Best 19 quotes of Henry Jenkins on MyQuotes

Although we've used the concept brand communities a couple of times, it's important to reiterate that communities aren't created, they are courted. Most brands will need to court a range of different communities and travel across pools, webs, and hubs if they want to reach the full range of desired consumers.

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.

...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.

From American Idol to The Matrix participatory media - where old and new media converge by involving fans - is influencing our culture by creating new forms of interactive storytelling. Yet by enabling people to participate in such various media they can converge as a crowd to alter the story to create new modes of engagement, some not necessarily endorsed by the creator - or the brands that back them.

Hello. My name is Henry. I am a fan. Somewhere in the late 1980s’, I got tired of people telling me to get a life. I wrote a book instead

Humans do not engage in activities that are meaningless. If you think you see people doing things you find meaningless, look again and try to understand what the activities mean for them.

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.

In a hunting society, children play with bows and arrows. In an information society, children play with information

Just as we would not traditionally assume that someone is literate if they can read but not write, we should not assume that someone possesses media literacy if they can consume but not express themselves

Participatory culture shifts the focus of literacy from one of individual expression to community involvement.

Piracy often reflects market failures on the part of producers rather than moral failures on the part of consumers.

That changes your whole perception of the film, your perception of the ending...The challenge for us, especially with the Lord of the Rings is how do we deliver that one piece of information that makes you look at the films differently?

The key is to produce something that both pulls people together and gives them something to do.

The worst thing a kid can say about homework is that it is too hard. The worst thing a kid can say about a game is it's too easy.

Transmedia storytelling represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience. Ideally, each medium makes its own unique contribution to the unfolding of the story.

We want to raise a generation of kids who have a mouse in one hand and a book in the other.

When I first started you would pitch a story because without a good story, you didn't really have a film. Later, once sequels started to take off, you pitched a character because a good character could support multiple stories. and now, you pitch a world because a world can support multiple characters and multiple stories across multiple media.

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. In the process, they often exaggerate the power of big media in order to frighten readers into taking action. I don't disagree with their concern about media concentration, but the way they frame the debate is self-defeating insofar as it disempowers consumers even as it seeks to mobilize them. Far too much media reform rhetoric rests on melodramatic discourse about victimization and vulnerability, seduction and manipulation, "propaganda machines" and "weapons of mass deception". Again and again, this version of the media reform movement has ignored the complexity of the public's relationship to popular culture and sided with those opposed to a more diverse and participatory culture. The politics of critical utopianism is founded on a notion of empowerment; the politics of critical pessimism on a politics of victimization. One focuses on what we are doing with media, and the other on what media is doing to us. As with previous revolutions, the media reform movement is gaining momentum at a time when people are starting to feel more empowered, not when they are at their weakest.

Our focus should not be on emerging technologies, but on emerging cultural practices.