barbarian at the 'gate

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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.


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!


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.


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.


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?


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.


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.


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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