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Television in Transition - Coggle Diagram

- - - - Camera Obscura
        
        "The powerful invisibility of the video editor comes as a welcome change from the pain of objectification and identification." (Coppa, 126)
        
        Rather than create centralised archives, as fans had for fan fiction, vidders discreetly offered their vids on individual password-protected sites (Coppa and Tushnet, 132).
        
        "Copyright policy makers are too likely to presume that there is no real need for remix and that copying means the same thing as pirating." (Coppa and Tushnet, 136)
    - - He stands at the side of the collective communities and strives for enlarging the participatory culture.
      - convergence culture is enabling new forms of participation - shift from individualized media consumption toward a collective networked consumption (Jenkins, 256).
      - Critical utopianism
        
        Calls himself a “critical utopian” and describes his position as aiming to identify possibilities our culture that could lead toward an improvement of the society, as well as trying to search for unrealized opportunities for change at hand.
        Moreover, the politics of critical utopianism have core in empowerment, and it focuses on what we are doing with media.
      - Additive comprehension: the aspect that each part of a media text must make an important contribution to the surrounding debate.
      - Fan fiction can be seen as an unauthorized expansion of the media franchises into new directions.
      - "Indeed, many industry leaders argue that the main reason that television cannot continue to operate in the same old ways is that the broadcasters are losing younger viewers, who expect greater influ- ence over the media they consume." (Jenkins, 255)
      - "A man with one machine (a TV) is doomed to isolation, but a man with two machines (TV and a computer) can belong to a community.” (Jenkins, 256)
      - Convergence culture is enabling new forms of participation and collaboration (Jenkins, 256).
      - "Fan culture was defined through the appropriation and transformation of materials borrowed from mass culture; it was the application of folk culture practices to mass culture content." (Jenkins, 257)
      - Critical Pessimists
        
        Critical pessimists, such as media critics Mark Crispin Miller, Noam Chomsky, and Robert McChesney, focus primarily on the obstacles to achieving a more democratic society (Jenkins, 258).
        
        The politics of critical pessimism are founded on politics of victimization
        
        Focusing on what media is doing to us
      - Negativity of media concentration
        
        Concentration is bad because it lowers diversity - important in terms of popular culture, essential in terms of news.
        
        It is important to fight against the corporate copyright regime
      - "Convergence culture is the future, but it is taking shape now." (Jenkins, 270)
    - - Mark Andrejevic
        
        Productivity of online fans
        
        The promise of virtual participation in the production process, in short, invites viewers to adopt the standpoint of producers, and thereby facilitates the conversion of viewer feedback into potentially productive marketing and demographic information (Andrejevic, 27).
        
        Interactive television requires the creation of new, more active—or “interactive”—types of viewer and consumer (Andrejevic, 29).
        
        "The notion of the social factory coincides with the creation of an interactive consumer–viewer, one prepared to devote time and energy to developing the skills necessary to participate in an increasingly interactive media economy." (Andrejevic, 30)
        
        “The Internet gives fans a platform on which to perform for one another, and their informal performances might please fans more than the official ones do.” (Andrejevic, 33)
        
        "Online forums give us the chance to be heard, and the reader can choose to ignore it or pay attention—but the point is, WE GET THE CHANCE TO BE HEARD." (Andrejevic, 41)
        
        Activity and interactivity need to be clearly distinguished from activism.
      - Voluntary audience activity with no monetary income from the media producers
      - May be seen as exploitative or as a manipulation of the cultural industry - industry-organized audience groups
  - - - She distinguishes between serious content and entertainment on television and in politics.
      - Passive ‘audiences’ (television) and the active ‘publics’ (political citizens)
        
        The difference between fans and citizens are in the different subjectivities on which they are based – affective relations for fans and cognitive processes for citizens.
      - The organization of politics like fandom for van Zoonen is seen as an important part of the society (practices of community building) for both social and political life.
      - "It is a medium that is firmly located in the domains of leisure and entertainment, inviting emotional, intuitive, social or aesthetic reactions from its audiences much more than rational, informed or political ones." (Zoonen, 42)
      - Stracture of fandom similar to structure of politics
        
        "In everyday political practice emotions have been ritualized in characteristic political ceremonies, which evoke fan behaviour rather than civic behaviour among their participants." (Zoonen, 47)
        
        "The relevance of the main entertainment medium, television, should not be sought in its informa- tive qualities, its appeal to cognitive capacities or its encouragement of rational deliberation." (Zoonen, 49)
    - - Fan activism lies at the intersection of cultural and political participation, participatory culture, and the role of the content in civic and political mobilization.
      - They claim that the lines between traditional civic and political activities are blurred in contemporary participatory culture.
      - Fandom politics
        
        "In the political science of modern Western democracies, the public sphere is seen to provide the crucial space for political debate." (Brough and Shresthova, 7).
        
        "However, scholars across several disciplines have argued that informal, cultural engagement (or cultural citizenship) may also be usefully analyzed for forms of political participation." (Brough and Shresthova, 6).
        
        "In a world where the importance of corporations is increasingly prominent in daily life, studying fan activism offers one window into the private power dynamics of corporatecivil contests." (Brough and Shresthova, 12).
      - Fans are typically understood to be individuals who engage deeply with, and often assert their identity through, popular culture content (Brough and Shresthova, 2).
      - Contemporary fan activism is increasingly prolific and diverse in its forms and tactics (Brough and Shresthova, 3).
      - As a form of participatory culture, fan activism is a rich site for exploring contemporary dynamics of civic participation (Brough and Shresthova, 3).
      - Fan or pop culture engagement can be productively analyzed as both a potential space for developing civic skills, and a catalyst for change. (Brough and Shresthova, 8).
      - "There is a critical need for transnational analyses of fan activism." (Brough and Shresthova, 19).
- - - - Creative Commons
        
        In between the extreme regulation rights and none controlled rights.
        
        A balance enabling a different kind of creativity and a free culture.
        
        The idea here is that we need to build a layer of reason-
        able copyright law, by showing the world a layer of reasonable copyright law resting on top of the extremes (Lessig, 11).
        
        This change is done through the voluntary action of individuals - creators, content owners (Lessig, 11).
      - The copyright law came to an extreme and basically every act on the internet is a copy and the users’ creativity is very limited even in other forms than just re-using the original texts. Increasingly our freedom is restricted by a code rather than courts and lawyers (Lessig, 6-7).
      - The free society that defines our tradition is increasingly a permission society (Lessig, 9).
- - - - In order to embed a national version of a TV show in the preferences of the audiences, the format is localized on linguistic, intertextual and cultural levels.
      - Globalization and Localization determine the format, content and success of a TV show in distinct countries.
      - The localization of formats concerns ideas about national culture and identity which transcends internal diversity (Keulen and Krijnen, 280).
      - Now the transnational flow of TV can more easily bypass official channels, as viewers interested in seeing series from abroad have fast and easy web access, and online fandoms congregate as global communities (Newman, 467).
      - Along with the legitimation of television, the sense that TV is a worthwhile and artistic form of culture, comes the globalization of its content (Newman, 473).
  - - - Australian or other fans unable to keep up with new television or web video content because of geo-blocking are effectively excluded from the community (Newman, 473).
      - P2P circulation of television content challenges the local and national basis of television’s traditional institutions, replacing old spatial and temporal configurations based in specific political geographies with a new global and cosmopolitan world of media flows (Newman, 465.)
      - Users of P2P networks, moreover, value television texts enough to participate actively in their circulation, including the creation of files and their metadata, and to assume the risk of legal consequences for their actions (Newman, 467).
- - - - Culturalists
        
        Commercial intertextuality seen as material that is shaped in creative ways for self-expression and social communication, resulting in the emergence of new forms of participation and creating communities of prosumers.
        
        Non-corporate production strategies that aim to include the activity of the audiences and fans.
      - Critical Political Economists
        
        Commercial intertextuality is seen in corporate communication that aims to profit the most and attract more audiences and fans.
        
        Corporate production strategies: megatexts, paratexts, official merchandising, retail and controlled communications.
        
        'Narratively necessary purchases'
      - Commercial Intertextuality
        
        Neutral position: “both critical and political economy and cultural studies are needed to trace the increasing complexity, and implications, of corporate intertextual proliferation." (Hardy, 14)
        
        Focuses on the structure of the intertextual space and the textual production, discusses the contemporary forms of cross-media intertextuality and online promotional strategies.
        
        The commercial intertextuality of official merchandise is prominent across all the most popular ‘independent’ sites. Commodified intertextual flows thus extend into more ‘autonomous’ textual spaces (Hardy, 13).
      - Both critical political economy and cultural studies are needed to trace the increasing complexity, and implications, of corporate (inter)textual proliferation (Hardy, 14).