Largely delineates traits that exemplify and underline the opposite of Group may not fit into a stereotypical category, as the depiction Should heighten viewers' awareness that a member of the portrayed Prestigious jobs, occupying roles as main characters. (1) In popular US television serials, counter-stereotypesĪre usually members of the middle or upper middle class and hold The featured group who has traits exemplifying the opposite of the Stereotypical view of a racial or ethnic group by presenting a member of The counter-stereotype is conceptualized as an attempt to negate a Strategy to circumvent allegations of stereotyping. The show's inclusion of Muslim counter-stereotypes denotes a In recent seasons of 24, most MuslimsĪre still delineated as stereotypical Islamic terrorists. They occupy a position opposite to the prevailing stereotype by Selected Muslim characters are labelled as counter-stereotypes, as in 24 AnĪnalysis of online readings with participating fans is carried out. Interpretive community (e.g., Jenkins 1992, 1998 Fiske 1992). Television series and films as a homogeneous and specialized This may be a fruitfulĪpproach, especially because influential scholarly works on media fanĬulture have shown a tendency to portray Western fans of popular Variations in the semiotic practices of fans. Knowledge and insight concerning potential cultural and social Online fan communities from different parts of the West may generate Selected Muslim characters from the Middle East in 24. Online fan communities, in the US and Norway, respectively, perceive The study includes a comparison of how two Similar to Islamic terrorists, but occupy an opposite position in the Television serial 24 (Fox 2001-2010) these characters have a background This is accomplished through anĮmpirical study of how fans interpret the main characters in the Movement from the periphery to the mainstream using digital media might The current article presents a critical investigation of theĬultural politics of poaching regarding online television fanĬommunities, as it seeks to address what consequences fans' Television production companies, as those who create texts to someĮxtent pay attention to fans' online readings and shape their Hand, seemingly enabled more reciprocal relationships between fans and The advent of the Internet has, on the other Host and maintain 'official' message boards for television Illustrated by the fact that Internet marketing companies now usually This emphasizes how important parts of fanĬulture now find themselves placed within the corporate walled garden, Is a primary motive for corporations to provide arenas for fans' Enlisting more viewers as dedicatedĪnd reliable consumers of a television show and its ancillary products Look for ways to profit from user-generated content from Internet The expansion of multichannel television and the advent of the DVDĪnd of network-based discussion forums have created new opportunitiesįor viewers to engage with fan practices. Have demonstrated repeatedly, are still manifested in a progressiveĮngagement with television texts in the digital era. To investigate whether fans' semiotic practices, as fan studies Repositioned from the periphery to the mainstream, it becomes relevant Textual poacher in today's television industry has been Social and cultural forces (Bury 2008a: 59). Interests, as fan practices are bound up with larger democratizing Whereby the reworking fans do is undertaken to accommodate progressive Same premise as Henry Jenkins' (1992) original notion of poaching, In the original work and reworking of others to accommodate theįan's interests (Jenkins 2007: 362). Recognize that appropriation involves the adoption of some core premises To appropriate media contents to her own ends. Key concept in the study of fan culture, fans were a marginal andĬontested segment of the audience. However, in the analogue era, when the textual poacher became a Retrieved from Īctive fans of popular media proliferate in today's wired APA style: Textual poaching, gamekeeping and the counter-stereotype: US and Norwegian online fans' perceptions of positive portrayals of Muslims in '24'.Textual poaching, gamekeeping and the counter-stereotype: US and Norwegian online fans' perceptions of positive portrayals of Muslims in '24'." Retrieved from 2014 NORDICOM, University of Gothenburg 28 Oct. MLA style: "Textual poaching, gamekeeping and the counter-stereotype: US and Norwegian online fans' perceptions of positive portrayals of Muslims in '24'." The Free Library.
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