Textual Poachers: Television Fans and Participatory Culture - Henry Jenkins
p18: Fans as rebels; reject bourgeois and elitist theories on "good taste" -- on the separation between canonical literature and mass media; anti-institutional, anti-authoritarian
"Fans seemingly blur the boundaries between fact and fiction, speaking of characters as if they had an existence apart from their textual manifestations..."
Fans are deliberately cast as deluded, crazy, and maladjusted so that their radical interpretations of the aesthetic/literary value of TV and other forms of "low" art can be dismissed
pp21-22: Fans internalize criticism; have difficulty justifying their enjoyment of something considered artistically worthless
p24: "[fans] are also acutely and painfully aware that those fictions do not belong to them and that someone else has the power to do things to those characters that are in direct contradiction to the fans' own cultural interests"
academy, canon, authorial intent --> the "correct" method of reading
p48: "the largely female composition of media fandom reflects a historical split within the science fiction fan community between the traditionally male-dominated literary fans and the newer, more feminine style of media fandom."
media fandom began with Star Trek
examines how texts are inevitably reinterpreted by readers; authors view this as disintegration, but the process makes the world of the text take on an independent reality
p60: academic practices of analyzing literature and TV --> objectivity, distance, detachment
popular viewing practices --> identification, emotional involvement
p61: "bourgeois" analytical theory = masculine
popular = feminine
p116: "Fan criticism is the institutionalization of feminine reading practices just as the dominant mode of academic criticism is the institutionalization of masculine reading practices"
-socially, not biologically determined; women's stories are devalued, so they learn to find their stories in the periphery of masculine narratives
p189 "Slash fiction represents a reaction against the construction of male sexuality on television and in pornography"
p190 "Slash breaks as well with the commodification of pornography, offering erotic images that originate in a social context of intimacy and sharing"
p191: considers only male/male slash --> first and more prevalent, although written by and for women 90%
p194: "In slash, both characters can be equally strong and equally vulnerable, equally dominant and equally submissivie, without either quality being permanently linked to their sexuality or their gender"
p205: slash is social commentary on popular constructions and restrictions on male sexuality; acts like Eve Sedgwick's Between Men, removing the barriers to same-sex desire and making explicit the idea of a continuum between friends and lovers
p214: slash explores and explodes "ways male sexuality gets bound to notions of competition, dominance, and violence"
fan fiction is a form of interpretation and analysis
p234: fan music videos
1. "memory palace, encapsulating a complex narrative within a smaller number of highly iconographic shots"
2. or they can function like essays or fan fic; take suggestive images out of context and edit them to make the subtext more obvious (an admitted relationship or denied one--i.e., Troi and Riker, or Data and Yar)
3. to tell a new story like fan fic
fandom = folk culture
qualities of fandom:
1. "particular mode of reception" - fans watch with undivided attention, are both emotionally invested in and critical of the show
2. interpretation and analysis methods: compare/contrast with real life, look at details for hidden meaning, extrapolate from subtext
3. lobbying the producers and networks for certain plot developments and to get cancelled shows back on the air
p278: "Fandom originates, at least in part, as a response to the relative powerlessness of the consumer in relation to powerful institutions of cultural production and circulation"
4. "cultural production": art, fan fic, music videos, filk
p279: "Once TV characters enter into a broader circulation, intrude into our living rooms, pervade the fabric of our society, they belong to their audience and not simply to the artist who originated them"
5. "alternative social community"