In his book, Convergence Culture: Where Old And New Media Collide, Henry Jenkins details how technological changes have catalyzed a new cultural mindset in society, where relationships between content consumers and producers are complex and constantly shifting. Jenkins does not strive to outline a formula for how convergence culture operates, but instead takes a descriptive approach by pointing to case studies that reveal the evolving nature and changing roles of communication today. He defines a modern knowledge framework, which he calls collective intelligence, where “the sum total of information held individually by members of a group [can] be accessed in response to a specific question” and it is impossible for one person to master all of the information (27). Jenkins shows that greater accessibility to information coupled with new communication structures has impacted how companies approach marketing their products. Corporations focus on building an emotional investment between their brands and their customers using affective economics, Jenkins notes, a contemporary marketing theory “which seeks to understand the emotional underpinnings of consumer decision-making as a driving force behind viewing and purchasing decisions" (62). Jenkins suggests that the methods for fostering a relationship with consumers can represent a double-edged sword: heightened consumer awareness runs hand-in-hand with heighted consumer scrutiny. Furthermore, he presents how the emotional potential of franchises is a major component of transmedia stories. Jenkins explains that these narratives are so large they span across different media, with each project offering a “distinctive and valuable contribution to the whole” (97). He reveals through an analysis of The Matrix that storytelling has become the art of world-building, where fans must devote more time but receive a deeper, more meaningful experience in return. Jenkins examines other unprecedented connections between the work of media moguls and followers. He highlights the capability of fan fiction in the cyberworld, such as works surrounding Harry Potter, to attract writers of all ages and backgrounds, allowing for literary exploration to flourish. Jenkins’s discussion of fan fiction demonstrates that the collaborative intellectual growth in these zealous communities can afford analytical skills to participants beyond those gained from formal education. According to Jenkins, such affinity spaces can spur learning and discussion about serious issues as well. He appears optimistic that fan communities, which generate and circulate new ideas, offer access to new social structures, and exhibit new models of cultural production, can be viewed as models for democratic citizenship and collaboration.
Jenkins has helped change my mind regarding the democratic potential of new media. Initially, I was a complete skeptic towards the ability of media in convergence culture to promote political involvement. Despite a generation consisting of digital natives – what Jenkins describes as young people who have grown up with participatory media technology – it seems as if dialogue is growing more polarized and youth are remaining disengaged from political discussions. As Jenkins says himself, “online parody often embraces racist, sexist, and xenophobic humor” (291). Considering there is a tendency for individuals to seek out like-minded users on the Web, I feel like there is an unfortunate amount of potential for resources like YouTube to promote biased attitudes and bigotry more than democracy. As a part of this cultural group, I realize that our digital literacy equips us as capable agents for connecting with others, raising awareness for issues, and eliciting change. Nonetheless, even if convergence culture makes it easier for youth to exercise civic engagement, I was pessimistic about the willingness of voting-age Internet users such as myself to incorporate political discourse into their routines. There are forces motivated to fight the inertia of voters, however, like The Daily Show or Colbert Report, by rendering conversations or commentaries on politics as “serious fun” (284). Though a practical injection of politics into everyday life, these “barely political” avenues of civic dialogue have yet to make a statistically significant impact on voting. I think this realm of convergence culture has yet to mature and, although many individuals maintain a chasm between their media activities and political involvement, this situation is on the brink of change. By teaching children from an early age to adopt a “serious fun” attitude towards new media and offering youth opportunities to experiment with this type of dialogue, individuals can change the culture surrounding politics. School assignments involving participatory technologies – blogs, fan fiction sites, YouTube and other social networks – can inspire students to take a playful, creative approach towards integrating democratic participation into their habits. In a few words, I have come to agree with Jenkins’ view that, with proper education of media literacy, society can use the benefits of convergence culture to promote civic duties as a part of everyday life.
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