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Vaughn, M. (Producer), & Ritchie, G. (Director). (1998). Lock stock and two smoking barrels [Motion Picture]. London, England: Polygram Filmed Entertainment. Vaughn, M. (Producer), & Ritchie, G. (Director). (2000). Snatch [Motion Picture]. London, England: Sony Pictures Entertainment. Warner Bros Entertainment (Producer). (2009). Sherlock Holmes special features: Reinvented [DVD]. Burbank, CA: Warner Bros Studios. Winkler, C. (Producer), & Stallone, S. (Director). (2006). Rocky Balboa [Motion Picture]. Los Angeles, CA: MGM Studios. Wisher, W. (Producer), & Wiseman, L. (Director). (2007). Live free or die hard [Motion Picture]. Los Angeles, CA: 20th Century Fox. Wyndham-Davies, J. (Producer), & Hannam, K. (Director). (1988). The devils foot [Television series episode]. In M. Cox & J. Wyndham-Davies (Producers), Sherlock Holmes (Vols.1-7) [Television series]. Manchester, England: Granada Studios. 102
Bibliography Ackroyd, P. (2001). Introduction. In A. C. Doyle, The sign of four (pp. vii-xvii). London, England: Penguin Classics. Allen, R. C. (1990). From exhibition to reception: Reflections on the audience in film history. Screen, 31, 347-356. doi:10.1093/screen/31.4.347 Barnes, B. E., & Thompson, L. M. (1994). Power to the people meter: Audience measurement technology and media specialisation. In J. S. Ettema & D. C. Whitney (Eds.), Audiencemaking: How the media create the audience (Vol. 22, pp. 75-94). London, England: SAGE Publications. Bell, J. (2006). Mr Sherlock Holmes. In L. Klinger (Ed.), The new annotated Sherlock Holmes: The novels. (pp. 203-207). New York, NY: W. W. Norton & Company, Inc. Brown, S. (2009, April). Scott Brown on Sherlock Holmes, obsessed nerds, and fan fiction. Wired Magazine, 17(5). Retrieved from http://www.wired.com/techbiz/ people/magazine/17-05/pl_brown Canter, M. G. (1994). The role of the audience in the production of culture: A personal research retrospective. In J. S. Ettema & D. C. Whitney (Eds.), Audiencemaking: How the media create the audience (Vol. 22, pp. 159-170). London, England: SAGE Publications. Doyle, A. C. (2005a). The adventures of Sherlock Holmes. In L. S. Klinger (Ed.), The new annotated Sherlock Holmes (Vol. 1, pp. 3-383). New York, NY: W. W. Norton & Company, Inc. Doyle, A. C. (2005b). The memoirs of Sherlock Holmes. In L. S. Klinger (Ed.), The new annotated Sherlock Holmes (Vol. 1, pp. 385-748). New York, NY: W. W. Norton & Company, Inc. 103
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The Case Study of Sherlock Holmes (
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Table of Contents Attestation of Au
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List of Figures Figure 1. Abercromb
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Attestation of Authorship I hereby
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Abstract This study investigates a
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Abercrombie and Longhurst‟s audie
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and Morgan‟s (1990) and Shanahan
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two and turn them into action” (G
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Jenkins (1992), however, would disa
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that to be a secondary phase, a res
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they designed their continuum, were
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economistic theory, alongside Aberc
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informs us that we take our communi
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Methodology This chapter explains t
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albeit in Sherlock Holmes for Dummi
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Figure 2. Original model from Maste
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and like many, have a stereotypical
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Drawing from Shanahan and Morgan (1
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Model My research advocates the the
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Creative component Critiques Regard
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ethnographic position is made on tw
Page 43 and 44:
Table 2. Ethnographic order of prod
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Good Doctor to placate any qualms t
Page 47 and 48:
preconception was derived from its
Page 49 and 50:
and Watson in defeating Lord Blackw
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The common picture of Holmes is of
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“embrace of fiction” (p. 606) a
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was lost. Therefore, Doyle‟s orig
Page 57 and 58: this was the only Holmes novel the
Page 59 and 60: 9). While the tale and its quick pu
Page 61 and 62: his feet with a cry of pleasure.
Page 63 and 64: Cultivation analysis: Official seco
Page 65 and 66: their flaws and their frailties, in
Page 67 and 68: may suggest, this film is not a dir
Page 69 and 70: Holmes in the role of supporting ac
Page 71 and 72: have endeavoured to intertwine and
Page 73 and 74: Official secondary products: The Pr
Page 75 and 76: 245). Redmond‟s (2009) statement,
Page 77 and 78: “shocking affair of the Dutch ste
Page 79 and 80: cited in Jenkins, 1992, p. 32). In
Page 81 and 82: The fan Sandvoss (2005) believes th
Page 83 and 84: emotional, or cognitive); they tres
Page 85 and 86: knowledgeable fans [who] may . . .
Page 87 and 88: negative connotation, for it no lon
Page 89 and 90: Figure 6, the consumer-to-fan culti
Page 91 and 92: Creative Component Introduction Fan
Page 93 and 94: esponsible, Lord Blackwood, played
Page 95 and 96: short and are exposed as fraudulent
Page 97 and 98: Conclusion We take our communicatio
Page 99 and 100: References Abercrombie, N., & Longh
Page 101 and 102: Davies, D. S. (2009). The further a
Page 103 and 104: Doyle, A. C. (2005k). The case-book
Page 105 and 106: Jenkins, H. (2007). Afterword: The
Page 107: Signorielli, N., & Morgan, M. (1990
Page 111: Miller, P. V. (1994). Made-to-order
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