Récemment, la revue Participations a publié son deuxième numéro de l’année. La citation suivante, bien que longue, résume bien les recherches sur les fans des dernières décennies.
Over the last twenty years, the study of fan research has seen work documenting the fan’s cultural, social and personal labour, starting with the now classic and floodgate 1992 studies of Fiske (1992) Jenkins (1992) and Bacon-Smith (1992). These studies kick-started a growth area of approaches dealing with ‘fans’, represented by a boom in publishing and academic discussion. For example, the area of fan studies has seen a range of anthologies (e.g. Jenkins 2006a), edited collections (e.g. Gray, Sandvoss and Lee-Harrington 2007; Lewis 1992; Hellekson and Busse 2006; Harris and Alexander 1998), and specialized journals (e.g. Transformative Works and Cultures, Journal of Fandom Studies). Ideas that have emerged from this area have also been groundbreaking. ‘Transmedia narrative’ and ‘intertextuality’ are key concepts regularly taught on media studies syllabi at both undergraduate and postgraduate level. Equally, the notion of ‘convergence culture’, as defined by Jenkins (2006b), has understood how fan works transpose narrative across multiple media platforms. Such a concept has been significant for making sense of the contemp orary mediated landscape, where media regularly shift and change forms and intentions (Hay and Couldry 2011). However, among this otherwise groundbreaking work, there appears to be a missing discourse and discussion of methodology.