Textual Poachers: Television Fans and Participatory Culture

Culture studies has been one of the most provocative and controversial areas of investigation in the social sciences during the last score years or so. Using the tools of postmodern analysis of texts, and the deconstruction of ideas, institutions, and forms scholars have reshaped our understanding of everything from the mundane to subjects acknowledged by all as critical to our modern society. In this important book Henry Jenkins turns his considerable analytic skills on the role of television fans in adopting and making their own several important series and movies. Jenkins, on the faculty of Massachusetts Institute of Technology, writes both as a scholar and a fan fully immersed in the culture that produces conventions and a wide range of artistic products associated with television. "Textual Poachers" emphasizes how fans of various television shows and movies have embraced the characters and "universe" of the shows and made them their own. In most cases they participate in the continuing saga of the characters of the story by fashioning their own narratives based on the series. Be far the most famous of these participatory series is "Star Trek," which was the first series to attract this type of fan following, and still the largest of all of them. It has spawned not only multi and varied clubs for those interested in the ideals of the series, but also inspired a range of creative responses in art, literature, costume, engineering, erotica, music, and drama. In so doing, those that are a part of the fan culture of the series emphasize the interplay of the crew "family" aboard the Star Ship Enterprise, the ideals of the United Federation of Planets, and the challenges of moving beyond the humdrum of existence on Earth to a more exciting and rewarding life within the broader cosmos. The ranges of responses are almost as broad as the number of people involved, and Henry Jackson makes clear that all of those responses are legitimate in the "universe" of fandom. Jenkins writes at length about the responses of fans to several television programs beyond the famous "Star Trek" phenomenon. These include "Alien Nation" (1989-1990), "Dr. Who," (1963- ), "Magnum, P.I." (1980-1988); "The Man from Uncle" (1964-1968), "Remington Steele" (1982-1987), "Simon and Simon" (1981-1988), "Twin Peaks" (1990-1991), and others. But the series fans that Jenkins spends the most time analyzing are those attracted to "Beauty and the Beast" (1987-1990). The romance between Catherine (Linda Hamilton) and Vincent (Ron Perlman) captured the imagination of a larger number of viewers and they used that on-screen relationship as the cultural materials from which they created a vast array of "stories, songs, videos, and social interactions." It proved a powerful inspiration for enormously romantic depictions. Henry Jenkins also draws attention to the fact that the vast majority of those a part of this fandom, are white, middle-class women seeking something more than they experie

This is a gem of a book. Jenkins combines an "insider's" understanding of media fandom with serious, well-grounded scholarship to provide one of the few scholarly works on this subject which is not riddled with unacknowledged biases or factual errors (you know, the sort of misrepresentations of series content which suggest that the scholar didn't think enough of the subject matter or their fan informants to bother to get it right). As someone who was practically raised by classic "Star Trek" re-runs and who continues to find inspiration and healing in many science fiction TV programs -- and who hopes to continue to do scholarly research in this field -- I would hold Jenkins up as a model to other scholars. The major drawback of this volume is that it is now almost ten years old. There have been many wonderful series with growing fan cultures of their own (including the rise of such female heroes as "Xena" and "Buffy") since TEXTUAL POACHERS was written, but Jenkins provides a methodology and a model which can still help to interpret these more recent phenomena. Read this, and enjoy.

Jenkins starts by dispelling the stereotype of the media fan as teenaged geek in Spock ears, and explores the very real and dynamic interactions between fans and their media. He has a clear understanding of the subject and a good relationship with the people whose culture he describes, as well as a readable and intelligent style of writing. The book is not only interesting but also fun to read.

While dated, and slightly insular, this text is an excellent introduction to the sub-culture of fanzines and fan fiction. While many of the current generation of fans seem to believe fan fiction was born online around 1994, they should be surprised and hopefully pleased to discover the rich (off-line) history of the phenomenon, dating all the way back to the pulp magazines of the 1930s.