262:
privacy and a desire to let their voices be heard. This book would be an invaluable resource for anyone working in media studies or audience theory." Elsewhere in her review, though, Smith expresses confusion about why
Jenkins focuses on certain aspects of fan culture or why he maintains such a distance between himself and the fans he writes about.
146:
television shows and engage with the parts that they are interested in, unlike audiences who watch the show more passively and move on to the next thing. Specifically, fans use what they've "poached" to become producers themselves, creating new cultural materials in various analytical and creative formats from "meta" essays to
172:
was unusual because it celebrated fandom instead of pathologizing fan practices and fans. Certain quotes from the book became quite popular with fans, who used one as a statement on many fan-created websites in the late 1990s and early 2000s: "Fan fiction is a way of the culture repairing the damage
224:
Jenkins examines topics such as three aspects of fans' characteristics mode of reception: ways fans draw texts close to the realm of their lived experience, the role played by rereading within fan culture, and the process by which program information gets inserted into ongoing social interactions.
261:
In a 1997 review for H-Net (Humanities and Social
Sciences Online), Anne Collins Smith writes that "This book is theoretically complex, thoroughly researched, and tightly argued. Moreover, Jenkins models admirable behavior for the popular-culture researcher, carefully balancing respect for fans'
145:
where de
Certeau differentiates between individuals who are "consumers" and others who are "poachers," depending on how they use resources put out by producers. Jenkins uses this idea to introduce his term "textual poachers," which he uses to describe how some fans go through texts like favorite
265:
The book has come to be regarded as a seminal and foundational work on fan culture, which helped to establish the field's legitimacy as a serious topic for academic inquiry. Bronwen Thomas writes in 2011 that
236:
was generally well received by
Jenkins's scholarly peers, though there were also questions about his decision to study fans, fanfiction, and fan culture seriously. In a 1993 review for
532:
274:
describes the book in 2017 as a "real field-founder that lays out many of the theories and terms still in use today", and states that it was better received among fans than
186:
fanart by fan artist Jean Kluge that served as the first edition's cover; it also includes a teaching guide and discussion questions. Jenkins collaborated with another
481:
254:
536:
270:"contributed more than any previous study to the establishment of a distinctive sphere of "fan" studies, and it remains a seminal text."
506:
379:
633:
516:
154:, and more. In this way, Jenkins argues, fans “become active participants in the construction and circulation of textual meanings.”
24:
282:
and
Constance Penley's article "Feminism, psychoanalysis, and the study of popular culture", which both appeared in the same year.
655:
246:
was "Sure to be a landmark in televisual studies" and that it was "the first work I know of to take the fans of such shows as
308:
182:
106:
140:
164:
as a legitimate field of academic scholarship. At the time of its publication, it also introduced many new fans to media
625:
660:
216:
415:
482:"Smith on Jenkins, 'Textual Poachers: Television Fans and Participatory Culture' | H-PCAACA | H-Net"
590:
Thomas, Bronwen (2011). "What Is
Fanfiction and Why Are People Saying Such Nice Things about It?".
533:"Fans and Fan Culture : Blackwell Encyclopedia of Sociology : Blackwell Reference Online"
275:
205:
173:
done in a system where contemporary myths are owned by corporations instead of owned by the folk."
460:
203:
looks at fans and participatory culture, particularly those of popular television shows such as
629:
512:
387:
304:
135:
101:
570:
452:
339:
615:
559:"Understanding fandom: An introduction to the study of media fan culture, by Mark Duffett"
271:
238:
649:
221:, paying attention to how fans interact with and respond to the show and each other.
124:
123:
book of academic scholarship written in 1992 by television and media studies scholar
34:
600:
619:
440:
180:
was released for the book's 20th anniversary in 2012. This edition replaces the
161:
147:
23:
120:
391:
248:
211:
188:
60:
441:"Textual Poachers: Television Fans and Participatory Culture Henry Jenkins"
575:
558:
134:
Jenkins builds from a definition of "poaching" originally introduced by
464:
151:
603:
165:
131:
explores fan culture and examines fans' social and cultural impacts.
456:
225:
He also examines gender and fanfiction, as well as fan readers.
17:
Textual
Poachers: Television Fans & Participatory Culture
116:
Textual
Poachers: Television Fans & Participatory Culture
301:
Textual
Poachers: Television Fans and Participatory Culture
380:"In TV's Dull Summer Days, Plots Take Wing on the Net"
621:
The
Fanfiction Reader: Folk Tales for the Digital Age
340:"SAGE Reference - Encyclopedia of Consumer Culture"
100:
92:
84:
76:
66:
56:
48:
40:
30:
160:was highly influential in the development of
8:
476:
474:
16:
592:Storyworlds: A Journal of Narrative Studies
328:. Berkeley: University of California Press.
192:fan for the cover art of the new edition.
22:
15:
574:
291:
508:Cultural Studies: Theory and Practice
7:
409:
407:
557:Scott, Suzanne (10 December 2014).
505:Barker, Chris (12 December 2011).
14:
563:Transformative Works and Cultures
416:"Textual Poachers Turns Twenty!"
183:Star Trek: The Next Generation
1:
414:Jenkins, Henry (2012-11-26).
326:The Practice of Everyday Life
141:The Practice of Everyday Life
626:University of Michigan Press
439:Rickman, Gregg (July 1993).
242:, Gregg Rickman states that
324:de Certeau, Michel (1984).
677:
378:Harmon, Amy (1997-08-18).
521:– via Google Books.
21:
367:. Routledge. p. 24.
363:Jenkins, Henry (1992).
303:. New York: Routledge.
299:Jenkins, Henry (1992).
656:1992 non-fiction books
176:An updated version of
576:10.3983/twc.2015.0656
255:Beauty and the Beast
276:Camille Bacon-Smith
206:Saturday Night Live
18:
661:Works about fandom
628:. pp. 16–17.
486:networks.h-net.org
384:The New York Times
280:Enterprising Women
136:Michel de Certeau
112:
111:
77:Publication place
41:Cover artist
668:
640:
639:
616:Coppa, Francesca
612:
606:
599:
587:
581:
580:
578:
554:
548:
547:
545:
544:
535:. Archived from
529:
523:
522:
502:
496:
495:
493:
492:
478:
469:
468:
436:
430:
429:
427:
426:
411:
402:
401:
399:
398:
375:
369:
368:
365:Textual Poachers
360:
354:
353:
351:
350:
336:
330:
329:
321:
315:
314:
296:
268:Textual Poachers
244:Textual Poachers
234:Textual Poachers
201:Textual Poachers
178:Textual Poachers
170:Textual Poachers
158:Textual Poachers
129:Textual Poachers
68:Publication date
26:
19:
676:
675:
671:
670:
669:
667:
666:
665:
646:
645:
644:
643:
636:
614:
613:
609:
589:
588:
584:
556:
555:
551:
542:
540:
531:
530:
526:
519:
504:
503:
499:
490:
488:
480:
479:
472:
457:10.2307/1213185
438:
437:
433:
424:
422:
413:
412:
405:
396:
394:
377:
376:
372:
362:
361:
357:
348:
346:
338:
337:
333:
323:
322:
318:
311:
298:
297:
293:
288:
272:Francesca Coppa
231:
198:
85:Media type
69:
12:
11:
5:
674:
672:
664:
663:
658:
648:
647:
642:
641:
634:
607:
582:
549:
524:
517:
497:
470:
445:Film Quarterly
431:
403:
370:
355:
344:sk.sagepub.com
331:
316:
309:
290:
289:
287:
284:
239:Film Quarterly
230:
227:
197:
194:
110:
109:
104:
98:
97:
94:
90:
89:
86:
82:
81:
78:
74:
73:
70:
67:
64:
63:
58:
54:
53:
50:
46:
45:
42:
38:
37:
32:
28:
27:
13:
10:
9:
6:
4:
3:
2:
673:
662:
659:
657:
654:
653:
651:
637:
635:9780472053483
631:
627:
623:
622:
617:
611:
608:
605:
602:
597:
593:
586:
583:
577:
572:
568:
564:
560:
553:
550:
539:on 2017-10-16
538:
534:
528:
525:
520:
518:9781446260432
514:
510:
509:
501:
498:
487:
483:
477:
475:
471:
466:
462:
458:
454:
450:
446:
442:
435:
432:
421:
420:Henry Jenkins
417:
410:
408:
404:
393:
389:
385:
381:
374:
371:
366:
359:
356:
345:
341:
335:
332:
327:
320:
317:
312:
306:
302:
295:
292:
285:
283:
281:
277:
273:
269:
263:
259:
257:
256:
251:
250:
245:
241:
240:
235:
228:
226:
222:
220:
219:
214:
213:
208:
207:
202:
195:
193:
191:
190:
185:
184:
179:
174:
171:
167:
163:
159:
155:
153:
149:
144:
142:
137:
132:
130:
126:
125:Henry Jenkins
122:
118:
117:
108:
105:
103:
99:
95:
91:
87:
83:
80:United States
79:
75:
71:
65:
62:
59:
55:
51:
47:
43:
39:
36:
35:Henry Jenkins
33:
29:
25:
20:
620:
610:
601:Project MUSE
595:
591:
585:
566:
562:
552:
541:. Retrieved
537:the original
527:
507:
500:
489:. Retrieved
485:
448:
444:
434:
423:. Retrieved
419:
395:. Retrieved
383:
373:
364:
358:
347:. Retrieved
343:
334:
325:
319:
300:
294:
279:
267:
264:
260:
258:seriously."
253:
247:
243:
237:
233:
232:
223:
218:Alien Nation
217:
210:
204:
200:
199:
187:
181:
177:
175:
169:
157:
156:
139:
138:in his book
133:
128:
115:
114:
113:
162:fan studies
148:fan fiction
650:Categories
543:2016-04-11
491:2020-10-08
425:2019-11-13
397:2022-07-16
349:2020-10-08
310:0415905729
286:References
121:nonfiction
107:0415905729
44:Jean Kluge
451:(4): 63.
392:0362-4331
249:Star Trek
229:Reception
212:Star Trek
189:Star Trek
61:Routledge
57:Publisher
618:(2017).
511:. SAGE.
196:Synopsis
168:itself.
49:Language
465:1213185
152:fan art
52:English
632:
604:432689
515:
463:
390:
307:
215:, and
166:fandom
31:Author
461:JSTOR
119:is a
93:Pages
88:Print
630:ISBN
598:: 3.
513:ISBN
388:ISSN
305:ISBN
252:and
102:ISBN
72:1992
571:doi
453:doi
278:'s
96:343
652::
624:.
594:.
569:.
567:20
565:.
561:.
484:.
473:^
459:.
449:46
447:.
443:.
418:.
406:^
386:.
382:.
342:.
209:,
150:,
127:.
638:.
596:3
579:.
573::
546:.
494:.
467:.
455::
428:.
400:.
352:.
313:.
143:,
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
