![]() 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. 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. ![]() Moreover, Jenkins models admirable behavior for the popular-culture researcher, carefully balancing respect for fans' privacy and a desire to let their voices be heard. 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. In a 1993 review for Film Quarterly, Gregg Rickman states that Textual Poachers 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 Star Trek and Beauty and the Beast seriously." Textual Poachers 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. He also examines gender and fanfiction, as well as fan readers. 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. Textual Poachers looks at fans and participatory culture, particularly those of popular television shows such as Saturday Night Live, Star Trek, and Alien Nation, paying attention to how fans interact with and respond to the show and each other. Jenkins collaborated with another Star Trek fan for the cover art of the new edition. This edition replaces the Star Trek: The Next Generation fanart by fanartist Jean Kluge that served as the first edition's cover it also includes a teaching guide and discussion questions. 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 done in a system where contemporary myths are owned by corporations instead of owned by the folk." Īn updated version of Textual Poachers was released for the book's 20th anniversary in 2012. Textual Poachers was unusual for its time because it celebrated fandom instead of pathologizing fan practices and fans. At the time of its publication, it also introduced many new fans to media fandom itself. Textual Poachers was highly influential in the development of fan studies as a legitimate field of academic scholarship. In this way, Jenkins argues, fans “become active participants in the construction and circulation of textual meanings.” Specifically, fans use what they've "poached" to become producers themselves, creating new cultural materials in a variety of analytical and creative formats from "meta" essays to fanfiction, fanart, and more. ![]() Jenkins uses this idea to introduce his own term "textual poachers," which he uses to describe how some fans go through texts like favorite 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. Jenkins builds from a definition of "poaching" originally introduced by Michel de Certeau in his book The Practice of Everyday Life, where de Certeau differentiates between individuals who are "consumers" and others who are "poachers," depending on how they use resources put out by producers. Textual Poachers explores fan culture and examines fans' social and cultural impacts. Textual Poachers: Television Fans & Participatory Culture is a nonfiction book of academic scholarship written in 1992 by television and media studies scholar Henry Jenkins.
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