Resumo

Participatory culture, as defined by Henry Jenkins, emphasizes the active role of individuals in the creation and dissemination of content, breaking away from the logic of passive consumption and fostering collaborative and creative communities. However, this research proposes to advance this discussion and introduce a specific framework by presenting the concept of the corporeal-interagent, expanding notions of discursive and virtual participation and collaboration to address the immersive, artistic, and performative manifestations that characterize the practices of film fan communities. These interactions suggest an expansive and dynamic flow in which the bodies of these individuals, the bodies of the admired productions, and the bodies of derivative creations intertwine, merging and transforming each other. The central problem investigated lies in the need to conceptualize such practices, highlighting how they transcend passive appreciation to shape active agents of artistic and identity-based expression and reinterpretation. The core hypothesis is that the corporeal-interagent operates as an interconnected field, in which interactions between active spectators, works, and artistic productions configure processes of shared learning. The objective of this study is to explore how these fan actions, both as concept and practice, permeate different dimensions—artistic, cultural, identity-based, social, and historical—revealing their potential to expand discussions on education, media, and art. This exploratory research suggests that such a concept represents more than the sum of individual practices; it manifests as a collective movement marked by dynamic and creative exchanges, transforming experiences of immersive appreciation—such as in the narratives of Naruto, Avatar, and Harry Potter—into meaningful practices.