The Producer as Fan

Abstract

Jason Mittell argues that contemporary television narrative is marked by degrees of both structural and consumptive complexity. One way he addresses this complexity is through the concept of drillability, which he describes as “a mode of forensic fandom that invites viewers to dig deeper, probing beneath the surface to understand the complexity of a story and its telling.” This essay analyzes a particular episode of CBS’s The Good Wife (2009–2016) to extend Mittell’s concept of drillability and to explore its theoretical links to Mikhail Bakhtin’s “dialogic imagination.” In doing so, the essay argues that “producer-fans” model modes of critical media consumption required by an informed and engaged citizenry.

Fandom meets artificial intelligence: Rethinking participatory culture as human–community–machine interactions

“…Other forms of deepfakes include realistic videos that convince audiences of a celebrity saying things they did not say. Fans' reactions and responses to deepfakes as collective interpretive communities will be an area of exploration for researchers since fandom is also known for its meticulous attention to detail and digital detective skills, known as forensic fandom (Harriss, 2017). Forensic fandom can be challenged by the hyper-realistic misinformation of deepfakes and create schism within and across different fan communities.…”

From the books to the screens, to the memes and beyond: Fans’ notions of Game of Thrones as an adaptation

“…'The audience' as well as 'the fan' or 'the user' are not monolithic entities; they are in flux and as polysemic as texts. All members of the audience participate dialogically and discursively (Harriss 2017) through 'semiotic productivity' (Fiske 1992: 37;Hartley 1999;Thompson 1995) by interpreting media texts and discussing them with others, even without actively posting or producing online content.…”

Intertextualidad y género policíaco en España (1990-2010). Evolución del ámbito literario al metatelevisivo y recurrencia de la víctima femenina como motivo

“…Contemporary studies analyse intertextuality as a voice to be defined (Vilches, 2017). Some focus on television serial fiction: The Good Wife (Harriss, 2017), Galavant (Gionco, 2018), Friends and their "after lives" (Leppert, 2018), Frankenstein on quality TV (López, 2016), while others Intertextuality and police television dramas in Spain (1990-2010). The literary shift to metatelevision and recurrence of the female victim as motif.…”