People who consume a media text regularly because they enjoy it
2) What the different types of fan identified in the factsheet?
There is the Hardcore, newbie and the anti-fan
Hardcore:
Hardcore fans are proud of the fact that they consume the media text on a regular, almost obsessive basis; along with this, a hardcore fan is proud of this fact.
Newbie:
A newbie is a fan that is just now being introduced to that media text, has begun to consume the media text on a regular basis, but not to the same extent as a hardcore fan
Anti-fan:
Negative stereotype of fans, an anti-fan consumes media texts from a distance.
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?
At a certain point, the more of a fan you are within that fandom (can be determined through how many pieces of merchandise you have etc) you then gain almost gain clout or cultural capital within that fandom.
5) What examples of fandom are provided on pages 2 and 3 of the factsheet?
Potterheads, Trekkies, whovians and the sherlock holmes fandom
6) Why is imaginative extension and text creation a vital part of digital fandom?
Imaginative extension and text creation is a vital part of keeping a community active and alive.
Tomb Raider and Metroid fandom research
Look at this Tomb Raider fansite and answer the following questions:
1) What types of content are on offer in this fansite?
Everything from fan art pages of lara croft to pages dedicated to one of the side characters Jeevs.
2) What does the number of links and content suggest about the size of the online fan community for Tomb Raider and Lara Croft? Pick out some examples from this page.
It would suggest that the fandom is quite large considering that the page covers pretty much everything.
Tomb Reader (blog in English & Urdu) - A blog that is also in urdu, showing an international audience from Pakistan.
Tomb Raider: Tears of the Dragon (14 languages) - A fan made film
3) Scroll to the bottom of the page and look at the short ‘About me’ bio and social media updates. Is this a typical example of ‘fandom’ in the digital age? Why?
In the modern digital age, everything can be monetised. Due to this, I believe that an "About me" has become a standard way of gaining an increased amount of followers, which can then be turned into the means of making money.
Now look at this Metroid fansite and answer the following:
1) What does the site offer?
podcasts, FAQ, news updates regarding metroid, interviews etc
2) Look at the Community Spotlight page. What does this suggest about the types of people who enjoy and participate in fan culture?
I believe it shows that the people who enjoy metroid is quite diverse, as it shows cosplayers, fan fics, discussions etc.
3) There is a specific feature on Metroid Prime 2: Echoes. What do the questions from fans tell you about the level of engagement and interest in the game and franchise from the fan community?
It shows that there has been a deep investment of time and money in the game since its launch. The in-depth questions being asked by the fans shows this.
Henry Jenkins: degree-level reading
Read the final chapter of ‘Fandom’ – written by Henry Jenkins. 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?
The quote means that the idea of an audience has changed in recent history. While yes there are fans who don't belong to fandoms and are more casual; modern culture and the way modern texts are promoted is through the creation of such fandoms, it has become the norm and is wildly supported by millions of people around the world. The audience is no longer an audience, it's a community
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?
Prosumers, influencers, connectors and inspirational consumers.
4) On the third page of the chapter, what does Wired editor Chris Anderson suggest regarding the economic argument in favour of fan communities?
He suggests that if production costs could be lowered, only then would real economic benefit be realised
5) What examples does Jenkins provide to argue that fan culture has gone mainstream?
You can tell it's become mainstream by the fact that the word fandom, or anyone associated with a fandom is no longer considered as nerdy.
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"
I think there will always be the media conglomerates that spend hundreds of millions of dollars to make Hollywood blockbusters. But I do feel that majority of films that will be created will be of a bottom-up nature, with independent creators taking the fore-front
7) What does Jenkins suggest the new ideal consumer is?
Jenkins suggests that the new ideal consumer is one that basically provides free advertising through sharing and communication.
8) Why is fandom 'the future'?
Financially it's the thing that makes the most sense, it makes advertising and selling of media texts fast, accurate and easy. Both audiences and creators seem to enjoy it.
9) What does it mean when Jenkins says we shouldn’t celebrate ‘a process that commodifies fan cultural production’?
By commodifing fan cultural production, you ignore the reason for its production and create a new evolved Hollywood machine. Once again making money the forefront for expressive creativity
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 fandom like most forms of, well, anything, is going to hit critical mass, and when it does some new way of creating community is most likely going to take its place
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