Fandom, after all, is born of a balance between fascination and frustration: if media content didn't fascinate us, there would be no desire to engage with it; but if it didn't frustrate us on some level, there would be no drive to rewrite or remake it.
Interpretation
Fandom arises from both the attraction to and dissatisfaction with media content.
Henry Jenkins suggests that fandom is a complex phenomenon that emerges from a delicate interplay between fascination with media and frustration towards it. When we are captivated by a piece of media, it sparks our interest and engagement, yet moments of frustration or imperfection inspire us to reshape, reinterpret, or create new narratives within that context. Therefore, both positive and negative emotions fuel our connection to media, leading to the vibrant culture of fandom.
In practice
During a panel discussion on creators' relationships with their fans, this quote illustrates the dual nature of fans' feelings toward media.
If old consumers were assumed to be passive, then new consumers are active. If old consumers were predictable and stayed where you told them, then new consumers are migratory, showing a declining loyalty to networks or media. If old consumers were isolated individuals, then new consumers are more socially connected. If the work of media consumers was once silent and invisible, then new consumers are now noisy and public.
...Fan fiction is a way of the culture repairing the damage done in a system where contemporary myths are owned by corporations instead of owned by the folk.
You can say anything you want, yessir, but it's the words that sing, they soar and descend...I bow to them...I love them, I cling to them, I run them down, I bite into them, I melt them down...I love words so much...The unexpected ones...The ones I wait for greedily or stalk until, suddenly, they drop.
The play is done; the curtain drops,_x000D_ _x000D_ Slow falling to the prompter's bell_x000D_ _x000D_ A moment yet the actor stops_x000D_ _x000D_ And looks around to say farewell.
The simplest act of surrealism is to walk out into the street, gun in hand, and shoot at random.
I discovered early in my movie work that a movie is never any better than the stupidest man connected with it. There are times when this distinction may be given to the writer or director. Most often it belongs to the producer.
I spent lunchtime in a grave during the filming of 'Bloody Mama.' When you're younger, you feel that's what you need to do to help you stay in character. When you get older, you become more confident and less intense about it - and you can achieve the same effect.
The only writers who have any peace are the ones who don't write. And there are some like that. They wallow in a sea of possibilities. To express a thought, you first have to limit it, and that means kill it. Every word I speak robs me of a thousand others, and every line I write means giving up another.
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