In chapter six, Jenkins discusses the role of popular culture in emerging political communities. Jenkins (as is the case throughout Convergence Culture) is focused on how old and new media interact and the dynamics of collaboration and participation. While Jenkins recognizes the scoff-factor when implying the concept of “photoshop for democracy” (user-generated images that often map themes from popular culture onto the political campaign) is any sort of substitute for real political activism, he insists that this kind of user-generated content and mass dispersion is a serious act of citizenry. In fact, using popular culture as a means of engaging voters might just be the most effective way of re-establishing interest in politics as a part of our everyday lives. Jenkins focuses on the 2004 election and recognizes that the next step is to think of “democratic citizenship as a lifestyle.” Furthermore, online political communities seem to be segregating voters, as opposed to encouraging dialogue across ideologies. Although he seems to offer popular culture as a kind of national balm for the ailments of political fragmentation, Jenkins recognizes the inherent limits of its role in (or applicability as a model for) contemporary political communities.

For me, the most useful parts of this argument is the attention he pays to the increasing participation of average Americans (now as monitorial citizens as opposed to informed citizens) in the media landscape and the possibilities for the integration of politics and popular culture. However, he doesn’t seem to offer any real solution for the acutely polarized political landscape.

    In Chapter 4 of Convergence Culture, MIT Professor Henry Jenkins discusses the grassroots/netroots communities that form around the creation of digital content.  Specifically, the proliferation of DIY digital video creations based on the Star Wars mythos and collaborated on by fans all across the internet.

    20th Century culture, Jenkins argues, built towards a massive uprising of grassroots culture, which began to truly take hold upon the integration of the internet into daily life.

    If there are any flaws in the current fan environment, as he sees it, they are (as he mentions from Lessig) the proliferation of legislation produced to keep the interests of major character-licensing corporations happy, such as mega-giant Disney, which will be quite able to rest upon licenses of its property for decades to come, even if Disney kept producing creations that are barely profitable.

    Convergence culture heralds the digital age, for sure.  Displaying outright giddiness for the subject matter, and extravagant love for the legions of DIY Star Wars buffs and MMORPG fans which proliferate the internet.  These weekend warriors deal with the same kinds of copyright issues that I will, though they re-craft their sacred universes whereas my method is to sample.

"Written from an insider's perspective and providing vivid examples from fan artifacts, Textual Poachers offers an ethnographic account of the media fan community, its interpretive strategies, its social institutions and cultural practices, and its troubled relationship to the mass media and consumer capitalism."

 This is the best source for fan culture theory. Very well written and easy to understand. Plus everyone cites it, you should too. The section I focused on dealt with the creation of meta-texts based on primary sources of fan interest in the media. This is just one of the many charachteristics of fandom Jenkins defines.

"Video games shape our culture. It’s time we took them seriously." A really great essay by Henry Jenkins (Textual Poachers) about the future of interactive media. He states the video games are in fact art, and that is is up to fans and critics to shape the video game industry through cooperation and constructive critisim.

Media theorist Matt Hills conducts a very lengthy interview with the one and only Henry Jenkins. Their discource revolves around the theories set forth by Jenkins' book Textual Poachers. Hills attemptes to break down, and better understand Jenkins' position on fandom a decade after Textual Poachers was written.