Chapter 4 (posted on writ/cult page)

(pp. 131-134) Fan culture is nothing new, however, its visibility has become more prominent. Fan films, like fan fiction, have become a way for avid purveyors of Star Wars, for instance, to creatively participate in the world of their dreams. Themed websites and online contests guarantee immediate exposure for these hopeful directors. [Atom films is the official Star Wars fan film site: http://www.atomfilms.com/2008/starwars/challenge/index.jsp] Modern mass media is said to been the nail-in-the-coffin for traditional (19^th Century) folk culture. However, Jenkins argues that media change has begun to resemble folk traditions, encouraging broad active participation between audiences and their culture. [He also uses the term “gift economy.” See Lethem’s article for definition.] [Another aside: “Fan digital film is to cinema what the punk DIY culture was to music.” Not quite.] To clarify, Jenkins draws the distinction between “interactivity” and “participation.” Interactivity, marked by technological constraints, can be pre-structured by the designer to promote consumer feedback. “Participation, on the other hand” says Jenkins, “is shaped by the cultural and social protocols.” Consumers have a degree of control in how they invest in their media. Media industries have responded in two ways: (1) the “prohibitionist stance” - regulating participation and thus criminalizing certain forms of activity, and (2) the collaborationist stance – seeing fans as collaborators in the franchise incites experimentation with consumer interests in mind. Star Wars fans have been constantly pulled between these two strategies.