PG 110-115: Collaborative Authorship
\nTransmedia storytelling allows for Authorship to be not located in a single creator, but shared across multiple points. In the case of the Matrix, they brought in respected authors in other media forms in order to diversify and expand the narrative experience of the Matrix universe.
\n“The Wachowski brothers…saw co-creation as a vehicle for expanding their potential global market, bringing in collaborators whose very presence evoked distinct forms of popular culture from other parts of the world” (111)
\n\n
“While he builds on elements found in the films, Chadwick finds his own emphasis within the material and explores points of intersection with his own work. The other animators and comic artists more or less do the same, further expanding the range of potential meanings and intertextual connections within the franchise.” (115).
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\n\n
The gossiping around American Idol helps to facilitate affective bonds toward the show, and the brands that support it.
\n\n
Scholars have argues that gossip “allows women to talk about their common experiences, share expertise, and reinforce social norms....The specific content of gossip is often less important than the social ties created through the exchange of secrets between participants- and for that reason, the social functions of gossip hold when dealing with television content....Gossip is finally a way of talking about yourself through critiquing the actions and values of others” (84).
\nAs our communities become extended and increasingly mediated, gossip of course begins to function through media personalities. And for that reason networks have an opportunity to leverage our tendency to talk shit about the people we know in common and profit from it! *(84-85)
\n\n
In addition, our affective bonds to individual castmembers results in audience incentive to find out more about the contestants after the show is over—giving them a bump in their future album sales, tv appearances, concerts, etc.
", "tags": [], "relations": { "owl:sameAs": "http://zotero.org/groups/394490/items/EQB5D8EX" }, "dateAdded": "2016-09-01T21:37:54Z", "dateModified": "2016-09-01T21:37:54Z" } }, { "key": "EJDFGURJ", "version": 4, "library": { "type": "group", "id": 676368, "name": "cm325-fall2016", "links": { "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/676368/items/EJDFGURJ", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016/items/EJDFGURJ", "type": "text/html" }, "up": { "href": "https://api.zotero.org/groups/676368/items/HK66UD53", "type": "application/json" } }, "meta": { "createdByUser": { "id": 356596, "username": "Michael.D.Dwyer", "name": "Michael D Dwyer", "links": { "alternate": { "href": "https://www.zotero.org/michael.d.dwyer", "type": "text/html" } } }, "numChildren": 0 }, "data": { "key": "EJDFGURJ", "version": 4, "parentItem": "HK66UD53", "itemType": "note", "note": "pg 079-83 -Talk among Yourselves!
\nTV is also invested in getting people to organize into communities around their brand, as a level between the “mass audience” and the “individual consumer”. Prioritizing community allows for the creation of more affective bonds, and also some viral marketing, which appears to be more authentic. (79)
\n
American Idol is successful because its communities (family example) not only facilitate different kinds of viewers (zappers, casuals, and loyals), but it also fosters COMMUNICATION around the show...which of course pulls more viewers into the show. Loyals in this way are the “street team” for a particular show (80-83)
pg 074-079: Zappers, Casuals and Loyals
\nDescribes the different kinds of viewers: Zappers, those that drift in and out of the show without much commitment. Loyalists, those who commit to the show deeply, even though they watch less TV in general. And Casuals, who exist between those two poles. (74)
\n\n
“In Swann's future, variety and magazine shows will almost entirely displace dramas, and the few remaining series will be shrunk to thirty minutes or less” (75).
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Networks, fighting against the loss of “appointment viewing,” try to create programs that “demand and reward immmediate attention, and build up viewer loyalty by intensifying the affective appeal of their programs” (75).
\n\n
In this process, networks also have begun to prioritize LOYALS (also known as fans), because they are more dedicated to viewing in real time, and also to more likely to watch ads. Even though networks have historically ignored fans as “outliers,” they've now turned to Loyals because of their reliability, and their ability to pull in other viewers. (76-77)
\n\n
American Idol is novel not because it's a contest, but because it's a SERIALIZED contest—TV in the new media landscape rewards long-term viewing, “a movement away from the self-contined episodes that dominated broadcasting for its first several decades in favor of longer and more complicated program arcs and more elaborate appeals to series history) (78)
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\n“brand extension” - “the idea that successful brands are built by exploiting multiple contacts between the brand and consumer. The strength of a connection is measured in terms of its emotional impact. The experience should not be contined within a single media platform, but should extend across as many media as possible.” (69)
\n“Coca-Cola sees itself less as a soft drink bottler and more as an entertainment company that actively shapes as well as sponsors sporting events, concerts, movies, and television series.” (69). Media are no logner just “products”, they're “emotional capital.”
\n*** The future of branding is in the concept of “lovemarks,” which are emotional attachments to brands, not just “impressions” but “affect”.
\n*** American Idol “wants its fans to feel the love or, more specifically, the “love-marks.” Audience participation is a way of getting American idol viewers more deeply invested, shoring up their loyalty to the franchise and its sponsors (70).
\nAmerican Idol builds an affective relationship, getting you personally involved with individual performers.
\n\n
*** “Heyer spoke of a shift 'away from broadcast TV as the anchor medium' and toward 'experience-based, access-driven marketing' as the ideal means of reaching the emerging generation of consumers.” (72).
\n\n
***”Corporations are turning toward active consumers because they must do so if they are going to survive; some have learned that such consumers can be allies, but many still fear and distrust them, seeking ways to harness this emerging power toward their own ends.” (72-73).
\n
These “brand advocates” also work to keep the brand “on track” and adhering to their “stated principles” (73). (Coke & “New Coke”) “A company that loses faith with its “inspirational consumers,” he argues, will soon lose its core market” (THINK ABOUT MLS)
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pg 064-068: “Impress Me” →
\nThis section discusses why “affective economies” have been the solution to a crisis in marketers. Youth demographics are less attached to networks, there are more programming options,
\n****Broadcast networks get more loyalty than cable, but they are getting smaller audiences
\n*** “Scott Donaton explains: 'As advertisers lose the ability to invade the home, and consumers' minds, they weill be forced to wait for an invitation. This measn that they have to learn what kinds of advertising content customers will acutally be willing to seek out and receive.” (67)
\nAdvertisers, in other words, are really looking for active and engaged audiences, because they are the most impressionable. And they will SHARE your media products with it.
", "tags": [], "relations": { "owl:sameAs": "http://zotero.org/groups/394490/items/F2AJM7ZI" }, "dateAdded": "2016-09-01T21:37:54Z", "dateModified": "2016-09-01T21:37:54Z" } }, { "key": "URJTZ7E2", "version": 4, "library": { "type": "group", "id": 676368, "name": "cm325-fall2016", "links": { "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/676368/items/URJTZ7E2", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016/items/URJTZ7E2", "type": "text/html" }, "up": { "href": "https://api.zotero.org/groups/676368/items/HK66UD53", "type": "application/json" } }, "meta": { "createdByUser": { "id": 356596, "username": "Michael.D.Dwyer", "name": "Michael D Dwyer", "links": { "alternate": { "href": "https://www.zotero.org/michael.d.dwyer", "type": "text/html" } } }, "numChildren": 0 }, "data": { "key": "URJTZ7E2", "version": 4, "parentItem": "HK66UD53", "itemType": "note", "note": "pg 050: does ChillOne \"spoil\" the game of \"spoiling\"
", "tags": [], "relations": { "owl:sameAs": "http://zotero.org/groups/394490/items/4NKAX2NB" }, "dateAdded": "2016-09-01T21:37:54Z", "dateModified": "2016-09-01T21:37:54Z" } }, { "key": "9GI7QRGG", "version": 4, "library": { "type": "group", "id": 676368, "name": "cm325-fall2016", "links": { "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/676368/items/9GI7QRGG", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016/items/9GI7QRGG", "type": "text/html" }, "up": { "href": "https://api.zotero.org/groups/676368/items/HK66UD53", "type": "application/json" } }, "meta": { "createdByUser": { "id": 356596, "username": "Michael.D.Dwyer", "name": "Michael D Dwyer", "links": { "alternate": { "href": "https://www.zotero.org/michael.d.dwyer", "type": "text/html" } } }, "numChildren": 0 }, "data": { "key": "9GI7QRGG", "version": 4, "parentItem": "HK66UD53", "itemType": "note", "note": "pg 045-48: Spoiling is not just something weirdos on the internet do--it's an interaction between a show's most active fans and the show's producers. It provides another \"level\" of watching, which not only expands the audience but also encourages multiple viewings, purchasing of DVD, visits to fanboards, etc. etc. etc.
", "tags": [], "relations": { "owl:sameAs": "http://zotero.org/groups/394490/items/SDDEFGP8" }, "dateAdded": "2016-09-01T21:37:54Z", "dateModified": "2016-09-01T21:37:54Z" } }, { "key": "D9KG9AM8", "version": 4, "library": { "type": "group", "id": 676368, "name": "cm325-fall2016", "links": { "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/676368/items/D9KG9AM8", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016/items/D9KG9AM8", "type": "text/html" }, "up": { "href": "https://api.zotero.org/groups/676368/items/HK66UD53", "type": "application/json" } }, "meta": { "createdByUser": { "id": 356596, "username": "Michael.D.Dwyer", "name": "Michael D Dwyer", "links": { "alternate": { "href": "https://www.zotero.org/michael.d.dwyer", "type": "text/html" } } }, "numChildren": 0 }, "data": { "key": "D9KG9AM8", "version": 4, "parentItem": "HK66UD53", "itemType": "note", "note": "pg 038: \"Gated\" Knowledge communities - to develop specialized knowledge, they wind up closing themselves off from the public, recreating the \"expert culture\" that collective intelligence tries to undo.
", "tags": [], "relations": { "owl:sameAs": "http://zotero.org/groups/394490/items/HUI9UQRK" }, "dateAdded": "2016-09-01T21:37:54Z", "dateModified": "2016-09-01T21:37:54Z" } }, { "key": "AECC96V6", "version": 4, "library": { "type": "group", "id": 676368, "name": "cm325-fall2016", "links": { "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/676368/items/AECC96V6", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016/items/AECC96V6", "type": "text/html" }, "up": { "href": "https://api.zotero.org/groups/676368/items/HK66UD53", "type": "application/json" } }, "meta": { "createdByUser": { "id": 356596, "username": "Michael.D.Dwyer", "name": "Michael D Dwyer", "links": { "alternate": { "href": "https://www.zotero.org/michael.d.dwyer", "type": "text/html" } } }, "numChildren": 0 }, "data": { "key": "AECC96V6", "version": 4, "parentItem": "HK66UD53", "itemType": "note", "note": "PG 036-038: spoiling is a PROCESS (of theories, criticisms, checks and double-checks). What ChillOne did was \"short-circuit\" that process, and came in with all the answers fully formed.
", "tags": [], "relations": { "owl:sameAs": "http://zotero.org/groups/394490/items/8C55G642" }, "dateAdded": "2016-09-01T21:37:54Z", "dateModified": "2016-09-01T21:37:54Z" } }, { "key": "SKEQFPR2", "version": 4, "library": { "type": "group", "id": 676368, "name": "cm325-fall2016", "links": { "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/676368/items/SKEQFPR2", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016/items/SKEQFPR2", "type": "text/html" }, "up": { "href": "https://api.zotero.org/groups/676368/items/HK66UD53", "type": "application/json" } }, "meta": { "createdByUser": { "id": 356596, "username": "Michael.D.Dwyer", "name": "Michael D Dwyer", "links": { "alternate": { "href": "https://www.zotero.org/michael.d.dwyer", "type": "text/html" } } }, "numChildren": 0 }, "data": { "key": "SKEQFPR2", "version": 4, "parentItem": "HK66UD53", "itemType": "note", "note": "pg 032-33: Shows the enormous investment and networked quality of the knowledge by discussing one example of a couple who works with a GUY WHO KNOWS A SPY SATTELITE OPERATOR (wtf???)
", "tags": [], "relations": { "owl:sameAs": "http://zotero.org/groups/394490/items/JI7UPE89" }, "dateAdded": "2016-09-01T21:37:54Z", "dateModified": "2016-09-01T21:37:54Z" } }, { "key": "Q3UZ7RSJ", "version": 4, "library": { "type": "group", "id": 676368, "name": "cm325-fall2016", "links": { "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/676368/items/Q3UZ7RSJ", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016/items/Q3UZ7RSJ", "type": "text/html" }, "up": { "href": "https://api.zotero.org/groups/676368/items/HK66UD53", "type": "application/json" } }, "meta": { "createdByUser": { "id": 356596, "username": "Michael.D.Dwyer", "name": "Michael D Dwyer", "links": { "alternate": { "href": "https://www.zotero.org/michael.d.dwyer", "type": "text/html" } } }, "numChildren": 0 }, "data": { "key": "Q3UZ7RSJ", "version": 4, "parentItem": "HK66UD53", "itemType": "note", "note": "pg 026-027: Collective Intelligence, concept from Pierre Levy, is the \"ability of virtual communities to leverage the combined expertise of their members. What we cannot know or do on our own, we may now be able to do collectively. And this organization of audiences into what Levy calls knowledge communities allows them to exert a greater aggregate power in their negotiations with media producers. .... He suggests...that collective intelligence will gradually alter the ways commodity culture operates.\"
\nThese online communities allow for the discussion, development and negotiation of knowledge.
", "tags": [], "relations": { "owl:sameAs": "http://zotero.org/groups/394490/items/R5ISKW7B" }, "dateAdded": "2016-09-01T21:37:54Z", "dateModified": "2016-09-01T21:37:54Z" } }, { "key": "ICEABNGN", "version": 4, "library": { "type": "group", "id": 676368, "name": "cm325-fall2016", "links": { "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/676368/items/ICEABNGN", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016/items/ICEABNGN", "type": "text/html" }, "up": { "href": "https://api.zotero.org/groups/676368/items/HK66UD53", "type": "application/json" } }, "meta": { "createdByUser": { "id": 356596, "username": "Michael.D.Dwyer", "name": "Michael D Dwyer", "links": { "alternate": { "href": "https://www.zotero.org/michael.d.dwyer", "type": "text/html" } } }, "numChildren": 0 }, "data": { "key": "ICEABNGN", "version": 4, "parentItem": "HK66UD53", "itemType": "note", "note": "Pg 025-26: Survivor fans have invented a new \"way of watching\" in trying to figure out the order of the elimination of contestants.
\n
\"the age of media convergence enables communial, rather than individualistic, modes or reception\" (26).
\"My focus here is on the process and ethics of shared problem-solving in an online community. I am less interested, ultimately, in who ChillOne is or whether his information was accurate than I am with how the community responded to, evaluated, debated, critiqued and came to grips with the kinds of knowledge he brought to them.
", "tags": [], "relations": { "owl:sameAs": "http://zotero.org/groups/394490/items/A85MMI4U" }, "dateAdded": "2016-09-01T21:37:54Z", "dateModified": "2016-09-01T21:37:54Z" } }, { "key": "HTNGXFUE", "version": 4, "library": { "type": "group", "id": 676368, "name": "cm325-fall2016", "links": { "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/676368/items/HTNGXFUE", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016/items/HTNGXFUE", "type": "text/html" }, "up": { "href": "https://api.zotero.org/groups/676368/items/HK66UD53", "type": "application/json" } }, "meta": { "createdByUser": { "id": 356596, "username": "Michael.D.Dwyer", "name": "Michael D Dwyer", "links": { "alternate": { "href": "https://www.zotero.org/michael.d.dwyer", "type": "text/html" } } }, "numChildren": 0 }, "data": { "key": "HTNGXFUE", "version": 4, "parentItem": "HK66UD53", "itemType": "note", "note": "pg 022-023: \"Convergence culture represents a shift in the ways we think about our relations to media, that we are making that shift first through our relations with popular culture, but that the skills we acquire through play may have implications for how we learn, work, participate in the political process, and connect with other people around the world.\" (22-23).
\n<<< Yes, but we ought to also think about the LIMITS as well as the POTENTIALS.
\n\"We are entering an era of prolonged transition and transformation in the way media operates\" (24).
", "tags": [], "relations": { "owl:sameAs": "http://zotero.org/groups/394490/items/ECJC2TGG" }, "dateAdded": "2016-09-01T21:37:54Z", "dateModified": "2016-09-01T21:37:54Z" } }, { "key": "XH73T55G", "version": 4, "library": { "type": "group", "id": 676368, "name": "cm325-fall2016", "links": { "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/676368/items/XH73T55G", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016/items/XH73T55G", "type": "text/html" }, "up": { "href": "https://api.zotero.org/groups/676368/items/HK66UD53", "type": "application/json" } }, "meta": { "createdByUser": { "id": 356596, "username": "Michael.D.Dwyer", "name": "Michael D Dwyer", "links": { "alternate": { "href": "https://www.zotero.org/michael.d.dwyer", "type": "text/html" } } }, "numChildren": 0 }, "data": { "key": "XH73T55G", "version": 4, "parentItem": "HK66UD53", "itemType": "note", "note": "pg 010: Jenkins takes from a \"future of the media\" conference three important messages. (page 10)
\npg 002-004: Jenkins argues that the book is about the relationship between three central concepts:
\n\n
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PG 103-110 – Synergistic Storytelling
\nTransmedia Storytelling is not ONLY synergy. Synergy has existed before.
\n“So let’s be clear: there are strong economic motives behind transmedia storytelling. Media convergence makes the flow of content across multiple media platforms inevitable…there is a strong interest in integrating entertainment and marketing….. The enormous updise is not just economic, however. The matrix franchise wasw shaped by a whole new vision of synergy” (106-107).
\n>>> The difference is that all these parts expand the story in different directions, and they’re all created as coequal parts of the narrative universe, simultaneously.
\n>>> “Going forward, people are going to want to go deeper into stuff they care about…If there’s something I love, I want it to be bigger than just those two hours in the movie theater or a one-hour-a-week experience on TV”(108).
\n>>>Different media platforms offer different specialties. Books can expand the geographic or chronological world of a narrative. Serial TV can explore more character depth. Etc. etc.
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http://www.thewb.com/shows/the-animatrix/the-second-renaissance-part-i/57731b69-3e2e-4047-aff4-484a748ccd77 (THE ANIMATRIX)
", "tags": [], "relations": { "owl:sameAs": "http://zotero.org/groups/394490/items/HWNUM6SA" }, "dateAdded": "2016-09-01T21:37:54Z", "dateModified": "2016-09-01T21:37:54Z" } }, { "key": "Z253H8HV", "version": 4, "library": { "type": "group", "id": 676368, "name": "cm325-fall2016", "links": { "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/676368/items/Z253H8HV", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/cm325-fall2016/items/Z253H8HV", "type": "text/html" }, "up": { "href": "https://api.zotero.org/groups/676368/items/HK66UD53", "type": "application/json" } }, "meta": { "createdByUser": { "id": 356596, "username": "Michael.D.Dwyer", "name": "Michael D Dwyer", "links": { "alternate": { "href": "https://www.zotero.org/michael.d.dwyer", "type": "text/html" } } }, "numChildren": 0 }, "data": { "key": "Z253H8HV", "version": 4, "parentItem": "HK66UD53", "itemType": "note", "note": "pg 097-98 KEY CONCEPT: Transmedia Storytelling. “A transmedia story unfolds across multiple media platforms, with each new text making a distinctive and valuable contribution to the whole. In the ideal form of transmedia storytelling, each medium does what it does best…Each franchise entry needs to be self-contained so you don’t need to have seen the film to enjoy the game, and vice versa. Any given product is a point of entry into the franchise as a whole. Reading across the media sustains a depth of experience that motivates more consumption….Offering new levls of insight and experience refreshes the franchise and sustains consumer loyalty.” (97-8)
>>> In addition, it plays to “collective intelligence,” overloading the story with information so that it requires the sustained engagement with a fan community in order to fully appreciate it.
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>>> While the Matrix sequels have been considered “flops,” that is from the old model of evaluating films AS films. They may have been lousy, but what they were trying to do was something extremely unique in film history.
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\nThe Matrix is an important piece of American media history, for it represents the first full-flowered attempt to take advantage of media convergence.
\n“To truly appreciate what we are watching, we have to do our homework. The Filmmakers plant clues that won’t make sense until we play the computer game. They draw on the back story revealed through a series of animated shorts, which need to be downloaded off the Web or watched off a separate DVD. … The Matrix is entertainment for the age of media convergence, integrating multiple texts to create a narrative so large that it cannot be contained within a single medium” (96-97).
\n\n
In addition, The Matrix is “entertainment for the era of collective intelligence,” in other words, that it requires you draw on the resources of a community to fully extract all its layered meanings. (http://lostpedia.wikia.com/wiki/Main_Page)
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Branding is hugely important with American Idol. That means when people get upset at American Idol, they also get upset with the brands.
\n
People seem aware that it is hypercommercial—this does not bother them, UNLESS it interferes with their ability to VOTE on their “true winner”. So when clogged phone lines impacted a close American idol race, AT&T took a hit with fans for it. (88)
People also resent the “management” of the show, promoting individual figures over another (largely, I imagine, because It punctures the myth of meritocracy that the show is premised upon).
By building viewer participation so much into the show, viewers also expect a higher degree of responsiveness from American Idol than they do for other shows.
\n
A backlash was organized through “Vote for the Worst,” which allowed fans to voice their displeasure with the commodification of the show by “hacking it” (91-92)
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Ultimately, sponsors need to be aware that audience participation can cut both ways. When they raise the emotional attachment, audiences demand something in return. (92-93)
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\npg 059: American Idol showed how interactivity in tv works via asynchronous participation
\nPg 061: outlines how American Idol was, from its inception, a transmedia franchise (not only did it release records and radio singles, concert tours, films and books, but it also was engaged with sponsor Coca Cola and broadcast network Fox to corner the 12-24 demographic.
\n\n
“ To understand American Idol's success, we need to better understand the changed context within which american broadcasting is operateing and the changed model of consumer behavior shaping programming and marketing strategies. We need to know more about what I am callign “affective economics.” by affective economics, I mean a new configuration of marketing theory, still somewhat on the fringes but gaining (pg 62) ground within the media industry, which seeks to understand the emotional underpinnings of consumer decision-making as a driving force behind viewing and purchasing decisions.”
\n\n
Pg 062: “In many ways, affective economics represents an attempt to catch up with work in cultural studies over the last several decades on fan communities and viewer commitments. There is a crucial difference, however: the cultural studies work sought to understand media consumption from the fan's point of view, articulating desires and fantasies that were ill-served by the current media system; the new marketing discourse seeks to mold those consumer desires to shape purchasing decisions. While they are increasingly interested in the qualiteis of audience experience, the media and brand companies still struggle with the economic side of affective economics – the need to quantify desire, to measure connections, and to commodify commitments – and perhaps most importantly of all, the need to transform all of the above into return on investment (ROI).
\n\n
Pg 063: Producers are more and more interested in developing fan communities around their brands to maintain loyalty, commodifying their fandom, and attempting to provide their advertisers the opportunity to tap into fans affective relationships with their fan objects.
\n***“For the moment, I want readers to bracket their anxieties about consumerism and their fear of Madison Avenue” (Of course you do, Henry).
\n*** “ My own view is that this emerging discourse of affective economics has both positive and negative implications: allowing advertisers to tap the power of collective intelligence and direct it toward their own ends, but at the same time allowing consumers to form their own kind of collective bargaining structure that they can use to challenge corporate decisions” (UHHH...REALLY?)
\n\n
pg 064: Jenkins argues that if you want to critique American capitalism, “you need to recognize that the models of marketing depicted in classic accounts, such as vance Packard's Hidden Persuaders (1957) no longer adequately describe the way the media industries are operating. Evin if you believe that fan and brand communities lack the clout to significantly alter corporate behavior, you still need to understand the way participation works within this new affective economy so that you can direct criticisms at the actual mechanisms by which Madison Avenue seeks to reshape our hearts and minds.” (>>>>>> I'm not so sure this is the case. I understand that the relationship between producer and consumer has changed , but one wonders how much it really has. We have less impact on tv than vaudeville audiences had on stage performances 100 years ago.]
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pg 052: Dispute between the “collective intelligence” vs “expert paradigm”. In describing “the expert paradigm,” Peter “Walsh argues that our traditional assumptions about expertise are breaking down or at least being transformed by the more open ended processes of communication in cyberspace. The expert paradigm requires a bounded body of knowledge, which an individual can master. The types of questions that thrive in a collective intelligence, however, are open ended and profoundly interdisciplinary; they slip and slide across borders and draw on the combined knowledge of a more diverse community.
\n
Pg 053: Walsh also argues that “the expert paradigm creates and “exterior” and “interior,” opposite of the effect of “collective intelligence.”
\nOn the other hand, the “expert paradigm” allows for the processing & evaluation of rules through established disciplinary rules, while collective intelligence is non-hierarchical, undisciplined, and ad-hoc. In addition, “experts” are credentialed, while collective intelligence requires none.
\n\n
Pg 055: Knowledge communities as totalitarian spaces (knowledge whether you want it or not)
\n\n
pg 058: What we need to keep in mind here and throughout the book is that the interests of producers and consumers are not the same. Sometimes they overlap. Sometimes they conflict. The communiities that on one level are the producer's best allies on another level may be their worst enemies.”
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