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scholarship and a text‟s cultural value. Either way, stories of Illumination enchant to teach. However even if I am now enchanted by the scholarly and in-depth products that cultivate by educated fandom, I am no less a consumer. Consumerism seeks us regardless of what we perceive our standards to be. We remain enchanted, and therefore we remain susceptible. Academically, however, I remain focused and unbiased, in Saler‟s (2003) words “ironic” (p. 606). By engaging with Sherlock Holmes (2009) from a pure participant observation and variation of observant participant position, I was able to indulge in the enchantment of the text, while maintaining an academic distance supported by my documented substantive and analytic field notes. Abercrombie and Longhurst‟s audience continuum (1998) inspired the direction of this study, and their continuum‟s lack of intermediary cultivation encouraged further examination into the area. Similarly, Bourdieu‟s economic class system (as cited in Hills, 2002), while thorough and generalised, harboured negative implications, highlighting the problems and reality facing fandom and the difficulty in capturing the fan. Both, in balancing each other out, proved to be invaluable building blocks for this study. However, their impersonal nature towards the fan and their lack of variable degrees, hinder the academic representation of fandom. I therefore hope to have captured the intricate development of a fan, as well as their sense of enchantment. Figure 6, the consumer-to-fan cultivation continuum, and Figure 7, the consumer-to-fan cultivation model, draw heavily on Abercrombie and Longhurst‟s audience continuum (1998), representing a continuation of their theory and an evolved depiction of fan cultivation. This model proves that cultivation is measurable and that fandom is an intricate and complex part of our society. The critique produced, Sherrinford Holmes (2009), a critical account of the primary product, Sherlock Holmes (2009), is written from the perspective of an educated academic-fan. The critique exemplifies my journey and practically demonstrates the enchantment I encountered on the way. I therefore hope to have communicated the enchanted enthusiasm a consumer can come to feel for their object of consumption, and hopefully offered insight into why Sherlock Holmes will never die. “He is, in point of fact, one of the few personalities who make living still a joy, who make it possible to make a sort of game of life” (Starrett, as cited in Betzner, 2008, p. xxiii-xxiv). For like us, “Holmes yearned for enchantment” (Saler, 2003, p. 603). 92
References Abercrombie, N., & Longhurst, B. (1998). Audiences: A sociological theory of performance and imagination. London, England: SAGE publications Ltd. Alleyne-Johnson, E. (2006). Purple electric violin concerto [CD]. Danville, VA: Wingspan Records. Arad, A. (Producer), & Favreau, J. (Director). (2008). Ironman [Motion Picture]. Manhattan Beach, CA: Marvel Studios. Attenborough, R. (Producer), & Attenborough, R. (Director). (1992). Chaplin. Los Angeles, CA: Carolco Pictures. Bailey, S. (2005). Media audiences and identity: Self-construction in the fan experience. New York, NY: Palgrave Macmillan. Barnes, A. (2004). Sherlock Holmes on screen: The complete film and TV history (2nd ed.). London, United Kingdom: Reynolds & Hearn Ltd. Benedict, H. (Producer), & Neill, R. W. (Director). (1943). Sherlock Holmes and the secret weapon [Motion Picture]. In G. Markey, H. Benedict & R. W. Neill (Producers), The complete collection: Sherlock Holmes [DVD]. Los Angeles, CA: Twentieth Century Fox and Universal Pictures. Betzner, R. (2008). Introduction to the 75 th anniversary edition. In V. Starrett, The private life of Sherlock Holmes: 75 th Anniversary Edition (pp. xviii-xxxvii). Indianapolis, IN: Gasogene Books. Boden, S., & Williams, S. (2002). Consumption and emotion: The romantic ethic revisited. Sociology, 36, 493-512. doi:10.1177/0038038502036003001 Bourdieu, P. (1993a). The field of cultural production, or: The economic world reversed. In R. Johnson (Ed.), The field of cultural production: Essays on art and literature (pp. 29-73). New York, NY: Columbia University Press. 93
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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
Page 35 and 36:
Drawing from Shanahan and Morgan (1
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Model My research advocates the the
Page 39 and 40:
Creative component Critiques Regard
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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 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: Conclusion We take our communicatio
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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