S/R 1 - Convergence Culture

Jenkins begins his novel with an introduction to the concept of “convergence culture” and establishing that there is a major shift occurring in the relationship between producers and consumers.  He continues by discussing reality television and the tensions it creates between these two groups.  First, he discusses the “spoilers” of the show Survivor.  He details both what the process is and uses it as an example of collective intelligence and the changing relationship between the producer and the consumer of media content.  Then he examines American Idol mainly from the viewpoint of the media industry, with a focus on their thoughts and method of changing their relationship with the consumer.  Continuing from there, Jenkins looks at the movie The Matrix as an example of transmedia storytelling.  Jenkins defines transmedia storytelling and shows how it is a product of the redefinition of the relationship between producer and consumer.  He then moves on to discuss how producers deal with their consumers adopting their intellectual property as their own, like how Star Wars fans tinker with George Lucas’ fictional universe to realize their own fantasies.  This section of the novel also shows how fans revitalize older folk culture through new mass culture.  Jenkins then looks at the two struggles surrounding the Harry Potter phenomena.  The first struggle is between the fans, who think they have the right to modify and create content related to Harry Potter, and the studio (Warner Brothers).  The second is the struggle between conservative Christian critics and teachers who want the books in school because they think the books will help kids learn.  He then shifts from popular culture examples to political examples about how convergence culture has affected politics, with a focus on the 2004 presidential election.  In his conclusion, Jenkins returns to his main claim that 1) convergence culture represents a shift in our relationship with the media 2) that shift is reflected in popular culture 3) the skills we gain here can help us in many areas like school, work, and politics.  In the afterward he addresses further how the political process is merging with popular culture by talking about the 2008 election. 

The issue of literacy is something Jenkins brings up a lot in this novel.  It is of particular concern in chapter five in both conflicts surrounding the Harry Potter movies.  In the first case (with the fan writers online), we can see that the issue of literacy is no longer just about being able to read and write.  It now requires that an individual can create and express themselves through other media.  Jenkins also argues that participating in fan fiction improves the other two components of literacy.  This occurs mainly through the writing, because there are many ways that authors get feedback on the sites: through other writers on the site or through systems set up to help critique newer writers and get them on the right track.  The second issue is mostly concerned with students’ ability to read.  Teachers think the Harry Potter books should be allowed in school because they know kids will read them, and anything that gets kids to read is good.  It is also easier for kids to go deeper into the analysis of something if they are interested in it.  I think both pro-Potter sides need to converge: by applying the methods used by online fan fiction communities, teachers can not only improve children’s literacy but allow them to have fun while they do it.  If schools were to model some aspects of learning how to write after fan fiction forums, kids will have some control over what they create, they will have an easier time evaluating their peers’ work, and it gives them a sense of independence in their writing that will make them better writers.