500 Words - Jenkins theory of Fandom

Henry Jenkins, an influential media theorist , develops the theory of fandom in his book ; Textual Poachers : Television Fans and participatory culture , published in 1992. This book is regarded as the foundational work on fan culture. In his book Jenkins talks about how media fans construct their own culture by remixing, ‘poaching’ content from mass culture. Jenkins describes how fandom, passionately engaged consumers of media creating poached media content to fill in gaps in the media world , create participatory culture. Fans collaborate to solve problems creating a ‘collective intelligence’. This means that fans are not just active consumers of media but also active creators and producers. They share a degree of social connection with one another and feel that their contribution matters in the media worlds. Media fans create their own content in the form of videos, art, songs , characters. In order to satisfy the rest of the fan community they try to fill in these gaps through ‘poaching’, and this creates what Jenkins calls ‘participatory culture’.

Participatory culture and fandom are very important to theorist like Jenkins, who are highly optimistic about the media. They oppose theorist like Shirkey as they believe that the audience is powerful and interactive, capable of questioning and changing media, rather than just passively consuming it. Jenkins particularly believes that web 2.0 , commonly known as the in internet is the key to empowering the fans and breaking down the traditional restrictions they may face. Web 2.0 is significant to fandom as one its main characteristic is the high level of user interaction, therefore it allows individuals to be active fans of media.. Fans can create and share their fan pages on Facebook, Instagram or even make videos on YouTube playing their favourite game and offering opinions throughout this process e.g. youtubers may record themselves playing Minecraft and later upload the video on YouTube to engage with other Mine craft fans.

Jenkins believes that audiences can be textual poachers through personalizing and modifying a game to their taste. Gamers, for example can create their own characters, storylines and modify the game to their taste. For example, in Minecraft gamers are capable of creating their own versions of the game , even creating their own world inside the game. The audiences carry out their own creative activities and through this they become active consumers as well as textual poachers.

Cross Platform gaming is a new way in which gamers can become textual poachers. Cross platforming allows users to access one game on all platforms , therefore all users become exposed to the same version of the game. Games that would have been available on different platforms are combined together to create a master version. Microsoft’s ‘better together’ update takes this a step further and allows users to join with a friend , possibly playing on a different platform. Players are capable of cross playing between platforms and Mine craft is the first games to offer this experience. Converging platforms can help Mine craft fans become textual poachers , as they can now spot weaknesses of this new version , and work together to make it even better than it already is.

500 Words - Jenkins theory of Fandom

Henry Jenkins, an influential media theorist , develops the theory of fandom in his book ; Textual Poachers : Television Fans and participatory culture , published in 1992. This book is regarded as the foundational work on fan culture. In his book Jenkins talks about how media fans construct their own culture by remixing, ‘poaching’ content from mass culture. Jenkins describes how fandom, passionately engaged consumers of media creating poached media content to fill in gaps in the media world , create participatory culture. Fans collaborate to solve problems creating a ‘collective intelligence’. This means that fans are not just active consumers of media but also active creators and producers. They share a degree of social connection with one another and feel that their contribution matters in the media worlds. Media fans create their own content in the form of videos, art, songs , characters. In order to satisfy the rest of the fan community they try to fill in these gaps through ‘poaching’, and this creates what Jenkins calls ‘participatory culture’.

Participatory culture and fandom are very important to theorist like Jenkins, who are highly optimistic about the media. They oppose theorist like Shirkey as they believe that the audience is powerful and interactive, capable of questioning and changing media, rather than just passively consuming it. Jenkins particularly believes that web 2.0 , commonly known as the in internet is the key to empowering the fans and breaking down the traditional restrictions they may face. Web 2.0 is significant to fandom as one its main characteristic is the high level of user interaction, therefore it allows individuals to be active fans of media.. Fans can create and share their fan pages on Facebook, Instagram or even make videos on YouTube playing their favourite game and offering opinions throughout this process e.g. youtubers may record themselves playing Minecraft and later upload the video on YouTube to engage with other Mine craft fans.

Jenkins believes that audiences can be textual poachers through personalizing and modifying a game to their taste. Gamers, for example can create their own characters, storylines and modify the game to their taste. For example, in Minecraft gamers are capable of creating their own versions of the game , even creating their own world inside the game. The audiences carry out their own creative activities and through this they become active consumers as well as textual poachers.

Cross Platform gaming is a new way in which gamers can become textual poachers. Cross platforming allows users to access one game on all platforms , therefore all users become exposed to the same version of the game. Games that would have been available on different platforms are combined together to create a master version. Microsoft’s ‘better together’ update takes this a step further and allows users to join with a friend , possibly playing on a different platform. Players are capable of cross playing between platforms and Mine craft is the first games to offer this experience. Converging platforms can help Mine craft fans become textual poachers , as they can now spot weaknesses of this new version , and work together to make it even better than it already is.

Presentation : Minecraft The Film (Synergy)

 

Presentation : Minecraft The Film (Synergy)

 

Violent game video

Violent game video

Homwork : Meet the blockheads (Questions)

Guardian article:


1:According to the writer why autistic children such as his son might be attracted to Mine craft?

Autistic children are more likely to be attracted to Mine craft firstly, because it has become a way in which parents can communicate with their autistic children. Secondly, Mine craft becomes a topic of discussion between parents and children, it allows the child to expand their vocabulary in a simple way. Thirdly, the game decreases fear and anxiousness in the autistic child e.g. an autistic child making a plan of the school he is about to join , making him comfortable with the real setting of the school. Therefore, Mine craft attracts autistic children as it allows them to establish simple relationships not only with their family members, but also friends and teachers.

 

2: Which features are included in the education version of Mine craft and how useful do you think they might be as an educational tool?

The education version in Mine craft allows teachers to set up a classroom server, where students can build scale models of their own towns. This leads to children learning about various subjects such as geography, agriculture, architecture and physics. I think that this version is quite useful as it allows students to learn through visuals, particularly beneficial for autistic children as they have difficulties learning and developing their vocabulary. The education version makes tasks in class very straight forward for all children, allowing everyone to enjoy and participate fully in lessons.

 

3: Why, does Bergsten suggest have copycat versions of Mine craft been less successful?

Clone versions of the game have been unsuccessful as they tend to add a lot more visual information, resulting in Mine craft losing its simplicity. It also limits the child’s imagination whereas the original version of the game allows the player to fill their world with their imagination and creativeness. The children need to ‘feel it’s their game’, they must have that sense of ownership for it to be successful, according to Bergsten.

 

4: What is meant by the ‘modding’ (modify) community?

The modding community refers to the highly customised versions that can be added to Mine craft. It allows players to download various files to Mine craft and have a version of the game in which it is set e.g. space, middle earth. Minecraft designs and shares its own texture maps, items, creatures , making them available online for players to purchase.

 

5:How important is the ‘sense of ownership’ cited by Bergsten , for the audience of Minecraft?

The ‘sense of ownership’ is vital in Minecraft. It allows the player to have complete control over their game, their world. This means that the player can do whatever they wish to their world, there are no limits and no restrictions that exist for them. Players make their own rules , own instructions , own structures , own ways to interact with others. The sense of ownership makes them the rules of their game and their world, which is a very significant part of Mine craft.


6: How has mine craft extended its brand beyond gaming into other products?
Various products are available , merchandise. A movie is being made based on Mine craft.

Homwork : Meet the blockheads (Questions)

Guardian article:


1:According to the writer why autistic children such as his son might be attracted to Mine craft?

Autistic children are more likely to be attracted to Mine craft firstly, because it has become a way in which parents can communicate with their autistic children. Secondly, Mine craft becomes a topic of discussion between parents and children, it allows the child to expand their vocabulary in a simple way. Thirdly, the game decreases fear and anxiousness in the autistic child e.g. an autistic child making a plan of the school he is about to join , making him comfortable with the real setting of the school. Therefore, Mine craft attracts autistic children as it allows them to establish simple relationships not only with their family members, but also friends and teachers.

 

2: Which features are included in the education version of Mine craft and how useful do you think they might be as an educational tool?

The education version in Mine craft allows teachers to set up a classroom server, where students can build scale models of their own towns. This leads to children learning about various subjects such as geography, agriculture, architecture and physics. I think that this version is quite useful as it allows students to learn through visuals, particularly beneficial for autistic children as they have difficulties learning and developing their vocabulary. The education version makes tasks in class very straight forward for all children, allowing everyone to enjoy and participate fully in lessons.

 

3: Why, does Bergsten suggest have copycat versions of Mine craft been less successful?

Clone versions of the game have been unsuccessful as they tend to add a lot more visual information, resulting in Mine craft losing its simplicity. It also limits the child’s imagination whereas the original version of the game allows the player to fill their world with their imagination and creativeness. The children need to ‘feel it’s their game’, they must have that sense of ownership for it to be successful, according to Bergsten.

 

4: What is meant by the ‘modding’ (modify) community?

The modding community refers to the highly customised versions that can be added to Mine craft. It allows players to download various files to Mine craft and have a version of the game in which it is set e.g. space, middle earth. Minecraft designs and shares its own texture maps, items, creatures , making them available online for players to purchase.

 

5:How important is the ‘sense of ownership’ cited by Bergsten , for the audience of Minecraft?

The ‘sense of ownership’ is vital in Minecraft. It allows the player to have complete control over their game, their world. This means that the player can do whatever they wish to their world, there are no limits and no restrictions that exist for them. Players make their own rules , own instructions , own structures , own ways to interact with others. The sense of ownership makes them the rules of their game and their world, which is a very significant part of Mine craft.


6: How has mine craft extended its brand beyond gaming into other products?
Various products are available , merchandise. A movie is being made based on Mine craft.

New Topic : Gaming (Case Study) Game genre

New Topic : Gaming (Case Study) Game genre