OVERVIEWS Anyone who wants to better understand my own approach to audience research might start with two lengthy published conversations, one with Taylor Harrison, which first appeared in Enterprise Zones, and the other with Matt Hills, which was published in Intensities. Across these two conversations, I try to contextualize my fan studies research and deal with the academic and personal stakes in researching the audience. The Intensities dialogue represents an exchange between two generations of fan researchers on such topics as the impact of media convergence on fan culture, the relationship between fandom and academia, the problematic analogy between fandom and religion, the value of psychoanalysis for discussing fan cultures, and the challenges of writing about and documenting the affective dimensions of fandom. STUDYING FANDOM "Interactive Audiences?, which will first appear in xx, maps some
of those changes and suggests some new directions in my own thinking about
fandom. Here, I draw on Pierre Levy's Collective Intelligence to
describe the links between affect, knowledge, and community in a media
environment that has facilitated new kinds of interactions between fans,
producers, and texts and where industry operates on an assumption of an
active and potentially collaborative consumer. In my "Foreward" to Kurt Lancaster's Interacting With Babylon 5, I explore what performance studies might contribute to our understanding of this new fan culture, looking at the ways that media producers are creating new spaces for fans to interact with and participate within the fictional worlds of their programs. "Fandom, the New Identity Politics," which appeared in Harpers, explores the political dimensions of contemporary fan culture, drawing parallels between fan politics and debates among queer activists, and urging us to think in new ways about what might be described as categories of cultural preference. Both of these essays deal with the issue of people dressing up and performing the parts of fictional characters, albeit from very different theoretical perspectives. Textual Poachers has often been read as a book about Star Trek fans. Perhaps this is because my very first essay on fan fiction, "Star Trek Rerun, Reread, Rewritten", which first appeared in Studies in Mass Communication, dealt with Star Trek as its primary case study. In fact, Textual Poachers dealt with the female fanzine community, which cuts across many different media products. It was not intended either as a study of Star Trek fans per se nor a totalizing account of fandom, but a specific case study of a fan community. To make this point, I followed up Textual Poachers with a book that did deal with Star Trek fans, Science Fiction Audiences: Star Trek, Doctor Who, and Their Followers, which I co-authored with John Tulloch. In my sections of the book, I tried to demonstrate the ways three different fan communities -- male MIT students, female fanzine writers, and the members of a queer fan club -- interacted with Star Trek. Each group took something different from their encounter with the series, depending on, among other things, their understandings of science fiction as a genre, their existing interests and fantasies, and their forms of social interaction and cultural production. Of the case studies in the book, "Out of the Closet and Into the Universe: Queers and Star Trek" has been the most widely reprinted and the most influential. It is an example of what John Hartley calls "Intervention Analysis" in which the academic researcher joins forces with the media audience for an activist purpose. In this case, I wanted to lend my support to a letter-writing campaign which wanted to see a gay, lesbian, or bisexual character included on the television program as a reflection of its historic commitment to the acceptance of diversity. INTERPRETIVE COMMUNITIES Through the years, I have developed a number of case studies of specific fandoms that might be read as interpretive communities, trying to offer detailed accounts of the process of their interpretive activities and how their interpretations of specific programs fit within the larger context of their lives. For example, in "It's Not a Fairy Tale Any More!: Gender, Genre, Beauty and the Beast," which first appeared in the Journal of the University Film and Video Association and later in Textual Poachers, I examine a group of female fans of Beauty and the Beast, suggesting how they drew on the program's balance of romance and action-adventure to work through contradictions and uncertainties about the place of femininity in an era where women are assuming more and more professional responsibility. I demonstrated the place of genre in shaping both their evaluations of individual episodes and their expectations about where the series was likely to take them and then discuss the fragmentation and reinvention of their community when the producers "retooled" the series in an effort to attract more male viewers. By contrast, "Do You Enjoy Making The Rest of Us Feel Stupid?: alt.tv.twinpeaks, the Trickster Author and Viewer Mastery," which appeared in David Lavery's Full of Secrets: Critical Approaches to Twin Peaks, dealt with the predominantly male fans on an early internet discussion list which was preoccupied with the challenge of determining who killed Laura Palmer and had constructed a vivid image of David Lynch as a "tricky" author to justify their own intensive reading of the series. Here, again, notions of genre plays a significant role, since they tended to fold the soap opera aspects of the series into their reading of it as a mystery, using the challenge of solving the crime to justify their speculations about interpersonal relationships. A third case study, "Going Bonkers!: Children, Play and Pee-Wee," first published in Camera Obscura and later reprinted in Constance Penley and Sharon Willis's Male Trouble, dealt with children as media consumers, suggesting that children do not so much watch television as play with it. Here, I draw on children's play, stories, and artwork to reveil their attempts to work through the ambiguities surrounding Pee-Wee Herman's man-child persona, seeing this as part of a larger process of exploring what it means to gain maturity at a time when they were making a transition from the home to kindergarten.
In "Quentin Tarantino's Star Wars?: Parody and Appropriation in an Age of Cultural Convergence," which will appear in Bart Cheever and Nick Constant's d-film, I examine fan contributions to the digital cinema movement. Here, I try to reconcile claims made about media convergence within a political economy framework with claims made about participatory culture within a cultural studies framework, seeing Star Wars as both the defining example of the new transmedia corporate franchise and as the catalyst for an enormous amount of grassroots cultural production. In one of my Technology Review columns, "The Director Next Door," I offer some additional thoughts about digital cinema as an alternative distribution venue for amateur and independent filmmakers. In "Before the Holodeck: Tracing Star Trek Through Digital Media," co-authored with Janet Murray and published in Greg Smith's On a Silver Platter: CD-ROMs and the Promises of a New Technology, I use what we know about fandom as an interpretive and creative community to assess the kinds of interactivity on offer in Star Trek computer and video games. What we learned was that those aspects of the series which had sustained the interests and participation of female consumers were systematically stripped aside in order to develop games that more perfectly satisfied the interests of the game industry's predominantly male demographic. HISTORICAL AUDIENCES In "Same Bat Channel, Different Bat Times: Mass Culture and Popular Memory," which I co-authored with Lynn Spigel for William Uricchio and Roberta Pearson's The Many Lives of the Batman, we tried to construct the "popular memory" of the 1960s cult television series through focal group interviews of people who recalled watching the program as children. Here, we combined research into the contemporary reception of the series with oral history techniques, reading recent responses as illustrating the processes by which personal and collective experiences are transformed and mythologized through memory. VERNACULAR THEORY In "Voices from the Combat Zone: Game Grrlz Talk Back," with appeared in From Barbie to Mortal Kombat: Gender and Computer Games, co-edited with Justine Cassell, I reprinted essays about gender and computer games which first appeared on a range of fan websites. Here, the self-proclaimed "game grrls" offered a significant critique of the ideological assumptions shaping the "girls game" movement, challenging us to rethink academic assumptions about what women want from games. In "The Normal Female Interest in Men Bonking: Selections from Terra Nostra Underground and Strange Bedfellows," which was co-edited with Cynthia Jenkins and Shoshanna Green and appeared in Cheryl Harris and Alison Alexander's Theorizing Fandom: Fans, Subculture and Identity, we introduced academic readers to various attempts by slash fans to theorize slash writing. Here, the three editors were active participants in an APA, an amateur publication, which regularly discussed slash and its relationship to other forms of sexual representation and we reprinted our own fannish contributions to the APA alongside other contributions. MEDIA LITERACY The shifts in my thinking about media literacy education can be traced across several of my essays. "Empowering Children in the Digital Age: Towards a Radical Media Pedagogy", which was published in Radical Teachers, discusses my skepticism about the myth of childhood innocence underlying much media literacy education and proposes a more radical approach which empowers children to critique and rewrite media texts. The Columbine Massacre and the moral panic that followed forced me to pay greater attention to this issue, as might be suggested by my testimony before the U.S. Senate Commerce Committee and my essay, "Professor Jenkins Goes to Washington" which was written in response to that experience. I wrote two essays, "Lessons From Littleton: What Congress Doesn't Want to Hear About Youth and Media", which appeared in Independent School, and "The Uses and Abuses of Popular Culture: Raising Children in the Digital Age", which appeared in The College Board Review. Both countered widespread claims that media violence had inspired the recent wave of school shootings, drawing on insights from audience research to offer a more complex account of the place of violent entertainment in the lives of contemporary teens. As part of a school outreach effort, we produced a study guide for teachers to use to discuss contemporary media developments with their students. In addition, I engaged in debates with moral reformer David Grossman and conversations with journalist Jon Katz about Columbine and media violence. In response to requests that I provide some model for how parents can develop better communication with their children about popular culture, I wrote "The Monsters Next Door: A Father-Son Conversation about Buffy, Moral Panic and Generational Differences" as a dialogic essay with my son about one of our favorite television shows, using it as an entry point into thinking about the psychological and social roots of moral panic and generational conflict. I also developed a talk which sought to explain to journalists, parents groups, librarians, and civil liberties organizations how teens were currently making use of web technologies, "It's The Only Thing I Have Complete Control Over: Teen's Use of the Web," which also inspired one of my Technology Review columns, "The Kids Are Alright Online." These activities suggest the potential value of audience research for framing policy debates about media literacy education and youth access to digital technologies. |