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Convergence Culture: Henry Jenkins Henry Jenkins Convergence Culture La cultura de la convergencia de los medias de comunicación Título original: Convergence Culture Originalmente publicado en inglés, en 2006, por New York Uníversity Press, Nueva York Traducciôn de Pablo Hermida Lazcano Cubierta de Idee cultura Libre Quedan rigurosamente prohibidas, sin la autorización escrita de los titulares dei copyrighl, bajo las sanciones establecidas en las leyes, la reproducción total o parcial de esta obra por cualquier medio o procedímíento, comprendidos la reprograffa y eI tratamiento informático, y la distribución de ejemplares de ella mediante alquiler o préstamo públicos. © 2006 by New York University © 2008 de la traducción, Pablo Hermida © 2008 de todas las ediciones en castellano Ediciones Paidós Ibérica, S.A., Av. Diagonal, 662-664 - 08034 Barcelona www.paidos.com ISBN: 978-84-493-2153-5 Depósito legal: B-24.1045/2008 Impreso en Cayfosa-Quebecor,S.A., Ora. de Caldes, km. 3,7 08130 Sta. Perpetua de Mogoda (Barcelona) Impreso en Bspaãa - Printed in Spain Sumario Agradecimientos. ....................... 7 Introducción: «Adoración en el altar de la convergencia»: Un nuevo paradigma para comprender el cambio mediático 13 I. Destripando Survivor: La anatomía de una comunidad de conocimientos ...................... 35 2. Comprando American ldol: Cómo nos venden en la telerrealidad 67 3. En busca deI unlcornlo de papel: Matrix y la narración transmediática ....................... 99 4. .La guerra de las galaxias de Quentin Tarantino? La creatividad popular se enfrenta con la índustria mediática . 137 5. Por qué sabe escribir Heatber: La alfabetización mediática y las guerras de Harry Potter ................. 175 6. Pbotosbop para la democracia: La nueva relación entre política y cultura popular. ........................ .. 209 Concluslén: .Democratizando la televisión? La política de la participación ..... 239 Notas .. 259 Glosario 273 Índice analítico y de nombres. 289 Agradecimientos Escribir este libro ha sido un viaje épico aI que han contribuido muchas per­ sonas, Convergence Culture es, en muchos sentidos, la culminación de los últi­ mos ocho afies de mi vida, el fruto de mis esfuerzos para crear el Programa de Estudios Mediáticos Comparados dei MIT como centro para las conversaciones sobre el cambio mediático (pasado, presente y futuro) y de mis esfuerzos para difundir los diálogos públicos sobre cultura popular y vida contemporánea. Una explicación más completa de cómo surgió este libro a partir de las preocupacio­ nes de Textual Poachers: Television Fans and Participatory Culture (Nueva York, Routledge, 1991) y fue modelado por mi evolución intelectual durante la pasada década puede hallarse en la introducción a mi antologia Fans, Gamers, and Bloggers: Exploring Participatory Cu/ture (Nueva York, New York Uni­ versity Press, 2006). Dada esta historia, quizá resulte apropiado que mis primeros agradecimien­ tos vayan dirigidos a los alumnos deI Programa de Estudios Mediáticos Com­ parados. Todos y cada uno de ellos han ejercido un impacto en mi pensamien­ to, pero quiero distinguir de manera especial a los alumnos cuyo trabajo influyó significativamente en el contenido de este libro: Ivan Askwith, R. J. Bain, Chris­ tian Baekkelund, Vanessa Bertozzi, Lisa Bidlingmeyer, Brett Camper, Anita Chan, Cristóbal Garcia, Robin Hauck, Sean Leonard, Zhan Li, Geoffrey Long, Susannah MandeI, Andrea McCarty, Parmesh Shahani, Sangita Shresthova, Karen Lori Schrier, David Spitz, Philip Tan, Ilya Vedrashko, Margaret Weigel y Matthew Weise. Vosotros sois los que me levantáis por la mafiana y me man­ tenéis' trabajando hasta bien entrada la noche. En particular, quiero dar las gra­ cias a Aswin Punathambekar, que fue el mejor investigador ayudante posible en este proyecto, no sólo desenterrando recursos, sino también cuestionando mis supuestos, y continuando dedicado ai proyecto mucho después de haber dejado el MIT para comenzar su doctorado en la Universidad de Wisconsin-Madison. También quiero dar las gracias al profesorado integrante de los Estudios Mediáticos Comparados, que respaldó estos esfuerzos de innumerables modos: R. J. Bain, Jason Bentsman, Chris Pomiecko, Brian Theisen, y especialmente Susan Stapleton, cuya jovial disposición y cuyo sereno ingenio siempre evita­ ron el desastre inminente, y que supervisó las pruebas y la comprobación de da­ tos de este proyecto. 8 CONVERGENCE CULTURE Mi reconocimiento asimismo para Philip S. Khoury, el decano Kenan Sahin de la Escuela de Humanidades, Artes y Ciencias Sociales dei MIT, que siempre ha estado a mi lado cuando hemos luchado por poner en marcha este programa y que me ha concedido tiempo libre para llevar a cabo este proyecto. Mi inves­ tigación también ha sido respaldada por las tres cátedras de las que me ha pro­ visto el decano: la cátedra Ann Fetter Friedlaender, la cátedra John E. Burchard y la cátedra Peter de Florez. Este libro surgió de muchísimas conversaciones con Alex Chisholm en lar­ gos paseos en coche, esperas matutinas en aeropuertos y reuniones con poten­ ciales patrocinadores. Aunque Alex no siempre fue paciente con mis necedades, examinó y refinó casi todos los conceptos de este libro; ensefió a este humanis­ ta a hablar el idioma de los negocias y, mediante este proceso, a convertirse en un mejor analista y crítico de las tendencias mediáticas contemporâneas. Tam­ bién estoy profundamente en deuda con Christopher Weaver, que impartió con­ migo en múltiples ocasiones nuestro seminario «Cultura popular en la era de la convergencia mediática». poniendo a nuestros alumnos (y a mí mismo) en con­ tacto directo con figuras destacadas de la industria mediática y compartiendo experiencias en primera línea que complementaban y complicaban mis pers­ pectivas teóricas. Quisiera destacar también a Kurt Squire, mi fiel escudero y a veces colaborador de mis escritos, que me ha ayudado a apreciar qué juegos pueden ensefiamos algo acerca deI estado actual de nuestra cultura. Finalmente, debo expresar mi reconocimiento a todos cuantos participaron en el proyecto de investigación conjunta de Estudios Mediáticos Preliminares y Comparados so­ bre Arnerican Idol que sirve de base aI capítulo 3 de este libro: en particular, Alex Chisholm, Stephanie Davenport, David Emst, Stacey Lynn Koemer, San­ gita Shresthova y Brian Theisen. Tuve la fortuna de contar con los lectores y editores de Technology Review para la discusión de mis ideas a medida que éstas cobraban forma. En particu­ lar, quiero dar las gracias a los amigos que han editado mi columna «Renaci­ miento digital» a lo largo de los afias: Herb Brody, Kevin Hogan, Brad King y Rebecca Zacks. También quiero cantar las alabanzas de David Thorbum, Brad Seawell y el Foro de Comunicaciones deI MIT. Durante décadas, el Foro de Co­ municaciónes ha traído ai campus a destacadas figuras mediáticas, proporcio­ nando el contexto adecuado para explorar ideas relativas aI rombo de nuestros medias y a su impacto en la vida pública. Las primeras conceptualizaciones de este libro pasaron por dos agentes li­ terarias, Elyse Cheney y Carol Mano, que confiaban en convertirme en un es­ critor comercial no novelesco. Fueron lo bastante francas y desalentadoras para devolverme comendo aI mundo de las ediciones universitarias, pera, en el pro­ ceso, me ensefiaron algunos trucos nuevos que espero que hayan hecho mucho más ameno este libro. Quizás algún día... • Escudero es una de las acepciones dei término squire. (N. del t.) AGRADECIMIENTOS 9 Estoy agradecido a las muchas personas que aceptaron ser entrevistadas para ellibro o que me ayudaron a contactar con las personas clave a quienes ne­ cesitaba entrevistar: Sweeney Agonistes, Chris Albrecht, Marcia Allas, Mike Alessi, Danny Bilson, Kurt Busiek, ChillOne, Louise Craven, Mary Dana, Den­ nis Dauter, B. K. DeLong, David Ernst, Jonathon Fanton, Keith Ferrazzi, Clai­ re Field, Chris Finan, F1ourish, Carl Goodman, Denis Haack, Hugh Hancock, Bennett Haselton, J. Kristopher Huddy, Stacey Lynn Koemer, Raph Koster, David Kung, Garrett Laporto, Mario Lanza, Heather Lawver, Paul Levitz, John Love, Megan Morrison, Diane Nelson, Shawn Nelson, Dennis O'Neil, Chris Pike, David Raines, Rick Rowley, Eduardo Sánchez, Sande Scoredos, Warren Spector, Patrick Stein, Linda Stone, Heidi Tandy, Joe Trippi, Steve Wax, Nancy Willard, Will Wright, Neil Young y Zsenya. Tarnbién quiero dar las gracias a un montón de amigos y colegas intelec­ tuales que me ofrecieron consejo y aliento en el momento preciso: Harvey Ard­ man, Hal Abelson, Robert C. Allen, Todd Allen, Reid Ashe, W. James Au, Re­ becca Black, Andrew Blau, Gerry Bloustein, David Bordwell, danah boyd, Amy Bruckman, Will Brooker, David Buckingham, Scott Bukattnan, John Campbell, Justine Cassell, Edward Castranova, Josh Cohen, Ian Condry, Ron Crane, Jon Cropper, Sharon Cumberland, Marc Davis, Thomas DeFrantz, Mark Dery, Mark Deuze, Kimberly DeVries, Julian Dibbell, Peter Donaldson, Tracy Fullerton, Simson L. Garfinkel, Jarnes Gee, Lisa Gitelman, Wendy Gordon, Nick Hahn, Mary Beth Haralovich, John Hartley, Heather Hendershott, Matt Hills, Mimi !to, Mark Jancovich, Steven Johnson, Sara Gwenllian Jones, Gerald Jones, Louise Kennedy, Christina Klein, Eric Klopfer, Robert Kozinets, Ellen Kushner, Christopher Ireland, Jessica Irish, Kurt Lancaster, Brenda Laurel, Chap Lawson, Geoffrey Long, Peter Ludlow, Davis Maston, Frans Mayra, Ro­ bert Metcalfe, Scott McCloud, Grant McCracken, Jane McGonigal, Edward McNally, Tara McPherson, Jason Mittell, Janet Murray, Susan J. Napier, An­ gela Ndlianis, AnnaIee Newitz, Tasha
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