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Model From my findings, I have discovered the cultivation process of my fandom, and by the examination of my ethnographic journey, I am able to design both a continuum and a model of my cultivation as a fan by the media. My proposed model was originally limited to four distinct degrees of audience-to-fan cultivation: general audience, fan, enamoured fan and educated fan. The enamoured and educated section was presented as parallel to each other, implying that both states were equal in their position. Figure 1, however, Abercrombie and Longhurst‟s audience continuum (1998), encouraged my simple theory to encompass the varying degrees of cultivation between those proposed five states of cultivation. Figure 1, while crucial to the development of my theory is, in itself, over-simplified and impersonal. In designing a continuum to accompany this study, I wished to combine my own theories and those of other theorists to expand upon the often-limited representation of fandom. I, therefore, developed a consumer-to-fan cultivation continuum: General Audience – Follower – Proto-Fan – Fan – Working Class Fan – Fan-As- Consumer –Petit Bourgeois – Poacher – Enthusiast – Educated Fan and Enamoured Fan – Dominated Bourgeois – Elite Fan – Fan-Academic and Academic-Fan – Executive Fan Figure 6. Consumer-to-fan cultivation continuum. Figure 6 expands upon my initial model and encompasses the theories of Abercrombie and Longhurst (1998), Grossberg (as cited in Jenkins, 1992), Tulloch and Jenkins (as cited in Hills, 2002), Hills (2002), Bourdieu (as cited in Hills, 2002), De Certeau (as cited in Jenkins, 1992), McLaughlin (as cited in Hills, 2002), and Gray et al. (2007). By incorporating the various ideas and definitions of kinds of fans from these scholars, I am able to produce a continuum that draws upon the research and examination of those before me, and hopefully contribute to the progression of research dedicated to this area of fan studies. What I was unable to capture, however, was the limits of cultivation; in other words, when the cultivation process ends. Abercrombie and Longhurst‟s continuum (1998) proposes that the position of petty producer is the most advanced which an audience member can achieve. I, however, have found it difficult to assign a state of limitation to cultivation, for I am aware that I have yet to experience community fandom and this avenue would develop, or even alter, the entire model altogether. 82
Figure 6, the consumer-to-fan cultivation continuum, finishes with the position of an executive fan, suggested by Tulloch and Jenkins (as cited in Hills, 2002, p. 57). While this state can be achieved independently, it would soon come to rely on community interaction, but the executive fan, like Abercrombie and Longhurst‟s (1998) petty producer, is able to bypass community hierarchy and establish their own publication or group on account of their own expert knowledge on the subject. I did, however, want to portray those states that are relatively unattainable to a fan through cultivation: Bourdieu‟s dominant bourgeois (as cited in Hills, 2002, p. 47-48) and De Certeau‟s landowner (as cited in Jenkins, 1992, p. 32). Like the pebble causing the ripple, their professional decisions consequently create the various states of fandom I have discovered; however, while being in a position of superiority over the fan, they cannot escape being a part of fandom‟s hierarchical structure. Both the dominant bourgeoisie and landowners are the creators and producers of the original and official secondary products. Therefore, while they are left off the continuum, I chose to represent them in the final model, along with Gray et al. (2007) “object of consumption” (p. 11) representing the core of a person‟s fandom. In order to portray the cultivation process of a fan as purposeful, intricate and varying, I adopt the format of Figure 4. Originally used to depict American hot-rod enthusiasm, Moorhouse‟s model (as cited in Abercrombie & Longhurst, 1998, p. 133) “suggests that an enthusiasm will consist of a number of layers around a core” (as cited in Abercrombie & Longhurst, 1998, p. 132). The circular design of Figure 4 allows for an unbiased representation of facts; each layer provides its own information as well as contributing to the progression of the whole model. This format expands upon the basic structure of Figure 6, the consumer-to-fan cultivation continuum, offering a balanced and all-encompassing model of when a consumer becomes a fan, and what happens next. 83
Page 1 and 2:
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
Page 17 and 18:
Jenkins (1992), however, would disa
Page 19 and 20:
that to be a secondary phase, a res
Page 21 and 22:
they designed their continuum, were
Page 23 and 24:
economistic theory, alongside Aberc
Page 25 and 26:
informs us that we take our communi
Page 27 and 28:
Methodology This chapter explains t
Page 29 and 30:
albeit in Sherlock Holmes for Dummi
Page 31 and 32:
Figure 2. Original model from Maste
Page 33 and 34:
and like many, have a stereotypical
Page 35 and 36:
Drawing from Shanahan and Morgan (1
Page 37 and 38: Model My research advocates the the
Page 39 and 40: Creative component Critiques Regard
Page 41 and 42: ethnographic position is made on tw
Page 43 and 44: Table 2. Ethnographic order of prod
Page 45 and 46: 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
Page 51 and 52: The common picture of Holmes is of
Page 53 and 54: “embrace of fiction” (p. 606) a
Page 55 and 56: 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: negative connotation, for it no lon
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 and 108: Signorielli, N., & Morgan, M. (1990
Page 109 and 110: Bibliography Ackroyd, P. (2001). In
Page 111: Miller, P. V. (1994). Made-to-order
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