement. He argues that the proliferation of digital platforms has accelerated the shift towards a participatory culture, where audiences are no longer passive consumers but active and creative participants in the production and dissemination of content. In the realm of online news, platforms like The Guardian Online and MailOnline have embraced user-generated content to enhance reader engagement. Both outlets encourage audiences to contribute comments, share articles on social media, and even submit their own stories and multimedia content. By opening their platforms to user participation, these news organisations empower audiences to play a more active role in shaping the news agenda. Jenkins's framework helps us understand how the development of new media technologies has democratised the news-making process, allowing for diverse voices and perspectives to be heard in the digital public sphere. WHAT EVIDENCE COULD WE USE TO MAKE IT SPECIFIC AND DETAILED?

22. FANDOM – JENKINS FANDOM – JENKINS - NEWSPAPERS >>>The development of the ‘new’ media has accelerated participation, in which audiences are active and creative participants rather– triggering engagement with news online, the contribution of user generated content. Guardian Online Twitter – 10.9million Snapchat – 175,000 Tik Tok – 266,000 Facebook – 8.9 million MailOnline Twitter – 2.8 million Snapchat – 15 million (U.S. and Celebrity content dominates) Tik Tok – 450,000 and 7.7 million across all its accounts Facebook – 22 million WHAT EVIDENCE COULD WE USE TO MAKE IT SPECIFIC AND DETAILED?

23. FANDOM – JENKINS FANDOM – JENKINS - NEWSPAPERS >>>They create online communities, and shape the flow of media. This generates collective intelligence, for example, citizen journalism.  Jenkin’s work points to the idea of “collective intelligence,” which manifests in online news in the form of citizen journalism. The Guardian online has embraced citizen journalism; its "Comment is Free" section, for instance, allows readers to contribute opinion pieces and commentary on a wide range of topics, amplifying diverse voices and perspectives. By embracing citizen journalism, The Guardian online has reaffirmed its commitment to journalistic values of transparency, accountability, and inclusivity, while remaining at the forefront of digital innovation in the media landscape. While MailOnline does incorporate user-generated content through features like " iReporters ," where users can submit photos, videos, and eyewitness accounts of news events, its approach to citizen journalism is primarily focused on supplementing its reporting with additional perspectives and multimedia content, rather than actively engaging readers as contributors to its editorial content. Jenkins may therefore be useful in distinguishing between platforms that embrace participatory culture within the framework of their liberalism and journalistic integrity and those that use it more like a marketing tool.

24. FANDOM – JENKINS FANDOM – JENKINS - NEWSPAPERS >>>They create online communities, and shape the flow of media. This generates collective intelligence, for example, citizen journalism.  Jenkin’s work points to the idea of “collective intelligence,” which manifests in online news in the form of citizen journalism. The Guardian online has embraced citizen journalism; its "Comment is Free" section, for instance, allows readers to contribute opinion pieces and commentary on a wide range of topics, amplifying diverse voices and perspectives. By embracing citizen journalism, The Guardian online has reaffirmed its commitment to journalistic values of transparency, accountability, and inclusivity, while remaining at the forefront of digital innovation in the media landscape. While MailOnline does incorporate user-generated content through features like " iReporters ," where users can submit photos, videos, and eyewitness accounts of news events, its approach to citizen journalism is primarily focused on supplementing its reporting with additional perspectives and multimedia content, rather than actively engaging readers as contributors to its editorial content. Jenkins may therefore be useful in distinguishing between platforms that embrace participatory culture within the framework of their liberalism and journalistic integrity and those that use it more like a marketing tool. WE COULD POTENTIALLY GET RID OF THIS SECTION…

25. FANDOM – JENKINS FANDOM – JENKINS - NEWSPAPERS >>>They create online communities, and shape the flow of media. This generates collective intelligence, for example, citizen journalism.  Jenkin’s work points to the idea of “collective intelligence,” which manifests in online news in the form of citizen journalism. The Guardian online has embraced citizen journalism; its "Comment is Free" section, for instance, allows readers to contribute opinion pieces and commentary on a wide range of topics, amplifying diverse voices and perspectives. By embracing citizen journalism, The Guardian online has reaffirmed its commitment to journalistic values of transparency, accountability, and inclusivity, while remaining at the forefront of digital innovation in the media landscape. While MailOnline does incorporate user-generated content through features like " iReporters ," where users can submit photos, videos, and eyewitness accounts of news events, its approach to citizen journalism is primarily focused on supplementing its reporting with additional perspectives and multimedia content, rather than actively engaging readers as contributors to its editorial content. Jenkins may therefore be useful in distinguishing between platforms that embrace participatory culture within the framework of their liberalism and journalistic integrity and those that use it more like a marketing tool. BUT IF WE DID, WE WOULD NEED TO CHANGE THE CONCLUSION…

26. FANDOM – JENKINS FANDOM – JENKINS - NEWSPAPERS >>>They create online communities, and shape the flow of media. This generates collective intelligence, for example, citizen journalism.  Jenkin’s work points to the idea of “collective intelligence,” which manifests in online news in the form of citizen journalism. The Guardian online has embraced citizen journalism; its "Comment is Free" section, for instance, allows readers to contribute opinion pieces and commentary on a wide range of topics, amplifying diverse voices and perspectives. By embracing citizen journalism, The Guardian online has reaffirmed its commitment to journalistic values of transparency, accountability, and inclusivity, while remaining at the forefront of digital innovation in the media landscape. Jenkins is therefore useful in identifying the way that some newspapers have embraced participatory culture as a way to enhance content within their liberal agenda of offering a voice to a wider demographic. SO …

27. FANDOM – JENKINS FANDOM – JENKINS - NEWSPAPERS >>>Evaluate the view that the power of online audiences may underestimate the power of the oligarchy of media conglomerates to shape and control online content and the importance of journalism as a professional practice.

28. FANDOM – JENKINS FANDOM – JENKINS - NEWSPAPERS >>>Evaluate the view that the power of online audiences may underestimate the power of the oligarchy of media conglomerates to shape and control online content and the importance of journalism as a professional practice. While Jenkins’s work clearly points to the fact that online audiences have greater opportunities to engage with and contribute to news content on platforms like Guardian Online and MailOnline, Curran and Seaton maintain that the oligarchy of media conglomerates still has significant power to control online content. These conglomerates, with their vast resources and established networks, maintain a considerable presence in the digital media landscape, influencing the production, distribution, and consumption of news content online. E ven though both these platforms encourage participatory culture, this makes up only a fraction of their content or it serves as a tool to bring more clicks to what they see as their ‘real’ work. Furthermore, professional journalists adhere to ethical standards, fact-checking procedures, and editorial oversight to ensure the accuracy, credibility, and accountability of news reporting. While citizen journalism and user-generated content have expanded the range of voices and perspectives in online news, they may lack the journalistic rigour and resources to navigate complex issues and provide in-depth analysis. Guardian Online and MailOnline, as reputable news outlets, value journalism as a professional practice, employing trained journalists to investigate stories, verify information, and uphold editorial standards. Jenkins’s work is focused primarily on the fandoms that grow up around media phenomena like TV shows, film franchises and the like, so while it does provide some insight into the growing participatory culture around online news, it is limited in its scope to address an industry that is, at least ostensibly, built on truth and rigour.

29. FANDOM – JENKINS FANDOM – JENKINS - NEWSPAPERS >>>Evaluate the view that the power of online audiences may underestimate the power of the oligarchy of media conglomerates to shape and control online content and the importance of journalism as a professional practice. While Jenkins’s work clearly points to the fact that online audiences have greater opportunities to engage with and contribute to news content on platforms like Guardian Online and MailOnline, Curran and Seaton maintain that the oligarchy of media conglomerates still has significant power to control online content. These conglomerates, with their vast resources and established networks, maintain a considerable presence in the digital media landscape, influencing the production, distribution, and consumption of news content online. E ven though both these platforms encourage participatory culture, this makes up only a fraction of their content or it serves as a tool to bring more clicks to what they see as their ‘real’ work. Furthermore, professional journalists adhere to ethical standards, fact-checking procedures, and editorial oversight to ensure the accuracy, credibility, and accountability of news reporting. While citizen journalism and user-generated content have expanded the range of voices and perspectives in online news, they may lack the journalistic rigour and resources to navigate complex issues and provide in-depth analysis. Guardian Online and MailOnline, as reputable news outlets, value journalism as a professional practice, employing trained journalists to investigate stories, verify information, and uphold editorial standards. Jenkins’s work is focused primarily on the fandoms that grow up around media phenomena like TV shows, film franchises and the like, so while it does provide some insight into the growing participatory culture around online news, it is limited in its scope to address an industry that is, at least ostensibly, built on truth and rigour. AS YOU PLAN, ASK YOURSELF: WHAT COULD YOU LOSE FROM THIS AND IT STILL MAKE SENSE?

30. FANDOM – JENKINS FANDOM – JENKINS - NEWSPAPERS QUESTION MIGHT BE: Evaluate the usefulness of Jenkins on participation in understanding audience use of online newspapers such as The Guardian and MailOnline. Mark scheme says that candidates might write about some of the following: >>>The development of the ‘new’ media has accelerated participation, in which audiences are active and creative participants rather– triggering engagement with news online, the contribution of user generated content.  >>>They create online communities, and shape the flow of media. This generates collective intelligence, for example, citizen journalism.  >>>Apply the idea that Jenkins uses the idea of spreadable media as this emphasises the active, participatory element of the ‘new’ online media.  >>>Explain that participatory culture is less likely to occur in relation to online newspapers when compared to other areas of the internet due to their type of content and the ethos of professional journalism.  >>>Evaluate the view that the power of online audiences may underestimate the power of the oligarchy of media conglomerates to shape and control online content and the importance of journalism as a professional practice.

31. FANDOM – JENKINS FANDOM – JENKINS - LFTVD

32. FANDOM – JENKINS - LFTVD Participatory culture is the idea that the development of new media allows the audience to be active and creative participants rather than simply passive consumers. Audience members become textual poachers taking aspects from media texts to create their own content. Convergence culture - media is shared, adapted, and consumed constantly on a range of different platforms. Spreadable media - content that is adapted by audience members for their own purpose and shared with others. One Sentence Summary The development of online media has allowed audiences to participate in media culture, adapting media products to create their own content which is shared with online audiences. Jenkins and Participatory Culture youtu.be/ZCKoLB1kUsY

33. FANDOM – JENKINS - LFTVD What examples can you find of textual poaching and convergence culture in relation to Stranger Things ? How does Stranger Things demonstrate the idea of spreadable media? What do Jenkins’s ideas suggest about the way audiences engages with LFTV drama? How important is spreadable media to the success of a media product? Stranger Things demonstrates the participatory nature of media audiences and the use of textual poaching . There is extensive evidence of fan culture for Stranger Things including fan art, fan fiction, memes, and social media posts and interactions. The ‘Justice for Barb’ meme is a good example of convergence culture as something which emerged from the audience. It arguably suggests the way in which fan culture can interact with media production, demonstrated in the season two storyline focused on Barb’s parents which was a response to audience reaction to the character of Barb. Social media also allows audiences to interact with actors, writers, and producers. An example of this is the actor who plays Will Byers using Instagram to respond to online fan discussions about the character’s sexuality. https://goo.gl/g3KE73 The success of Stranger Things may be partly down to its spreadability . The use of intertextuality, retro styles, appealing characters, and cast members active on social media all make it suited to the creation of shareable content. Jenkins’ ideas are useful for considering how audiences actively engage with media products across different platforms, but does not support discussion of the ways in which meanings are constructed by producers within LFTV drama.

34. FANDOM – JENKINS - LFTVD Stranger Things demonstrates the participatory nature of media audiences and the use of textual poaching . There is extensive evidence of fan culture for Stranger Things including fan art, fan fiction, memes, and social media posts and interactions. The success of Stranger Things may be partly down to its spreadability . The use of intertextuality, retro styles, appealing characters, and cast members active on social media all make it suited to the creation of shareable content. Jenkins’ ideas are useful for considering how audiences actively engage with media products across different platforms, but does not support discussion of the ways in which meanings are constructed by producers within LFTV drama.

35. FANDOM – JENKINS - LFTVD Stranger Things demonstrates the participatory nature of media audiences and the use of textual poaching . There is extensive evidence of fan culture for Stranger Things including fan art, fan fiction, memes, and social media posts and interactions.

36. FANDOM – JENKINS - LFTVD Stranger Things demonstrates the participatory nature of media audiences and the use of textual poaching. There is extensive evidence of fan culture for Stranger Things including fan art, fan fiction, memes, and social media posts and interactions. An excellent example of textual poaching is the work of renowned digital artist BossLogic , who created a piece featuring Eleven surrounded by her friends, with a focus on her using her powers. The artwork was widely shared across social media platforms like Twitter and Instagram, garnering thousands of likes and retweets from fans of the show. Jenkins allows us to examine the way that texts like Stranger Things transcend their original form to become culturally significant in a landscape of spreadable media.

37. FANDOM – JENKINS - LFTVD The success of Stranger Things may be partly down to its spreadability. The use of intertextuality, retro styles, appealing characters, and cast members active on social media all make it suited to the creation of shareable content. We may even go as far as suggesting that the intertextual nature of Stranger Things encourages ‘textual poaching’ by example; arguably it feels like a piece of Spielberg fan art come to life. A plethora of YouTube videos feature commentary on its use of intertextual references, with some even using as basis for video essays on the subject. Jenkins is particularly interesting here because he highlights the importance of collective intelligence in participatory culture. Of course, he predicts that highly spreadable content will be wildly popular, but he also indicates that participatory culture will teach us to find new ways to think about popular Film and T.V., including Long Form T.V. Drama.

38. FANDOM – JENKINS - LFTVD But what about the limitations of Jenkins? Well, let’s turn our lens on Deutschland 83 and compare its lack of spreadability to Stranger Things. Both are set in 1983, but while Stranger Things evokes a nostalgic, Spielbergian vision of 1980s America, D83 attempts a more realistic representation of 1980s Berlin. (Baudrillard???) Both are genre pieces, but while Stranger Things is an exciting hybrid of Teen Drama, Adventure, Action, Sci Fi, Horror and Comedy, D83 subverts expectations of the Spy Thriller by pitting a Communist protagonist against a NATO antagonist. (Hall or Neale???)