![]() He is a fan of a variety of different media, and expresses his fandom by creating work inspired by these, in platforms that are suited to that task. It could be theorised that this also sets up the concept that the audience and fans of the show are represented by Abed. It is a show by textual poachers, about textual poachers, and for textual poachers. The show is based on the concept of borrowing and repurposing things that a modern media-literate audience is also a fan of. Fan culture is embraced, encouraged, and celebrated, along with one of the characters being the embodiment of textual poaching and fandom regularly taking center-stage. Elements are borrowed, remixed, and reconstructed from different texts to forge something new allowing their text to play with other’s. Fans are now empowered.Ĭommunity is a homage to textual poaching. The deeper implications of this mean that fans have the ability to take one thing, for example Community which only really existed as a TV show, and turn it into a cross-platform product, with a video game (amongst other things). Readers still deconstruct elements of a text and reconstruct them into new contexts. The essence of textual poaching does still stand up though, once retextualised into a modern media environment. With the arguments put forward in this blog it could be argued that fans now have more power and influence over producers than ever. ![]() Textual poaching originates from a time when fans had no real power, and anything they did do was of no real interest to authors or producers. ![]() Due to technological developments the power of fandom has increased exponentially, and will continue to change with every new advancement in communication. Jenkins’ work (building on De Certeau’s) also only painted a picture relevant for a short time after publication. When textual poaching was first conceived fandom didn’t really have a voice. ![]()
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