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We’ve seen this with the recent Ghostbusters adaptation, in which fans of the original were so outraged that they not only refused to go see it themselves, but posted videos online telling others to avoid the film too-and that rage emerged just from the trailer. Studios listen to their fans nowadays, but not with the purest intentions-if the audience is unhappy, then they may boycott a movie, and boycotting means less money. Fans can hold world-wide discussions in online forums, post videos or blogs stating their opinions about their beloved franchise’s newest installment, and create and share fan-fiction, parodies, or fan-art.
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Now, trailers tend to give away entire movies, studios will release more than one trailer at a time as well as brief clips from upcoming films, and will sometimes hold exclusive screenings of the new movie or a Q&A with the actors at certain conventions. However, the Internet seems to have spoiled fans. Thanks to the newest technology, fans are able to compete with the big-shot studios that produce the franchises they’re so in love with. Here, fan filmmakers are starting to make their way into the mainstream industry, and we are starting to see ideas-such as the use of game engines as animation tools-bubbling up from amateurs and making their way into commercial media” (204). There, grassroots experimentation generated new sounds, new artists, new techniques, and new relations to consumers which have been pulled more and more into mainstream practice. Jenkins writes, “Fan digital film is to cinema what the punk DIY culture was to music. The Internet allows us to consume media at a frantic pace, since information can be immediate found, shared, and created for the fans, this is a spectacular innovation. Anyone who was once restricted by a lack of money or equipment now only has to worry about buying the bare minimum: a phone and a laptop.
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New technology such as iPhones, and free movie-editing software, audio-editing software, and music provided by the web have provided the tools needed for a new wave of content creators to emerge. Thanking the Internet, at this point in the semester, has gotten a bit old, but here I am once again thanking the Internet. Here’s what you do: just make a movie.” What he’s referring to is exactly what Jenkins is talking about in his essay-i.e., the newfound power of noncommercial, amateur filmmakers to create movies, even with a very limited budget (among other supplies).
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In one of his videos, YouTuber, indie filmmaker, and movie critic Ralph Sepe Junior says, “A lot of you guys have asked me for advice on how to make a movie.
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