This document discusses the history of fan engagement and interactivity. It identifies five patterns of fan engagement: identification, mastery, production, participation, and appropriation. It explores the evolution of fandom from virtual communities to participatory culture and the role of fans as early adapters, influencers, and experts. It also examines commercial fan productions in genres like hip-hop, doujinshi, fan films, game mods, and literary appropriations as well as debates around whether fan productions should be free or commercialized. The presenters are Ivan Askwith, Henry Jenkins, and Abigail De Kosnik discussing the topic at SXSW Interactive in 2009.

1. ENGAGEMENT 1.0
Understanding the History of Fan Interactivity
#sxsw-fans

2. Ivan Askwith (@ivanovitch)
Senior Strategist, Big Spaceship
think.bigspaceship.com
Henry Jenkins (@henryjenkins)
Director of Comparative Media Studies, MIT
www.henryjenkins.org
Abigail De Kosnik (@De_Kosnik)
Asst. Prof, UC Berkeley Center for New Media
bcnm.berkeley.edu

3. why not engagement 2.0?

4. who are fans?

5. sci-fi / fantasy

7. sports fans

10. brand fans

11. we’re all becoming fans.

12. friending a brand

16. from fandom to engagement.

17. five patterns of engagement

18. 1. identification

19. 2. mastery

21. baseball
stats

22. 3. production

25. 4. participation

30. 5. appropriation

32. five patterns of engagement
1. identification
2. mastery
3. production
4. participation
5. appropriation

34. quot;Web 2.0 is Fandom Without the Stigmaquot; -- Henry Jenkins

36. Fans As Early Adapters and Adopters

37. Fandom as Virtual Community

38. Fandom as Social Network

39. Fandom as Consumer Activism

40. Fandom as Participatory Culture

41. Fan Communities/Brand Communities

42. Fandom and Informal Learning

43. Fandom and Globalization

44. Fandom as Remix Culture

45. Fans as Influencers

46. Fandom and User-Supported Television

47. quot;We had so many stories to tell and there was only so much room in the TV show -- so we decided that we
could tell these alternative stories in the comics. The stories could be deeper, broader and reveal more
secrets about our characters. It was also a way to tell stories that would be otherwise un-produceable on
our show.quot; --
Aron Eli Coleite and Joe Pokaski on the Heroes comics.

48. Fans as Experts

49. “WIKIMEDIA”- Robert Kozinets

50. Fandom and Collective Intelligence

51. Barack Obama, Fan in Chief

52. Should Fan Produc.ons Be Free?
Abigail De Kosnik
SxSW Interac.ve
16 March 09

53. Fans Make Things
In‐Person: Trade and Sell
Online: “GiJ Culture” (and Sell)

54. Media References to Fan Fic.on

57. FanLib.com: The First (Failed) ATempt at
Mone.za.on

58. Commercial Fan Produc.on:
Hip‐Hop

59. Commercial Fan Produc.on:
Doujinshi

61. Commercial Fan Produc.on:
Fan Films

63. Commercial Fan Produc.on:
Game Mods

64. Commercial Fan Produc.on:
Literary Appropria.ons

66. Fan Fic.on Genre: “Porn BaTle”

67. Fan Fic.on Genre: Literary Fic

68. Ivan Askwith (@ivanovitch)
Senior Strategist, Big Spaceship
think.bigspaceship.com
Henry Jenkins (@henryjenkins)
Director of Comparative Media Studies, MIT
www.henryjenkins.org
Abigail De Kosnik (@De_Kosnik)
Asst. Prof, UC Berkeley Center for New Media
bcnm.berkeley.edu
STEAL OUR SLIDES!
slideshare.net/ivanaskwith