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CHAPTER 1
Never underestimate your audience. Theyre generally sensitive,
intelligent people who respond positively to quality entertainment.
(Stargate SG-1 200, 22nd November 2006)
This dissertation investigates how fans attempt to negotiate with a particular text and how
certain texts display awareness of their audience and their fandom. The interest in fan
culture has stemmed from my engagement with cultural theorists through study of Media.
Stuart Hall (1973) in particular informs much of this study in that his theories on how
audiences view certain cultural texts through three key hypothetical readings; dominant-
hegemonic position, negotiated position and the oppositional code. These three readings
are the means by which the audience relate to a text and are especially pertinent in a study
which demonstrates how the audience and specifically the fandom chose to receive the
text in question.
Hall has also added to the debate on what is meant by quality within the communication
framework. Hall and Whanell (1964) argue that The struggle for what is good andworthwhile and what is shoddy and debased is not a struggle against the modern forms of
communication but a conflict within these media. (1964: 15). It is apparent from the
previous statement that the debate on what constitutes good and worthwhile subject
matter has changed from judging the entirety of forms of communication to attempting
to judge within these parameters. Bignell and Lacey echo this particular sentiment in
their exploration of just what is meant by quality and how it is not a matter of
contested definition as an academic term but also relates problematically to the notion of
good television (2005:11).
In Kincaids view, watching television and, in particular, television drama, is such an
involving exercise both mentally and emotionally it is easy to see how viewers can
become caught up in that world. It is also possible for viewers to start to identify with a
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certain character to such a degree that they see themselves as similar to the character,
perceives that others think they are like that character, wants to be like the character, and
cares about what happens to the character. (2002: 138).
Alasuutari discusses the shift in the theory of audience reception studies from Stuart
Halls (1974) theory of Encoding/decoding to the more modern Constructionist
viewpoint where programmes have the audience built-in or, as Alasuutari refers to it,
programmes-with-an-audience (Alasuutari, 1999:7). In many ways the
constructionist viewpoint is more relevant now as more viewers have access to a
computer and the internet than seven years ago. Viewers are able to express their opinion
wholesale and seek out like-minded individuals in both blogs and websites to create
Fandoms and in a way they are constructing their own enjoyment.
Science Fiction as a genre and especially drama series Science Fiction
can and does have a different impact and interpretation for those both
viewing and critiquing. The long running Star Trekfranchise, in its five
carnations (Star Trek, The Next Generation, Deep Space Nine, Voyager
and Enterprise) has inspired many varied cultural readings. Geraghty
informs that the series used the science fiction setting to commenton American social problems of the sixties such as racism, sexual
inequality, and American imperialist foreign policy. Geraghty then
goes on to argue that once the fans realized that these were his
intentions the series was perceived differently and academic interest
steadily followed. (Geraghty 2003: 443). This is a very good
example of one fandom propelling discussion on a sociological level
and in an academic manner.
There is a lot more literature on both the Star Trekseries and indeed its
audience than there is on the much more recent Stargate SG-1 owing
to the longevity of the franchise ofStar Trek. However, Stargate SG-1
is a series that takes an incredibly postmodern stance towards the
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stories and the audience through its extensive use of pop culture
references and extreme self-awareness as well a good few references
to issues mentioned within the Fandom in general. In this respect I
believe it to be a useful text as it is one that attempts to connect to
both the audience at large whilst also singling out the Fandom.
CHAPTER 2
There is a growing body of academic work on the subject of Media
Studies that can be traced at least as far back as Hall and Whannell
(1964) in their book The Popular Arts. They argue that Media should
not be counted off-hand to be less than culturally good and
worthwhile but they go on to insist that the conflict lies within
these media as to what was academically valuable and what was
shoddy and debased (Hall and Whannel, 1964: 15).
Stuart Hall (1973) in particular informs much of this study in that his theories on how
audiences view certain cultural texts through three key hypothetical readings. The first
reading being the dominant-hegemonic position. This occurs whenthe viewer takes
the connoted meaning from, say, a television newscast or current affairs program full and
straight, and decodes the message in terms of the reference code in which it has been
encoded, we might say that the viewer is operating inside the dominant code. The
second reading is the negotiated position. Hall has stated that decoding within the
negotiated version contains a mixture of adaptive and oppositional elements: it
acknowledges the legitimacy of the hegemonic definitions to make the grand
significations (abstract), while, at a more restricted, situational (situated) level, it makes
its own ground rules - it operates with exceptions to the rule. The third and possibly
most important reading for this research project is the oppositional code. This is when a
viewer detotalizes the message in the preferred code in order to retotalize the message
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within some alternative framework of reference.
Nick Lacey (1998) is one inheritor of Halls work on media analysis and
impresses upon the reader just how much we are touched by the
media in everyday life. In the bookImage and Representation: Key Concepts in
Media Studies, Lacey lays out the conventions used by media professionals to
influence us every day of our lives. Lacey continues Hall and Whannels assertion
that Media studies is important although he does so from the point of view that we are
constantly surrounded by examples of media text, more so than Hall and Whannel while
writing in the 1960s. Lacey goes on to argue that in media texts the images are
created in order to communicate a message (1998:5). It is the task of the media
student to not only decode this message but to discover the methods by which it was
encoded.
Another successor of Halls is Jonathan Bignell and in his bookMedia Semiotics (2002)
he lays down a solid framework for interpreting the signs we are subject to every day, just
as Lacey has arguedbecause society is so pervaded by media messages, semiotics can
contribute to far more than our understanding of the media in the narrow sense
(2002:1). In Media Semiotics, Bignell discusses the signs encoded into texts frommagazine advertisements, television fiction and cinema.
The interest of this research, however, is in television, namely television drama, a genre
which is, according to Paterson at the heart of every broadcasting schedule.
(1998:57). In this piece of work, Paterson charts the changes faced by television drama
and how formats have changed due to international competition, changing technology as
well as regulatory shifts. Paterson also explains the forms, genres and purposes of drama
as well as the more political and social dimension it has taken in the past. An example of
this is Alan Bleasdales Boys from The Blackstuff, maintaining a political eye on the
culture and politics of the nation through the 1970s (Paterson 1998: 59).
I would like to revisit a point made earlier by Hall and Whannel, that the quality of
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media texts is not up for debate but that the battle rages within the environment. This
point is especially relevant in Hammond and Mazdons (2005) bookThe Contemporary
Television Series.
Moreover, it is striking that so many of these quality series/serials
emanate from the United States. Critics have also tended to condemn
much American Television, claiming it lacks the quality and integrity of
British production.
(2005:4)
Hammond and Mazdon suggest in this book, that American television has not, until
recently been condemned by critics for its lack of quality and quite wrongly as it has
produced numerous critically acclaimed series including Six Feet Under, The Sopranos
and the fast talking West Wing. This book does more than defend American television; it
provides critique on these series as well as explaining the structure and history behind the
format.
In terms of the audience, a very useful book is Brooker and Jermyns (2003) The
Audience Studies Readerin order to get to grips with the key theories and methods used
in investigating such an area that is, of course, the aim of this research paper. Brooker
and Jermyn identify World War I as the point where audience studies was first utilised.
This is due to the fact that its .significance lies in the fact that it was from this
historical moment onwards that propaganda arguably emerged as a primary and
indispensable weapon in any war effort. Although an effective feature of warfare at
that time, it also brought with it the enduring notion of the public as a vulnerable and
persuadable lot at risk from propaganda. (2003: 5)
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CHAPTER 3
The method used by this research study to investigate Fandom is an amalgamation of
Discourse and Textual Analysis.
Russell (1999) sees discourse as sets of statements or multilayered texts. These sets
of statements in effect construct the object of which they are speaking, in the process of
their being spoken about (1999: 94). Discourse Analysis is used here because this study
is analysing the discourse present within the fandom. Fairclough (1992) states that this
discourse need not be based solely upon language and therefore linguistic texts but
also applies to other symbolic forms such as visual images, and texts which are
combinations of words and images (1992: 4). This is especially important as this
fandom creates a discourse through words, images and even video.
Barker and Galasinski (2001) give a much more detailed interpretation of how discourse
analysis may be applied to look at both the language itself and the meanings behind it.
According to Barker and Galasinski, discourse analysis means that the investigation
of language is required to go beyond the boundaries of the syntactic or semantic for of
utterance. It is not enough to simply look at the surface level of the discourse used, in
order to properly conduct a discourse analysis one must be aware of the lexico-
grammatical within the utterance as well as the utterances functions within its context
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(2001: 63)
The aim of the textual analysis was toexamine where in the text there are examples of
Fandom awareness. Textual research itself falls under the banner of the term qualitative
research methods, a term which carries within its own discourse:
Qualitative researchers still largely feel themselves to be second class
citizens whose work typically evokes suspicion where the gold standard is
quantitative research.
(Silverman, 2000:3)
Despite the above statement by Silverman, there are those who believe that qualitative
methods are required under certain circumstances. Lotz (2000) has stated
understandings gained from qualitative reception studies do offer more information about
the process of engaging media (Lotz 2000: 112). I do agree with Lotz on this
principle which is why I have chosen a qualitative stance for this research project as
opposed to investigating a quantitative analysis of viewer ratings which would tell me
how many people watched the show but it would not tell me how the audience engaged
with the text.
Starkey (2004) has made similar comment on the nature of different types of media
research and how they warrant either a qualitative or quantitative approach.
Cultural consumption is problematic from a number of different perspectives,
but certain responses from producers, regulators and commentators depend on
the measurement of consumption according to quantitative and qualitative
parameters. The reliability of the data can vary widely, not least because in
certain areas consumption is invisible to those who would measure it, and so
they must make estimates based on assumptions about methodology and
sampling techniques.
(Starkey, 2004: 3)
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This research requires a qualitative textual analysis in order to investigate the strength of
the audience and especially the fans. In this research paper, textual analysis will be used
on both the series as text as well as the fandom as text.
However, a textual analysis that takes place without examining the
institutional, cultural and economic conditions in which texts are
produced and understood is necessarily limited.
(Lewis & Jhally, 1998: 111)
A major part of examining the audiences reaction towards the series lies in looking at the
reception of the series by the audience and as Lull (1995: 112) states one of the key
theoretical developments in cultural studies research in recent years has been to show
how audience members create their own meanings from media content to control certain
aspects of their experiences with the media.
Henry Jenkins (1992) in his book Textual Poachers: Television Fan & Participatory
Culturepresents the most convincing argument as Fandom as an ethnographic group, a
social group struggling to define its own culture and to construct its own
community. At the same time Jenkins (1992: 3) does admit that what he offers is a
necessarily partial account of that sub-cultural community(page 3). It is of interest
that this book was written in 1992 and there were not as many homes across the world
with internet access which in turn, limits the scope Jenkins study has in relation to how
the Fandom as a community has grown since then. That said, his work has laid the
groundwork for studies such as this research project and how heavily the dawn of the
internet has influenced this once isolated section of the viewing audience.
Lull (1995) informs the bedrock of why an investigation into the audience and
specifically fandom is becoming a growing trend in cultural studies. The fandom of my
chosen text adds their own interpretation of canon through online message boards, fan
creation and websites like any other. Jones (2004: 163) has even gone as far as to state
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that it has become something of an orthodoxy for scholars to elevate television fans to
the status of modern-day Robin Hoods, folk heroes busily snatching back our popular
cultural texts from the greedy global conglomerates who claim to own them.
There are several ways in which a Fan can engage with the text of their choice. In terms
of a televisual text simply watching the series discussing it with friends could constitute
engagement. Another method would be to read the various professional fanzines such as
SFX,Dreamwatch, Shivers or the more specific series based fanzines. Possibly the most
popular mode of Fandom engagement is using the internet to seek out new territory in
which to engage with like-minded individuals and indulge in activities as mundane as
posting on a message board to the more involved fan-fiction or fan-video creations.
Many television series these days encourage engagement with the internet to simply view
the program. Apples ITunes offers downloads of certain television programs for a pay-
per-view experience or even a Season Pass, this includes both Stargate SG-1 and Stargate
Atlantis (ITunes Store). The downloaded episodes can then be watched on the computer
or downloaded to a portable video device, most often an Ipod. The British Dr Who
releases Tardisodes, mini-episode that can be found on the official BBC website and
downloaded onto a portable device or watched on the computer (BBC Press Office).
Most every television programme being broadcast has its own official website from the
creative company and from the channel on which it is being broadcast and that is not
counting the various fan-sites which spring up.
The internet is arguably the easiest and most dynamic method by which fans can share
their opinions with others with similar tastes without being judged by others for
immersing themselves in what is still regarded as insignificant or trivial subjects. As
Stargate SG-1 series writer Joseph Mallozzi states, there is something strangely
comforting and delusively empowering about chiming in with an anonymous mob
(Mallozzi, 2007). It is for this reason I have chosen to focus my study of fandom on how
it occupies the online domain, by whom and what conventions and forms it adopts and
how these online communities can appear to influence what is created by the writers and
producers of the series.
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is one step farther than simply using the characters in the fiction, it is using the series as
nothing more than rushes to be cut and edited to create a video and message of the fans
own choosing, a definite step towards the Robin Hood allusion. Then the website
Youtube solved the problem of what to do with the video when it was done, especially if
the creator hadnt access to an online domain.
As fans create their own meaning from the text, there is definitely potential for gentle
satire and an opportunity to subvert the text. Two websites which support this view are
Leah Rosenthals Startoons and NiallasBreadbox Editions. Leahs Startoons are cartoon
strip parodies of Stargate SG-1 characters, directors and even writers. There are also
cross-over strips between Stargate SG-1 and other television series. Niallas Breadbox
Editions are mock episode transcripts of Stargate SG-1 which contain the opinions of
fans, production crew from writers to craft services. In each Episode there are
hypothetical debates between the audience, the fans and the (mostly) writers about what
is happening in the episode. The episode chosen for the discussion is Citizen Joe as it is
an episode which displays fan opinion on many issues and is therefore valuable in
investigating how fans view their opinion being used in such a manner.
Textual Analysis is used on three episodes of the text itself;
Wormhole X-treme
Citizen Joe
200
Wormhole X-treme was written as a celebratory 100 th episode for the series and as such it
included behind-the-camera personnel making both cameo and, in the case of series
director Peter DeLuise, a leading guest part. The basic story was a sequel toPoint of No
Return (season 4) and was concerned with the character Martin Lloyd. Marty, had written
a television series pilot, Wormhole X-treme based on his knowledge of the top secret
Stargate program, and it was taken up by a network. The four characters of Wormhole
strongly resemble the four characters of SG-1 which gives the episode a strong
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opportunity for some gentle satire towards the series itself, the actors, the characters and
even Audience opinion.
Citizen Joe is basically an entire episode about a fan and how that fan views the series,
its characters and its creative decisions. This is made possible through the science-fiction
explanation that the character of Jack ONeill activated a piece of alien communication
technology by picking it up and the guest character of Joe (played by Dan Castellaneta,
the voice behind Homer Simpson) found a similar device at a garage sale. Both
characters experienced flashes of each others lives over the eight years spanned by the
series which meant Joe was able to see the exploits of the characters in a way that viewers
of the series would view them also. The writers were therefore able to include issues
being discussed within the fandom and put these them into the mouths of Joe and those
around him.
This episode was intended as a celebration of Stargate SG-1s 200th episode and sees the
return of the Martin Lloyd character from Wormhole X-treme. The series has been
cancelled after only three episodes being aired but DVD sales encouraged the network to
make a television movie to wrap up the story. Martin contacts Stargate Command and has
SG-1 give their thoughts and opinions on his script. Although not as oriented in fan
opinion as Citizen Joe, 200 still manages to include comments plucked straight from the
opinions of the online fandom and give them to SG-1 to criticise the script already written
by Martin Lloyd.
Stargate SG-1 has been running consecutively from 1997 until its cancellation in August
2006, ending its 214 episode run with the ironically titled Unending. There are many
episodes that contain popular culture references and others that refer to the series history
or mythology. There are also character and story arcs for long-term viewers, or the
fandom, to follow. In terms of episodes that have resulted in eruptions of fan reaction
there is Meridian and Heroes Part 2 where both featured the deaths of two major
characters. Although these episodes do mark both audience awareness within the series
and have caused notable reaction within the fandom, the chosen three episode have
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discussion and reference to the larger arcs together with more concentrated examples of
fandom awareness.
CHAPTER 4
This section looks in greater detail at the websites previously mentioned for examples of
fans deciphering, or reading, meaning from the text itself. In this Chapter are the more
general informational and discussion websites Gateworld and Solutions. The websites
which offer, in Halls (1973) opinion, a more negotiated and often oppositional reading
of the text are Ancients Gate and Sam/Jack Horsewomen which feature works of Fan-
Fiction and Fan-Video. The websites Startoons and Breadbox Editions hold up the
perceived dominant reading of the text beside their negotiated and oppositional
readings to humorous effect.
GATEWORLD
Fan and web-hobbyist Darren Sumner created Gateworld because he viewed the show as
so entertaining, so well written and produced, with such an attention to its own
previous continuity [it] needs a Web site that maps all of those points of continuity and
character development. GateWorld was born. (Gateworld, 2007, Site History)
Although not an official site, Gateworld comes as close to any online Stargate SG-1
community to being sanctioned by the series owing to their ability to boast cast and crew
interviews from both Stargate SG-1 and Stargate Atlantis. The site even hosted an online
blog from series writer Joseph Mallozzi. It is a fan run site which has grown from its
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inception in October 1999 under the then name ofStarguide. The main focus of the site
is to offer fans of the series information such as episode guides, articles and reviews and
even an encyclopedia of the Stargate universe, the Omnipedia (Gateworld, 2007,
Omnipedia).
The site has acclaim beyond that of the fandom itself and has been mentioned in
magazine publications, includingEntertainment Weekly who claims that Gateworldis
to Stargate followers what the ancient circular rings are to the premise of the show: a
portal," the article reads, recounting the origins of the site and calling GateWorld "the
most respected Stargate gathering spot on the Web." (Sumner, 2006, Entertainment
Weekly Features Gateworld).
One of the most significant developments regarding how viewers and
fans consume film and other offerings such as the cult television program
The X-Files is Online Interaction and Message Boards.
(Dodds, 2006: 120-121)
There is also the opportunity for fans to communicate with one another and share
thoughts and opinions through Gateworlds Forum (Gateworld, 2007, Gateworld Forum).
The topics discussed include fan reviews and opinions of aired episodes, characters and
character pairings as well as spoilers for upcoming episodes and discussion on interviews
with key cast and crew members.
STARGATE SG-1 SOLUTIONS
The fan website Stargate SG-1 Solutions prides itself on being an independent site: a
Stargate site by fans, for fans. From its inception as the original SDJ - the 'Save Daniel
Jackson' campaign site - Solutions has been about empowering fans, giving them voices
online. (Solutions, 2007, Many Voices).
Like Gateworld, Solutions is not an official website for the series and it contains much of
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the same content as Gateworld, interviews with cast and crew, episode reviews and
instead of the Onmipedia of Gateworld, Solutions has utilized the Wikipedia engine to
create a working list of trivia contained within the Stargate universe called Stargate Wiki
(Solutions, 2007, Stargate Wiki).
Quite surprisingly, series writer Joseph Mallozzi (2003) provides the website with a
production diary over six chapters which details the creation process from the pitch to the
completion of the episode. It is, Mallozzi claims our starting off point to the
wonderful world of television production: the writing teamas I deliver you a blow by
blow breakdown of the production process, from concept to finished episode."
(Mallozzi, 2003, Joseph Mallozzis Production Diary). It is a unique feature of this
particular fandom just how involved personnel such as Mallozzi are within the fandom
itself. Each chapter of the production diary details a different aspect of production and he
charts the successes and failures he and other writers have faced during one of these
stages. The information gives fans unique insight into the making of the series but it also
gives would-be writers some helpful advice and an idea of what the job is really like.
You must have the best job in the world, my sister-in-law once
marvelled. You just sit around all day making stuff up. Yes,
Im sure this is how some envision the writing process: the writer,
furiously tapping away at his or her laptop, turning the ideas on
and off like tap water. But the reality is scriptwriting can be a
long and arduous process replete with delays, disappointments,
and dispiriting setbacks.
(Mallozzi, 2003).
Stargate SG-1 Solutions also has its own Message board, the Stargate SG-1 Solutions
Forum (Solutions, 2007, Stargate SG-1 Solutions Forum).
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FAN CREATIONS
FAN FICTION, FAN VIDEO AND FAN-ART
Fan-Fiction
Fan-Fiction is an activity undertaken by fans of any particular text to use the characters
and setting of that text to create their own stories. In terms of Fan Fiction or its more
common term, Fanfic relating to a television series, the fiction is most often a fix-it-
fic or a missing scene fic. These types of fiction generally involve the writer adding a
scene they believe should have been in the episode for either continuity, character or
character pairing purposes. It could also be used to prevent the death of a favoured
character in fanon where it did actually occur in the series canon.
The Fanfic Symposium website contains mainly articles, not of Fan Fiction or Fan-fic
but on the subject itself from an objective point of view. Each article is an essay on the
nature of Fan-fic, how it began, its development and why it is such a popular activity
amongst fans. It is, as claimed by Kaddorienne a way those of us common folk who
dont have the luck to get into the very small field of professional screenwriting or
successful novel-publishing can tell stories of our own. (Kaddoriene, 2006, The Fanfic
Symposium).
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Fan Video
Fan-Videos are small films, a more popular term being Music Videos, where a fan has
taken clips from any series and used a video editing software to splice the footage
together with music.
As with any community, the creators of Fan-Video have their own conventions, politics,
rules and etiquette to acknowledge. The most common misstep in this community is
using footage from one Fan-Video to create another one without properly crediting the
source. The Anti-Clip Theft Union is one such website which denounces such activity and
are tired of seeing beautifully edited music videos dissected and having their clips
used for other videos with out the original vidders permission. It is, however,
understood by this website and the community in general that vidders do not own the
clips in their videos, nor should they claim to (Beth, 2006, The Anti-Clip Theft Union).
This is of course simply fan politics as, essentially, it is plagiarism of a source which has
already breached intellectual property through the use of both the clips and the music
incorporated.
Stargate SG-1 is no exception when it comes to the volume of fanfic and fanvid there is
available which makes an analysis on every piece virtually impossible. However, it is
easy to seek out factions within the fandom who share common views. The two groups
focused on in this section are the writers and video creators who work with the Jack and
Daniel dynamic at the website Ancients Gate and fans of the Jack and Sam pairing who
reside at The Sam and Jack Horsewomen website.
Ancients Gate
This website is dedicated to the collection of Fan-Fiction, Fan-Video and Fan-Art which
celebrates the relationship between the characters of Jack ONeill and Daniel Jackson.
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Although there are some groups, including this one, who read the relationship between
the characters as more involved, there is a canonical friendship between both men.
O'NEILL: And obviously the whole friendship thing, the foundation, it's
all solid.
DANIEL: Obviously
(Stargate SG-1 Shades of Grey, 27th March 2002)
Ancients Gate specialises in works that continue the canon of the characters friendship
and also in works which pair the characters romantically. In fan-fiction terms, to pair two
characters of the opposite sex romantically in a piece of fan-fiction, fan-video or fan-art
the characters are being shipped, a fan term derived from the world relationship. To pair
two characters of the same sex romantically in a creative piece it is termed as slash. The
term slash originates from the forward slash keyboard character used to connect the
characters involved, in this case, Jack/Daniel. The etymology of such a term is believed
to originate from the earlier Star Trek fandom where writers would write Kirk/Spock
pieces. (Kustritz, 2003: 371).
Sam and Jack Horsewomen
The Sam and Jack Horsewomen website is comprised of Fan-Fiction, Fan-Video and Fan-
Art relating to the relationship between Jack ONeill and Samantha Carter in the series.
It is similar toAncients Gate in that it is dedicated to a specific character pairing, in this
case, Jack and Sam. However, unlike the Jack/Daniel pairing, the Jack and Sam ship is
canonical through reference in the series, the first example being of the episode Divide
and Conquer.
O'NEILL: I didn't leavebecause I'd have rather died myselfthan
lose Carter.
ANISE: Why?
O'NEILL: Because I care about her. A lot more than I'm supposed to.
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(Stargate SG-1 Divide and Conquer, 23rd July 2001)
It is not simply the character pairing that connects this group but the belief that the
Powers That Be have planned and created their show, their characters and
characterizations for a reason, and should be allowed, without threats or insults from the
fandom, to carry out that vision (Mission Statement, 2000, Sam and Jack Horsewomen).
In light of the above statement, it can be argued that this website is making a conscious
decision to follow Halls (1973) dominant reading theory.
Fig 1. Fig 2.
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Fig 3. Fig 4.
FAN SATIRE
In the Stargate SG-1 fandom the two main sources of fan satire is Leah Rosenthals
Startoons and NiallasBreadbox Editions.
LEAHS STARTOONS
Leahs Startoons are individual cartoons of the Stargate SG-1 characters in comical
situations and often interacting with characters of other series. In Fig 1 Leah is
referencing the extensive use ofSimpsons quotes on Stargate SG-1 while acknowledging
Patty and Selmas affection in The Simpsons for the television series MacGyver, a series
which starred Stargate SG-1 lead Richard Dean Anderson.
The nods to popular culture aside, Leah also produces work that pokes gentle fun at the
choices made by the creators of the series over the years. The fact that fans are aware of
these choices as errors demonstrates yet another example of Halls (1973) theories on
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readings. Fig 2 is in response to the overt feminizing of the Samantha Carter character
and is seen in the cartoon as Sams wild hair and severely accentuated chest. In the
cartoon, Daniel shields Tealc eyes lest they both turn back into wallpaper. The
back referred to in the cartoon is the change made to the character of Sam at the
beginning of season 4, a change which resulted the characters of Tealc and Daniel
featuring less in the series and being, therefore, wallpapered. It was also a move which
subsequently caused Michael Shanks to retire as Daniel Jackson at the end of season five
when his character was being heavily under-utilized due to the more military and
government based stories being brought in.
Fig 3 and Fig 4 are actually created in response to a comment made by series writer
Joseph Mallozzi. The elf characters featured in the cartoons are executive producer
Robert Cooper and writer Joseph Mallozzi, both of whom guided the beginning of season
nine and the introduction of the Mitchell character. InFig3 they are seen baking a magic
scone and inFig 4 they are met by Daniel and Mitchell where Daniel must interpret their
Elfin language to inform Mitchell that the elves dont make toys [but] they write
scripts. The idea for drawing them both as script elves came from Mallozzis online
blog where he states that, there is one board whose fans have been consistently
negative about the show over the years who have found much to enjoy in season 9, which
is nice. However, there were, in his opinion, certain fans who chose the sour grapes
route by dismissing the popularity of season 9 on their own forum by chalking it up to
"mystery writers" who are undoubtedly responsible [and other] crackpot conspiracy
theories involving script elves. (Mallozzi, 2005, Joseph Mallozzis Blog). This is fairly
interesting as it demonstrates there were fans who, in Halls (1973) opinion changed their
reading from oppositional to accepting the dominant reading, that is, accepting
Mitchell as the new leader of SG-1 in Jacks place.
NIALLAS BREADBOX EDITIONS
The Breadbox Editions are a wonderful collection of parodies of the
Season 7 and 8 episodes of Stargate SG-1. They include audience
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participation in the style of Mystery Science Theater 30001. They were
written by Nialla , who posted them originally to the AlphaGate fan
fiction list. Solutions is proud to reprint them with Nialla's permission.
(Stargate SG-1 Breadbox Editions, 2005, Stargate SG-1 Solutions)
TheBreadbox Editions are basically episode transcripts with a running commentary from
fans of certain tastes. Some of these factions have already been mentioned, fans of ship,
slash and Noromo, a term derived from the X-Files fandom meaning no romance
between the characters. As an exercise it should be useful to look at a specific episode
parody, Citizen Joe, an episode which actually attempts to see the series from a fans
perspective and one which will be examined in greater depth later. As can be seen, the
transcripts include audience and writer participation in discussion and, as will be seen
later, what Nialla is expressing in each part is common complaints or opinions within the
fandom and often centered around certain groups.
CHARLENE: Don't get me wrong, it was exciting. Its just that
personally, I like stories that are more about inter-personal relations,
and a little less to do with things blowing up.
AUDIENCE: It's *shit* blowing up, not things. Geeze, get the details
right. And "Serpent's Grasp" was brimming with interpersonal angst!
Shit didn't start blowing up in bulk for years after that!
WRITERS: An episode with a big boom had interpersonal angst?
AUDIENCE: Watch it and see!
(Citizen Joe, 2005, Stargate SG-1 Breadbox Editions)
In an episode that seeks to point out the writers awareness of the common discussions
present in the online fandom it seems to have been an effective exercise as Nialla has her
audience acknowledge and admit to those feelings and misgivings by backing up the
character of Charlene when she bemoans the lack of Team interaction from the series.
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CHARLENE: Well, for one, it seems to me like the team interaction isn't
what it used to be in the beginning.
TEAM FANS: We like you, Charlene. A lot.
(Citizen Joe, 2005, Stargate SG-1 Breadbox Editions)
The next portion of the transcript is basically echoing the sentiment of the fans at
Daniels return, an issue that was met with approval by many fans and disapproval by
others who had become attached to the character of Jonas Quinn in his short-term
replacement of Daniel Jackson.
JOE: Doctor Jackson, can I just say, thank goodness you're back. Not
that Jonas was a bad guy, but after all you've been through together,
you belong here with SG-1.
DANIEL FANS: Can we get a Hell Yeah?!
JONAS FAN IN THE BACK: Uh, no?
REST OF AUDIENCE: HELL, YEAH!
(Citizen Joe, 2005, Stargate SG-1 Breadbox Editions)
Again, it was the writers who initially picked up the feelings of the audience to have Joe
say that, although they were rather dismissive of the Jonas fans. If we examine this
example of fandom discourse, we can detect shades of Hall (1973) in that both a
dominant reading from the fans of Daniel Jackson and an oppositional reading from
the fans of Jonas can be clearly seen. As far as a discourse analysis is concerned, Nialla
presumes that the reader knows just what is meant by Daniel Fans and Jonas Fans.
This knowledge would only be available to a regular viewer of the series and perhaps
only a member of the online fandom could fully appreciate what is being inferred.
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THE TEXT NEGOTIATES WITH THE FANDOM
WORMHOLE X-TREME
There are three chief incidents within this episode where the writers have picked up on
specific fan comments, complaints and nitpicks and incorporated them into the episode.
The first issue is the Out of Phase question posted by the character Yolanda Reece, the
Wormhole X-treme counterpart of SG-1s Samantha Carter.
Yolanda Reese: Uh, I'm having trouble with scene 27. It says I'm out of
phase, so I can pass my hand through solid matter, or walk through
walls.
Director: Yeah, yeah, cos you're out of phase.
Martin Lloyd: Um, exactly.
Yolanda Reese: So, how come I don't fall through the floor?
Martin Lloyd: We'll have to get back to you on that.
(Stargate SG-1 Wormhole X-treme, 10th October 2001)
This part was based on the discussion generated from the effects in the season three
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episode The Crystal Skullin which it is the character of Daniel who is left out of phase.
In the first instance, the review of the episode on Gateworldcited this as interesting in the
analysis section of the review:
It is interesting to watch the ways in which he can and cannot interact with
the normal universe: he could walk through people and through walls (he
walked through the doors inside the hospital), but did not fall downward
through the floor. Presumably, too, he was still breathing oxygen.
(Gateworld, 2000, Crystal Skull Review)
Gateworld is one of the first and still most active Stargate fansites on the internet and
boasts several interviews and connection with the Stargate crew and actors from the series
also. This is simply one example of the issue being identified by the fans and many
clamored to offer scientific and rational explanation for this inconsistency.
Another issue mentioned within the episode which gives reference to an article of fandom
is that of the overuse of the reaction shot. In this episode it is an executive from the
network rewriting the script to save on the budget, instead of showing the spaceship the
scene calls for he instead suggests they have the character show their amazement:
We're gonna see it in their reactions. It's like `Oh my God, look at that ship.
It's indescribable'.
(Stargate SG-1 Wormhole X-treme, 10th October 2001)
As Stargate fan and television writer, a blogger named Maggie has stated that her work in
television writing has made her aware of the reaction shot thing they do on Stargate
SG-1, though to be fair they don't really do it so much anymore. But there are a couple
seasons there where any time something Portentous occurs, we are treated to reaction
shots of each of the main characters in turn: one, two, three, four, all looking serious and
worried and such. Once I noticed it, it made me giggle furiously every time it happened
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again. (Maggie, 2007, Bootstrap Productions).
Despite this opinion, it has been claimed by series writers and directors Martin Wood and
Peter DeLuise in an interview by Carole Gordon of fansite Our Stargate that the reason
for the reaction shots is because you can blow up hundreds of spaceships in fiery
balls, but unless you cut to the reaction shot of the face of somebody who actually gives a
damn, the audience won't either."(Gordon, 2004, Major Wood and Airman DeLuise).
The third most important issue of contention within this series is the fact that the majority
of cultures the team visits on other planets actually speak English.
MARTIN:Okay, scene 23 takes place on another planet. You thinkaliens eat apples?
PROPS GUY:Why not? They speak English.(Stargate SG-1 Wormhole X-treme, 10th October 2001)
Other series manage to combat this issue in different ways. Star Trek personnel all
travelled with universal translators while in the series Farscape communication was
possible through the injection of translator microbes which translated all but proper
names and colloquialism native to the speaker. In Stargate it is claimed that the Gods
worshipped by our ancestors were actually aliens who brought their language with them.
This is the reason that the character of Dr Daniel Jackson, an expert in anthropology and
linguistics was initially required but the need for his translation expertise gradually waned
over the course of the series. There are some cultures and beings which definitely do not
speak English but in those episodes the focus is most often based on the communication
problem and solving that.
CITIZEN JOE
The first instance where an issue in the fandom is discussed in the episode is when Joe
takes to telling his wife Charlene, his son Andy and friends about the stories he is,
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unbeknownst to him at that time, receiving from Jack ONeill via the alien
communication device.
JOE: What didn't you like about it?
CHARLENE: Don't get me wrong -- it was exciting. It's just that
personally I like stories that are more about inter-personal relations,
and a little less to do with things blowing up.
(Stargate SG-1 Citizen Joe, 18th January 2005)
To many fans, Stargate SG-1 was a series founded on the characters first with the science-
fiction aspect coming second. A simple search through the forums at Gateworldand Our
Stargate will indicate the opinion shared by the character of Charlene. The Gateworld
review of the Stargate SG-1 episodeAvataralso reflects this sentiment.
The changes Stargate has gone through since it began are many,
but I'm not prepared for the show to have changed so far that I have
to watch a whole episode about shooting, killing, and blowing stuff
up.
(Gateworld, 2004,Avatar Review)
Another related complaint from both the fans and Charlene after a while of hearing the
stories is that the team is not what is used to be.
JOE: Well, what do you think the problem is? Tell me. Maybe I can
fix it.
CHARLENE: Well, for one, it seems to me like the team interaction
isn't what it used to be in the beginning.
(Stargate SG-1 Citizen Joe, 18th January 2005)
Again this is a complaint so common to this particular fandom that the argument almost
had to be addressed in Citizen Joe and even more strongly expressed on the Save Daniel
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Jackson Campaign website.
when ratings began to plummet after the airing of 'A Hundred
Days' and the much loathed Laira, the launch of the Sam/Jack ship,
the showcasing of one team member, separation of the teama crop
of new writers came in without understanding the core dynamic of
the show and the team, and the result is this.
(Alison, 2001, That Was Then, This is Now)
The perceived separation of the Team in favour of a more demographic pleasing pairing
of the leading male character of Jack and his subordinate Samantha Sam Carter is an
issue that to this day continues to foster negative relations between certain factions of the
fandom, specifically between those for who Stargate SG-1 was a buddy series with Jack
and Daniel as the leads being supported by Sam and the alien Tealc and other fans who
have supported a Jack/Sam pairing from the beginning and are pleased it was made canon
in the season four episodeDivide and Conquer.
A third representation of fandom present within the episode is the issue of Daniels return.
This paper will look more closely at his departure and the campaign instigated by it in
greater detail later in the paper but for now the focus is on the fan reaction to Daniels
return as exemplified by Joe in meeting Daniel for the first time.
JOE: Doctor Jackson, can I just say, thank goodness you're back.
(He shakes his hand.) Not that Jonas was a bad guy, but after all
you've been through together, you belong here with SG-1.
(Stargate SG-1 Citizen Joe, 18th January 2005)
As has already been stated, Joe is the voice of the Fandom in this episode and forms his
own opinions as fans do theirs. The character Joe refers to as Jonas (Corin Nemec) was
brought in to replace Daniels role of interpreter throughout Season Six. Jonas returned
to his home planet in the season seven episodeHomecoming.
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200
The first example of this is when the character Lt. Col. Cameron Mitchell suggests a
zombie storyline with him alone fending them off.
DANIEL: (to Mitchell) Just out of curiosity, what was the rest of the
team doing while your character was fighting the zombies?
(Stargate SG-1 200, 22nd November 2006)
This comment is in reference to how Mitchell was written in in the latter part of season
nine. There is also the matter of his replacement of Jack O Neill which is also quoted
within the episode.
MARTIN: Our lead backed out. I mean, how am I supposed to tell the
story without my lead character?
MITCHELL: Easy. You just bring in a character to replace him.
(Stargate SG-1 200, 22nd November 2006)
The replacement was obviously not taken well by all factions of the fandom, however, the
character did manage to prove himself to certain fans, specifically fan critic Alison (2006)
at Stargate Solutions.
Cameron is a replacement. Everyone but Jack and Daniel started out
that way. His addition to Stargate SG-1 has helped accomplish
something I havent felt or truly seen since Season Three.
(Alison, 2006,New Guy! Cameron Mitchell)
It was the characters ability to successfully integrate into the series that caused the
disappointment at the change which occurred in the latter half of season nine and
provoked certain fans into renaming the character as Cambo, a play on the popular
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culture icon Rambo.
An issue that had less to do with the creative decisions of the series was that of how some
episodes were spoiled by the way the commercials for the episode were broadcast on the
Sci-Fi Channel. The issue was raised in 200 through the special guest appearance of
Richard Dean Anderson, reprising his role as Jack ONeill.
VALA: Wow, I don't think anyone will see that coming.
DANIEL: No, but there'll be spoilers.
CARTER: Are you kidding? It'll be in the commercial.
(Stargate SG-1 200, 22nd November 2006)
The above comments by the three characters are in response to complaints made by fans
that the episode promos shown during the advertisements breaks spoil major revelations
from the episode, mostly the ending.
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Fig 5.
Fig 6.
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Fig 7. Fig 8.
200 Farscape
The episode was an amalgamation of different forms of storytelling which included the
use of puppets as shown in Fig 5, a possible reference to science fiction series
Thunderbirds and perhaps even the more recent puppet comedy phenomena, Team
America. Fig6 is an example where the episode parodied other institutions of television
science-fiction, such as Star Trek
However, the most effective parody is that ofFarscape in Fig 7, the series which was
cancelled by The Sci-Fi channel after four seasons and was replaced by Stargate SG-1
after the series switched to The Sci-Fi Channel for its sixth season. It is an effectiveparody because Stargate SG-1 has bothFarscape leads, Ben Browder and Claudia Black,
on the series as Lt. Col. Cameron Mitchell and reformed thief Vala Mal Doran. As can be
seen in Fig 8, the parody had Vala reprise Blacks Farscape role of Aeryn Sun and the
section was also written to have Mitchell play Browders Farscape alter-ego John
Crichton with Stargate SG-1s Daniel Jackson asFarscapes Stark. Both actors, however
decided to switch parts on the day before filming.
TheFarscapeparody was to address two points within the fandom. The first being how
similar both Ben Browder and Michael Shanks look and how many fans have dubbed the
seriesFargate SG-1 because of the addition of bothFarscape leads.
The two men do look alike, but they won't be playing brothers, or
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evil twins, or even evil alien twins. Browder's character will be a
Stargate Command military pilot who ends up joining the SGC's lead
teamBen and I discussed much, much more than the clearly vast and
growing "Farscape"/"SG-1" crossover audience (we call ourselves
Fargaters, thank you very much).
(Ryan, 2005, Fargate Special)
CHAPTER 5
Rather than being a sign of misguided psychological compensation,
their closeness to particular texts demonstrates a desire to negotiate
with the media in an active and creative way, in order to make its
products relevant to the material and cultural conditions in which the
fan or the fan community is located.
(Casey and Casey et al, 2002: 93)
In investigating the issue of fandom in depth, the above statement could be said to be
more in line with what the fandom is actually is and it gives an insight into the creative
minds and talents that frequent the websites and message boards.
Casey and Caseys (et al) argument for how fans negotiate with the media is very much
in line with Halls (1973) theories on how the audience can interpret one of three different
readings from the text in question. In this research study it has been discovered that
certain sections of the fandom adopt certain readings dependent on what they prefer to
see in the series. As an example, the Sam and Jack Horsewomen want to see a canonical
romantic relationship between the characters of Jack and Sam although they believe the
creators of the series should be allowed to create the series their way. This website
supports the dominant reading as the one being encoded by the series creators. The
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Ancients Gate website enjoys watching the relationship between Jack and Daniel as
friends in the canon of the series, the dominant reading. However, they also write
fiction and create fan-videos on the criteria that their relationship is more intimate than is
seen on screen. These fans have accepted what is being encoded, however, they are using
a negotiated reading to put their spin on it.
In the research involved in such a study, I believe I have given a clearer understanding of
what it means to be a fan in this internet dominated age through exploring the ways in
which fans negotiate with the text through websites, writing and reading of fan-fiction,
creating and watching of fan-videos. I have also looked at the more satirical and critical
sections of the fandom through Leahs cartoons and Niallas episode transcripts. It is also
important to investigate how the series itself acknowledges the fandom. This is possible
through many episodes not mentioned but the main three are Wormhole X-treme, Citizen
Joe and the celebratory 200.
In investigating the issues of this particular fandom as in-depth as possible, I have
discovered that fans are in indeed modern-day Robin Hoods in many respects. The
breach of copyrighted material for fan-creation is just one example of them robbing from
the rich production houses to give to the poor fans whose specific needs are not being
met by the series canon. In the face of cancellation it is these fans who initiate letter
writing campaigns to lobby for the series and support it. In this respect, its becomes more
apparent why it is important for the creators to acknowledge the fans occasionally as both
the fans and the creators need each other, it is in many ways a symbiotic relationship.
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EPISODES
Sky One, 2001, Stargate SG-1: Crystal Skull, Television, 25th June 2001 [UK]
Sky One, 2004, Stargate SG-1: Divide and Conquer, Television, 23rd July 2001 [UK]
Sky One, 2001, Stargate SG-1: Wormhole X-treme, Television, 10th October 2001 [UK]
Sky One, 2002, Stargate SG-1: Shades of Grey, Television, 27th March 2002 [UK]
Sky One, 2003, Stargate SG-1: Homecoming, Television, 6th October 2003 [UK]
Sky One, 2004, Stargate SG-1: Avatar, Television, 9th November 2004 [UK]
Sky One, 2005, Stargate SG-1: Citizen Joe, Television, 18th January 2005 [UK]
Sky One, 2006, Stargate SG-1: 200, Television, 22nd November 2006 [UK]
Sky One, 2007, Stargate SG-1: Unending, Television, 13th March 2007 [UK]
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