AUDIENCE THEORY - JENKINS

1. MEDIA AUDIENCES
JENKINS ON FANDOM

2. 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
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
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:
1.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.
2.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.
3.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.
4.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
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
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
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:
1.Low Barriers to Entry: Individuals can easily contribute their
own content, opinions, and ideas. e.g. fan 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: The 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: Democratic participation allows diverse voices and perspectives to be heard. It empowers
audiences to have a say in the creation, distribution, and interpretation of media content, challenging traditional
hierarchies and power structures.

8. 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
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
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.
1.Distributed Knowledge: Knowledge 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.
2.Collaborative Problem-Solving: By working together, sharing ideas, and
pooling resources, group members can collectively solve problems, address
challenges, and generate creative solutions.
3.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.
4. 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
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
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
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”:
1.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.
2.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.
3.Networked Distribution: Use of digital networks and social media platforms facilitates distribution. Networked
distribution allows content to gain momentum rapidly through likes, shares, retweets, and other forms of social
engagement.
4.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.
5.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
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 - 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 - NEWSPAPERS
Jenkins primarily focused on television and popular media, but his theory can still be applied to
newspapers:
1. 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.
2. 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.
3. 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 - 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 - 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 - 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 - 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 - 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 - 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 - 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 - 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 - 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 - 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 - 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 - 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. Even 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 - 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. Even 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 - 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 - 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???)