Academic literature on the topic 'Media narrativi'
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Journal articles on the topic "Media narrativi"
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Oenning da Silva, Rita de Cácia. "Quem conta um conto aumenta muito mais que um ponto: narrativa, produção de si e gênero na produção fílmica com crianças pequenas." Perspectiva 33, no. 3 (April 1, 2016): 1069–88. http://dx.doi.org/10.5007/2175-795x.2015v33n3p1069.
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Analisando as performances narrativas do conto Chapeuzinho Vermelho de três crianças pequenas (2 a 4 anos de idade) frente à câmera filmadora, este artigo apresenta e discute o modo como essas narrativas tanto expressam quanto constituem o mundo e os sujeitos narradores. Variando na forma narrativa, no conteúdo e nos personagens clássicos do conto, essas performances narrativas revelam como as crianças narradoras entendem e dinamizam relações: entre seus pares (atentando especialmente para as relações de gênero – gender); com outros seres (imaginários ou não); e com o próprio gênero narrativo. A análise aponta para como, através dessas narrativas, estão testando possibilidades (de e entre seres, de linguagens, de fórmulas narrativas, de interação e estética). Chama-se a atenção para a capacidade transformativa e criativa presente nas performances narrativas de crianças pequenas e do aspecto filosófico do seu pensamento. Dessa forma, narrando frente à câmera e à plateia, fazem-se sujeitos: produzem a si mesmas e o mundo. More then just telling tales: narrative, self production and gender/genre in film production with small children AbstractThrough an analysis of the narratives of three small children playing with a video camera, the article presents and discusses the way that small children both express and produce themselves. As they vary the narrative form, the plot, and the characters of Little Red Riding Hood, these children's performances reveal how they understand and catalyze relations with their peers (especially subverting gender relations), with other beings (human, animal, imaginary beings etc.), and with narrative genre. Through these narratives they test the possibilities of beings, of interaction, and of language, opening a range of possibilities for an aesthetic of self. Based on an extensive background of film production with children, I point out the philosophical aspects of this production, showing how the performative and creative capacity of children open a space where they represent them selves. Narrating for the camera or for an audience, these children turn themselves into social subjects, thus producing themselves and the world.Keywords: Small Children. Narrative Performance. Digital Media. El cuento va más allá de lo contado: la narrativa, la producción de sí mismo, y el género en la producción cinematográfica con niños pequeños ResumenAnalizando de las narrativas de Caperucita Roja contadas por tres niños pequeños (2-4 años) en frente de la videocámara, este artículo presenta y discute cómo estas narrativas tanto expresan el mundo y como constituyen a sus narradores como sujetos. Estas actuaciones narrativas revelan cómo los pequeños narradores entienden y crean relaciones: entre pares (con especial atención a las relaciones de género); con otros seres (de ficción o no); y con su propio género narrativo. Los análisis apunta a las posibilidades de cómo, a través de estos relatos, están probando posibilidades (entre los seres, los idiomas, las fórmulas narrativas, la interacción y la estética). Llama la atención sobre la capacidad transformadora y creativa de este interpretaciones narrativas de los niños pequeños y el aspecto filosófico de su pensamiento. Por lo tanto, haciendo la narración delante de la cámara y del público, se convierten en sujetos: producen ellos mismos y el mundo.Palabras claves: Primera Infancia. Narrativa. Género.
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Paviotti, Antea. "God and COVID-19 in Burundian social media: The political fight for the control of the narrative." Journal of African Media Studies 13, no. 3 (September 1, 2021): 385–97. http://dx.doi.org/10.1386/jams_00055_1.
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While an incredible series of twists characterized the fight against COVID-19 in Burundi and its narration, references to God have never been missing in the narratives around the disease. Trust in God represented one of the pillars of the government’s narrative, next to an attitude of ‘denialism’, and the fight against ‘fake news’. This article analyses the evolution of the narration of COVID-19 on Twitter during the first three phases of the fight against the disease, focusing on the use of the religious narrative. Within Burundi’s contemporary sociopolitical context, analysis of these narratives on social media best demonstrates how the fight against COVID-19 in Burundi was a fight for the control of the narrative, and by extension for political legitimacy.
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Baptaglin, Leila Adriana, and Doris Pires Vargas Bolzan. "PERCURSOS INVESTIGATIVOS ACERCA DA APRENDIZAGEM DA DOCÊNCIA NO ENSINO MÉDIO INTEGRADO." Cadernos de Pesquisa 21, no. 2 (June 26, 2014): 52. http://dx.doi.org/10.18764/2178-2229.v21.n2.p.52-66.
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Este estudo objetiva aprofundar a discussão da cultura escolar como uma dimensão da aprendizagemda docência dos professores que trabalham nos cursos de Ensino Médio Integrado. A metodologia utilizada é denatureza qualitativa, com abordagem narrativa sociocultural. Tomamos por base, para a discussão da narrativa socioculturalos estudos de Vygotski (1995, 2003, 2007). Para a discussão da aprendizagem da docência nos cursostécnicos de Ensino Médio integrado utilizamos os estudos de Forquin (1993) e Julia (2001). Nesta perspectiva, apartir da análise das narrativas docentes evidenciamos as dimensões da cultura escolar e da cultura docente comoconstituintes da Aprendizagem da docência. Neste ensaio procuramos aprofundar as discussões relativas à culturaescolar destacando seus eixos articuladores e elementos categoriais. Assim, é possível constatar, com base nasnarrativas, a existência de um habitus docente na cultura do professor que está constantemente problematizando ereorganizando a cultura escolar, consolidando a aprendizagem da docência.Palavras-chave: Aprendizagem da Docência. Educação Profissional. Cursos Técnicos. Narrativa Sociocultural. INVESTIGATIVE PATHWAYS LEARNING ABOUT TEACHING IN INTEGRATEDSECONDARY EDUCATIONAbstract: This issue aims to deepen the discussion of school culture as a dimension of teachers’ learning thatwork in integrated high school courses. The methodology is qualitative in nature with sociocultural narrative approach.We take a basis for discussion about sociocultural narrative, based on Vygotsky’s studies (1995, 2003,2007). For a discussion of learning in teaching technical courses in high school we used integrated studies Forquin(1993) and Julia (2001). In this perspective, from the narratives teachers evidenced dimensions of school culture andteaching culture as a constituent of Learning of teaching. In this essay we seek to deepen discussions on schoolculture emphasizing their axes articulators and categorical elements Thus, it can be understood throught the studyof the narratives the existence of a teacher habitus in the culture of the teacher who is constantly questioning andrearranging the school culture, consolidating the learning of teaching.Keywords: Learning of teaching. Vocational Education. Technical courses. Sociocultural narrative. PERCURSOS INVESTIGATIVOS ACERCA DEL APRENDIZAJE DE LA DOCENCIAEN LA ENSEÑANZA MEDIA INTEGRADAResumen: Este estudio objetiva profundizar la discusión de la cultura escolar como una dimensión del aprendizajede la docencia de los profesores que trabajan en los cursos de enseñanza media integrada. La metodología utilizadaes de naturaleza cualitativa con abordaje narrativa sociocultural. Tomamos por base, para la discusión de la narrativasociocultural los estudios de Vygotski (1995, 2003, 2007). Para la discusión del aprendizaje de la docencia enlos cursos técnicos de enseñanza media integrada utilizamos los estudios de Forquin (1993) y Julia (2001). En estaperspectiva, a partir del análisis de las narrativas docentes evidenciamos las dimensiones de la cultura escolar yde la cultura docente como constituyentes del Aprendizaje de la Docencia. En este ensayo procuramos profundizarlas discusiones relativas a la cultura escolar destacando sus ejes articuladores y elementos categoriales. Así, esposible constatar, con base en las narrativas, la existencia de un habitus docente en la cultura del profesor que estáconstantemente problematizando y reorganizando la cultura escolar, consolidando el aprendizaje de la docencia.Palabras clave: Aprendizaje de la Docencia. Educación Profesional. Cursos Técnicos. Narrativa Sociocultural.
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Sapiezynska, Ewa. "The Media and Power in Postliberal Venezuela." Latin American Perspectives 44, no. 1 (July 27, 2016): 199–214. http://dx.doi.org/10.1177/0094582x16661185.
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Two narratives dominate the literature about the state of freedom of expression in postliberal Venezuela, and they have few points in common, since they depend on different conceptualizations of the notion of freedom of expression. While the traditional liberal narrative focuses on the negative freedom that prohibits state interference, the postliberal narrative is based on positive freedom that encompasses the collective right of self-realization, particularly for the previously marginalized. During the government of Hugo Chávez, the discourse of freedom of expression was renewed, placing it in the context of power relations, accentuating positive freedom, and emphasizing the role of the public and community media. The establishment of the international public channel TeleSUR has revived the 1970s debate about the right to communication and contributed to the creation of a new Latin American-ness. En la literatura predominan dos narrativas acerca del estado de la libertad de expresión en la Venezuela posliberal las que tienen pocos puntos en común porque parten de visiones distintas del concepto de la libertad de expresión. Mientras la narrativa liberal tradicional enfoca sólo en la libertad negativa que previene la injerencia estatal, la narrativa posliberal se centra en la libertad positiva que abarca la autorrealización del derecho colectivo, también de los previamente marginalizados. Durante el gobierno de Hugo Chávez el discurso acerca de la libertad de expresión se renueva, insertando el concepto en el contexto de las relaciones de poder, acentuando la libertad positiva y enfatizando el rol de los medios públicos y comunitarios. El establecimiento del medio público internacional TeleSUR revive los debates sobre el derecho a la comunicación de la década de los 70 y aporta a la creación de una nueva Latinoamericanidad.
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Haj Omar, Husam. "A narrative approach to media reporting of the Arab-Israeli conflict 2000–2010." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 17, no. 1 (July 26, 2019): 20–38. http://dx.doi.org/10.1075/forum.17014.haj.
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Abstract Narrative shapes conflict, influencing its outcomes and the parties involved in it. Translations reported by media lie in the heart of this dynamism as translation plays a crucial role in enabling narratives to cross cultural and linguistic barriers. This paper adopts a narrative approach to the analysis of media reporting of political discourse communicated during the Arab-Israeli conflict. The data under analysis is mainly derived from three conflicts: The Second Intifada 2000–2005, Lebanon War 2006 and Gaza War 2008/9. The study suggests that competing narratives have manifested themselves differently in the media reporting of the discourse. Statements have been framed and events labelled through the translations reported by media in line with the agenda of politically affiliated media outlets. Using various forms of framing and features of narrativity, conflicting parties have sought to promote their versions of the narrative on the conflict.
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Sverbilova, Tetiana. "COMPATIVE LITERATURE : FROM COMPARATIVE MEDIACULTURAL STUDIES TO TRANSMEDIAL NARATOLOGY." LITERARY PROCESS: methodology, names, trends, no. 13 (2019): 41–50. http://dx.doi.org/10.28925/2412-2475.2019.137.
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The article is devoted to the review of the prospects of multidisciplinary media-cultural studies in modern comparative literature studies towards comparative cultural studies and transmedial naratology. Comparative cultural studies syncretically combine the concepts of comparative literary criticism with the study of culture in the aspect of media-cultural studies, not limited to literature, but also various arts, mass media, computer games, etc. Literature is understood only as one of the media among other media. This is a transdisciplinary turn in comparative literature studies. Comparative naratology, and later transmedial naratology, in turn, is seen as a new discipline on the verge of literary comparativism, intermedialism, and naratology. The typology of intermedial forms of naratology in the classifications of Werner Wolf, Marie-Laure Ryan, and Jan-Noël Thon is discussed. Modern studies of various medial forms of narratives, which may also be presented in cinema, painting, graphic arts, ballet, comic books, and other mediums, and the discovery of the intermedial properties of narratives, lead to a rethinking of the fact that all narratives have a purely linguistic nature. Modern naratology as a separate discipline tends to go beyond purely literary narrative and transfer the concept of narration to other types of arts. Intermediate methodologies have already entered into comparative literature studies and have been successfully used in the analysis of literary works. It is about syncretic theoretical and methodological synthesis of three branches of art studies — naratology, intermedialism and literary comparativism, cross-disciplinary narrative studies. The combination of narrative and intermedial approaches to literature is becoming one of the most urgent tendencies of modern both naratology and the theory and practice of intermediality.
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Horstmann, Jan. "Zeitraum und Raumzeit: Dimensionen zeitlicher und räumlicher Narration im Theater." Journal of Literary Theory 13, no. 2 (September 6, 2019): 185–205. http://dx.doi.org/10.1515/jlt-2019-0007.
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Abstract The positioning in space and time of performed narration in theater poses a specific challenge to classical narratological categories of structuralist descent (developed, for example, by Gérard Genette or Wolf Schmid, for the analysis of narrative fiction). Time is the phenomenon which connects narratology and theater studies: on the one hand, it provides the basis for nearly every definition of narrativity; on the other, it grounds a number of different methodologies for the analysis of theater stagings, as well as theories of performance – with their emphasis on transience, the ephemeral, and the unrepeatable, singular or transitory nature of the technically unreproducible art of theater (e. g. by Erika Fischer-Lichte). This turn towards temporality is also present in theories of postdramatic theater (by Hans-Thies Lehman) and performance art. Narrating always takes place in time; likewise, every performance is a handling of and an encounter with time. Furthermore, performed narration gains a concrete spatial setting by virtue of its location on a stage or comparable performance area, so that the spatial structures contained in this setting exist in relation to the temporal structures of the act of theatrical telling, as well as the content of what is told. Both temporal and spatial structures of theater stagings can be systematically described and analyzed with a narratological vocabulary. With references to Seymour Chatman, Käte Hamburger and Markus Kuhn among others, the contribution discusses how narratological parameters for the analysis of temporal and spatial relations can be productively expanded in relation to theater and performance analysis. For exemplary purposes, it refers to Dimiter Gotscheff’s staging of Peter Handke’s Immer noch Sturm (which premiered in 2011 at the Thalia Theater Hamburg in cooperation with the Salzburger Festspiele), focusing on its transmedial broadening of temporal categories like order, duration, and frequency, and subsequent, prior, or simultaneous narration. The broadening itself proves feasible since all categories of temporal narration can be applied to performative narration in the theater – at times even more fruitfully than in written language, as is the case, for example, with the concept of ›duration‹. The concept of ›time of narration‹ too can be productively applied to theater. Whilst a subsequent narration is frequently considered the standard case in written-language narratives on the one hand – a conclusion that is, however, only correct if the narrator figure and narrative stand in spatiotemporal relation to one another, i. e. if a homodiegetic narrator figure is present – it is commonly held that in scenic-performed narration, on the other hand, the telling and the told take place simultaneously. The present contribution argues against this interpretation, as it stems from a misguided understanding of the ›liveness‹ of performance. ›Liveness‹ refers only to the relationship between viewers and performers and their respective presence, but not to their temporal and spatial relationship to the told. Rather, the following will argue that the time of narration in theater (as well as in film) stays unmarked in most cases. It is possible, however, to stage subsequent, prior, or simultaneous narration, too. Immer noch Sturm is one example for a performed subsequent narration. For audiovisual narration, then, a special case of iterative narration (telling once what happened n times) can be identified, which is to tell a few times (n minus x) what happened n times. As an additional category for the analysis of narrative temporality in audiovisual narrative media, I propose what I venture to call ›synchronized narration‹, in order to describe the specificity of spatiotemporal relations in performance. In synchronized narration, two or more events (that happen at different places or times in the narrative world) are shown at the same time on stage. This synchronized performance of several events is only realizable within the audiovisual dimension of spatial narration and not in written-language based narration. Furthermore, for narrative space relations the categories ›space covering‹, ›space extending‹, and ›space reducing narration‹ are suggested in order to analyze the relationships between discourse space and story space(s). Discourse space emerges in the concrete physical space of the performance when narrativity is present. Within this discourse space any amount of story spaces (with any expansion) can emerge. However, whilst in time-extending narration the time of the telling is longer than the time of the told, in space-extending narration the told space is bigger than the space of the telling. This principle is analogously valid for time-reducing or space-reducing narration. The transmission and media-specific broadening of temporal and spatial narratological parameters reveals how time and space form a continuum and should thus be linked and discussed alongside one another in analytical approaches to narrative artifacts. The staging of Immer noch Sturm actualizes a metaleptic structure, in which temporal borders are systematically dissolved and the overstepping of spatial borders becomes an indicator for the merging of different temporal levels. Referring back to established narratological parameters and developing analogous conceptual tools for narrative space facilitates a comparative analysis both of specific narratives and of narrative media and thus not only offers a productive challenge of classical narratological parameters, but allows to investigate and construct a holistic – if culture-specific – overall view of narration.
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Ferreira Junior, Sergio Do Espirito Santo, Nathan Nguangu Kabuenge, and Alda Cristina Costa. "Composição da intriga na narrativização de acontecimentos violentos // Emplotment in the narrativization of violent events." Contemporânea Revista de Comunicação e Cultura 18, no. 1 (September 29, 2020): 53. http://dx.doi.org/10.9771/contemporanea.v18i1.27597.
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A composição da intriga emerge no projeto hermenêutico de Paul Ricoeur como momento do processo da mímesis que instaura uma configuração narrativa de um mundo prefigurado rumo a uma refiguração do mundo, articulando uma síntese do heterogêneo que agencia acontecimentos e os associa a ações, causas e intenções. Neste trabalho, analisamos a composição da intriga em narrativas jornalísticas sobre violência urbana, partindo da tríplice mímesis em Paul Ricoeur, a fim de compreender os elementos e as estratégias alinhavados pela intriga da narrativização jornalística. Efetuamos a leitura de matérias sobre mortes violentas publicadas nas seções policiais dos jornais paraenses Diário do Pará e O Liberal, nos dias 23 de janeiro, 15 de março e 02 de maio de 2017. Para tanto, fazemos recurso ao projeto ricoeuriano de uma hermenêutica do texto e da narrativa. As leituras dos jornais nos permitem compreender uma armação da intriga que alinhava as narrativas como únicas, mas episódicas, assinalando um percurso eventivo da violência que permite que ela seja explicada e compreendida narrativamente.
As part of Paul Ricoeur’s hermeneutical project, emplotment is a moment of its threefold mimesis that establishes a narrative configuration of a prefigured world towards the refiguration of a world, articulating a synthesis of the heterogeneous that organizes events and associates them with actions, causes and intentions. We analyze emplotment in news media narratives on urban violence, going through Ricoeur’s threefold mimesis in order to understand elements and strategies aligned by the plot in news media narrativization. We carry out a reading of accounts on violent deaths published in the police sections of the newspapers Diário do Pará and O Liberal, on January 23, March 15 and May 2, 2017. We make use of the Ricoeurian project of a hermeneutics of the text and narrative. The readings of the newspapers allow us to understand a plot construction that presents the narratives as unique and episodic, marking an eventful course through which violence is to be narratively explained and understood.
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Henao, Laura. "Análisis sociológico del perdón: discursos dominantes y alternativos." REVISTA CONTROVERSIA, no. 209 (December 5, 2017): 111–68. http://dx.doi.org/10.54118/controver.vi209.1097.
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¿Qué significa el perdón? ¿Está el perdón en el centro de las narrativas de los sobrevivientes del conflicto? ¿Qué tan cerca se encuentran las narrativas de la prensa de las narrativas propias de quienes sufrieron el conflicto armado colombiano? La comparación de los discursos de los medios de comunicación con testimonios de víctimas, sugiere que existe una brecha en las narrativas de ambos al referirse a mecanismos de reparación. El perdón no está en el centro de las narrativas de las comunidades. En ese panorama, se hace necesario un estudio que muestre hasta dónde la narrativa del perdón ha sido institucionalizada para la reconfiguración del país, alejándose de las concepciones propias de quienes sufrieron violencia. Esto es de especial importancia en regímenes de transición.La metodología de la presente investigación recoge métodos mixtos novedosos que permiten acercarse al objeto de estudio: el perdón como narrativa de reconciliación. El uso de métodos cualitativos como el análisis de textos, y de métodos cuantitativos como Topic Modeling, hacen del presente estudio una investigación novedosa. Para ello, se analizaron 1.407 artículos de prensa de los dos principales diarios del país (El Tiempo y El Espectador) y de la revista con mayor circulación (Semana), y se compararon con 407 relatos y testimonios de víctimas de cinco casos emblemáticos, entendiendo los primeros como discursos dominantes, y los segundos como discursos alternativos.Palabras clave: narrativas, perdón, Topic Modeling, amnistías, indultos, opinión pública. ABSTRACTSociological analysis of forgiveness: Dominant and alternative discoursesWhat does forgiveness mean? Is forgiveness at the center of the narratives of conflict survivors? How close are the narratives of the press to the narratives of those who suffered the Colombian armed conflict? The comparison of the speeches of the media with testimonies of victims suggests that there is a gap between both narratives when referring to mechanisms of reparation. Forgiveness is not at the core of the narratives of the communities. In this scenario, a study is necessary to show how far the narrative of forgiveness has been institutionalized for the reconfiguration of the country, moving away from the conceptions of those who suffered violence. This is especially important in transition regimes. The methodology of this research includes novel mixed methods that allow us to approach the object of study: forgiveness as a narrative of reconciliation. The use of qualitative methods such as text analysis, and quantitative methods such as Topic Modeling, make this study a novel investigation. To this end, 1,407 press articles were analyzed from the country’s two main newspapers (El Tiempo and El Espectador) and from the magazine with the largest circulation (Semana), and were compared with 407 stories and testimonies from victims of five emblematic cases, understanding the former as dominant discourses, and the latter as alternative discourses.Keywords: narratives, pardon, Topic Modeling, amnesties, pardons, public opinion.
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Lucantoni, Davide. "Covid-19 e comunicazione istituzionale e mediatica." PRISMA Economia - Società - Lavoro, no. 1 (August 2021): 43–58. http://dx.doi.org/10.3280/pri2020-001004.
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L'articolo descrive i risultati di un'indagine condotta nell'area medio-adriatica durante la prima ondata della pandemia, sulle condizioni di vita della popolazione nel periodo di quarantena, raccogliendo informazioni sulle aspettative future del campione alla luce delle trasformazioni sociali portate dalla pandemia. Inoltre, viene fornito un quadro interpretativo in merito all'impatto che la compenetrazio-ne tra comunicazione politica e scientifica, all'interno delle dinamiche e dei mec-canismi narrativi dei diversi media, ha avuto sui comportamenti sociali e sulle formazioni identitarie in un contesto pandemico che mina la sicurezza ontologica degli individui. Infine, i dati relativi alle percezioni del campione sulla comunica-zione politica e scientifica vengono analizzati alla luce del fenomeno dell'infodemia, in particolare rispetto alle trasformazioni dell'agire comunicativo imposte dalla transizione digitale forzata del Paese. I risultati hanno mostrato che la fiducia nella credibilità e nelle fonti scientifiche è giudicata principalmente come sufficiente, anche se una parte non residuale del campione tende a dubitarne o a credere che si tratti di pura manipolazione. L'articolo sostiene che la comunicazio-ne scientifica non ha saputo uscire dall'impasse in cui lo scienziato legittima le sue affermazioni esercitando l'autorità che gli viene dogmaticamente attribuita dal buon senso, accettando la credibilità che gli viene offerta dal capitale simbolico proprio dei sistemi di credenze.
Dissertations / Theses on the topic "Media narrativi"
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Frigo, Angelica. "Analisi e predizione dell’evoluzione di un ecosistema narrativo: il caso delle serie tv dei Marvel Studios." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amslaurea.unibo.it/25284/.
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L’elaborato si propone di osservare i nuovi prodotti seriali dei Marvel Studios – considerati tasselli dell’ecosistema narrativo del Marvel Cinematic Universe – attraverso diversi approcci. L’obiettivo è quello di sottoporre questi prodotti a diverse tipologie di analisi, al fine di ottenere un set di dati su cui basare la loop analysis, così da formulare un modello previsionale per i prossimi prodotti Marvel basato non su congetture intuitive ma sulle informazioni raccolte. Si osserveranno: la ricezione dei prodotti – attraverso i voti assegnati dagli spettatori e una sentiment analysis delle recensioni –, l’andamento narrativo tramite codifica, la struttura interna delle narrazioni e il network di personaggi all’interno di ciascuna serie sfruttando text e social media analysis, per formulare infine, in base ai dati raccolti, il modello previsionale tramite loop analysis.
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Gros, Niko, and Alexander Hägg. "The Rhizo-narrative : Ett nytt fält för narrativa nätverk." Thesis, Blekinge Tekniska Högskola, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16488.
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The Rhizo-narrative är en undersökning som handlar om att kombinera rhizomatik med narrativa strukturer inom datorspel. Vi vill veta hur rhizomatik som verktyg för narrativ påverkar datorspel. Detta uppnår vi genom lekfulla experiment och koncept. Denna text går igenom vårt syfte med arbetet, varför vi har valt att jobba med dessa begrepp, hur vi jobbar med dessa begrepp och vilka resultat vi har fått av arbetet samt en utförlig diskussion kring våra resultat, problem och framtida tankar kring rhizmatiska narrativ för datorspel.The Rhizo-narrative is an investigation about what happens when you combine rhizomes with video game narrative structures that researches and documents the process. We want to know how rhizomes affects video game narratives when used as a tool for developing the narrative itself. We achieve this through creative experiments and concepts. Within this text we go through the purpose of our project, why we chose to work with the terms we worked with, what those terms mean, the results we achieved as well as a detailed discussion about said results, problems and challenges we faced during the projects lifetime. We end with our future thoughts about rhizome based narratives within video games.
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Cruzado, Bautista Karoline Marvi. "Cambios en los hábitos de lectura entre los jóvenes provocados por la difusión de los nuevos medios." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/653197.
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El presente trabajo de investigación tiene como objetivo lograr analizar en primer lugar cómo es que han cambiado los hábitos de lectura en los jóvenes de hoy en día con la aparición de la narrativa transmedia y los nuevos medios digitales. Además de ello se pretende investigar si este tipo de contenido y formación de universos narrativos puede influir de alguna forma en los hábitos de lectura y asimismo poder lograr un acercamientos en los que aún no poseen este hábito de lectura desarrollado.This research work aims to achieve analysis in the first place on how reading habits have changed in young people today with the emergence of transmedia narrative and new digital media. In addition to this, it is intended to investigate whether this type of content and formation of narrative universes can influence reading habits in some way and be able to achieve an approach in those who do not yet have these developed reading habits.
Trabajo de investigación
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Phillips, Douglas. "An Investigation of Police Brutality in News Media: Media Narratives and Narrative Icons as Argumentation and Communal Identity." Research Showcase @ CMU, 2016. http://repository.cmu.edu/dissertations/722.
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2 Ab s tract This dissertation explores the ways in which narratives about decisive events coales ce in news media discourse, and how they function rhetorically. Specifically, this study examines how journalists frame stories about police brutality, how those frames construct versions of public narratives, and how those narrative versions can be used i n discourse about issues of civic concern such as support for new community policing policies or opposition to Florida’s “Stand Your Ground” law. I show how journalists’ choice of semantic frames (e.g., racism, police - community relations, or criminal justi ce) helps to shape readers’ understanding of the events and contributes to the formation of a narrative icon , a word , name, or short phrase that, absent narrative detail, indexes particular versions of a broader cultural narrative. This research is motiva ted by questions about the reciprocity between prior knowledge, audience expectations, and public discourse, and how those combine to shape or reinforce cultural values and communal identities. To explore these questions, I draw on scholarship in narrative theory, frame semantics, intertextual analysis, and argument. I analyze over 1,700 newspaper articles published in the Los Angeles Times , Los Angeles Sentinel, Pittsburgh Post - Gazette, and New Pittsburgh Courier between 1991 and 2013 concerning incidents of police brutality, including Rodney King and Jonny Gammage, a Black man who died following a traffic stop in Pittsburgh, PA. My findings suggest three primary functions of narratives in news media discourse: as background information, as examples used to establish or illustrate a rule, or as points of comparison . For each of these functions, I consider how journalists’ micro - linguistic choices frame the events in line with the values, concerns, and fears of readers. In that way, journalists suggest the m ost important story elements and thus perpetuate specific ways of thinking about incidents of police brutality. Moreover, as consistent references to specific story elements, these frames contribute to the formation of a narrative icon, which becomes rheto rically available for use in public arguments. In other words, journalists can interpolate the narrative versions indexed by the icon into unrelated stories using discursive constructions such as “the Rodney King incident.” When this happens, readers are e xpected to fill in the missing narrative details by drawing on their background knowledge. The findings of this project have important implications for the study of media discourse, but their broader value lies in what they can tell us about how backgrou nd knowledge takes shape and is used as a resource in public argument. In particular, critical appraisal of narrative icons suggests that readers are expected to access a trove of cultural knowledge to fully understand news stories and the sociocultural implications of the events described. In doing so, journalists and readers jointly construct and reinforce communal identities and establish credibility.
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Nordqvist, Filip, and Erik Sahlbom. "Visual Narrative Game Design : Ett narrativ utan konversation." Thesis, Blekinge Tekniska Högskola, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16516.
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Vi undersöker den narrativa stilen som Flower och Journey använder sig av. I denna narrativastil finns det varken dialog och text. Utifrån Flower och Journey skapade vi en designmetodsom ska finnas till som inspiration för utvecklare som vill testa denna stilen. Resultatet avundersökningen ger upphov till en designmetod som vi applicerar på vår gestaltning för atttesta den i en annan spel genre. Mycket av metoden är fokuserad på hur Flower och Journeygör då vi bara undersöker de två spelen. Vi skulle vilja göra en mer generell undersökning dåvi undersöker mer spel som också har ett narrativ utan dialog och text.We study the narrative style that Flower and Journey uses. In this narrative style, there is nodialogue and text. Based on Flower and Journey, we created a design method that will be aninspiration for developers who want to test this style. The result of this bachelor thesis givesrise to a design method that we apply to our game idea this applies the method to anothergame genre. Much of the method is very focused on what Flower and Journey do when weonly examine these two games. We would like to do a more general study when we examinemore games that also have a narrative without dialogue and text.
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Smith, Jennifer. "Theorizing Digital Narrative: Beginnings, Endings, and Authorship." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/316.
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Since its development, critics of electronic literature have touted all that is “new” about the field, commenting on how these works make revolutionary use of non-linear structure, hyperlinks, and user interaction. Scholars of digital narrative have most often focused their critiques within the paradigms of either the text-centric structuralist model of narrativity or post-structuralist models that implicate the text as fundamentally fluid and dependent upon its reader for meaning. But neither of these approaches can account completely for the unique modes in which digital narratives prompt readerly progression, yet still exist as independent creative artifacts marked by purposive design. I argue that, in both practice and theory, we must approach digital-born narratives as belonging to a third, hybrid paradigm. In contrast to standard critical approaches, I interrogate the presumed “newness” of digital narratives to reveal many aspects of these works that hearken to print predecessors and thus confirm classical narratological theories of structure and authorship. Simultaneously, though, I demonstrate that narrative theory must be revised and expanded to account for some of the innovative techniques inherent to digital-born narrative. Across media formats, theories of narrative beginnings, endings, and authorship contribute to understanding of readerly progress and comprehension. My analysis of Leishman’s electronically animated work Deviant: The Possession of Christian Shaw shows how digital narratives extend theories of narrative beginnings, confirming theoretical suitability of existing rules of notice, expectations for mouseover actions, and the role of institutional and authorial antetexts. My close study of Jackson’s hypertext my body: a Wunderkammer likewise informs scholarship on narrative endings, as my body does not provide a neatly linear plot, and thus does not cleanly correspond to theories of endings that revolve around conceptions of instabilities or tensions. Yet I argue that there is still compelling reason to read for narrative closure, and thus narrative coherence, within this and other digital works. Finally, my inquiry into Pullinger and Joseph’s collaboratively written Flight Paths: A Networked Novel firmly justifies the theory of implied authorship in both print and digital environments and confirms the suitability of this construct to a range of texts.
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Ditlevsen, Christoffer Moe, and Martin Björkman Čehovin. "Den dramatiska kraften i filmmusik, Filmmusikens dramatiska vikt i modern media." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1917.
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När och varför tillsätter man musik till en scen i ett filmscenario? Med informationsresurser och teorier från etablerade medieteoretiker såsom Michel Chion, Oliver Sacks samt Johnny Wingstedt söker vi svaret. Genom beprövade analysmetoder bryter vi ner kritikerrosade filmer för att finna hur musiken präglat dem. Analyserna har sedan sammanfattats och jämförts för att kärnan av dem skall kunna identifieras. I diskussionen slår vi fast att det finns många verktyg att tillämpa när man vill styrka expressiviteten eller känslointensiteten, och varför man tillsätter musik till film; Att antingen stärka ett budskap som gestaltas i bild, eller inducera känslan av något som inte går att tolka genom endast visuella medel. Dessa resultat använde vi sedan för att skapa ett ramverk inför produktion av musik och ljud till Emil. (2014) , en modern samt mörkare tolkning av Emil I Lönneberga (1971) med en underton av ett dysfunktionellt familjeförhållande. Nyckelord: Musik, dramaturgi, film, känslor, analys, narrativ When and why is music implemented to a specific scene in a film? With informational resources and theories from established media-abstractionists like Michel Chion, Oliver Sacks and Johnny Wingstedt, we’re on a hunt for the ultimate answer. With well proven analytic methods we break down critically acclaimed movies in search of how music has characterized them. The outcome of the analyses has been put together to identify their common dramatic core. In the discussion we state that there are many tools available when one wishes to accentuate the expressionistic and emotional effects of a piece, and why one would use these pieces for film. The reason being that of wishing to emphasize a message or feeling show in picture, or induce a feeling of something not visible on screen. The results were then used for the framework which we work within when producing sound and music material for Emil. (2014), a modern, darker interpretation of Emil I Lönneberga (1971). Keywords: Music, dramaturgy, film, emotions, analysis, narrativeDetta är en reflektionsdel till en digital medieproduktion.
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Sjöström, Johan. "Morphology of a digital narrative : prototyping digital narratives using the theories of Vladimir Propp." Thesis, Högskolan på Gotland, Institutionen för speldesign, teknik och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-1929.
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This paper will detail the prototyping and subsequent production of an digital narrative experience utilizing the theories of Vladimir Propp. The prototype will examine the theories detailed in Propps Morphology of the Folktale. It will implement Propps narrative functions according to a general scheme, connected by connectives. The prototype will dynamically generate narratives according to this scheme. Finally, this paper will draw conclusions about the advantages of a Propp-based system of narrative generation and the narratives produced compared to other digital narratives, such as hypertext.
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McVeigh, Kathryn Margaret. "Mosaic narrative a poetics of cinematic new media narrative." University of Southern Queensland, Faculty of Arts, 2008. http://eprints.usq.edu.au/archive/00006235/.
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This thesis proposes the Poetics of Mosaic Narrative as a tool for theorising the creation and telling of cinematic stories in a digital environment. As such the Poetics of Mosaic Narrative is designed to assist creators of new media narrative to design dramatically compelling screen based stories by drawing from established theories of cinema and emerging theories of new media. In doing so it validates the crucial element of cinematic storytelling in the digital medium, which due to its fragmentary, variable and re-combinatory nature, affords the opportunity for audience interaction. The Poetics of Mosaic Narrative re-asserts the dramatic and cinematic nature of narrative in new media by drawing upon the dramatic theory of Aristotle’s Poetics, the cinematic theories of the 1920s Russian Film Theorists and contemporary Neo-Formalists, the narrative theories of the 1960s French Structuralists, and the scriptwriting theories of contemporary cinema. In particular it focuses on the theory and practice of the prominent new media theorist, Lev Manovich, as a means of investigating and creating a practical poetics. The key element of the Poetics of Mosaic Narrative is the expansion of the previously forgotten and undeveloped Russian Formalist concept of cinematurgy which is vital to the successful development of new media storytelling theory and practice. This concept, as originally proposed but not elaborated by Kazansky, encompasses the notion of the creation of cinematic new media narrative as a mosaic – integrally driven by the narrative systems of plot, as well as the cinematic systems of visual style created by the techniques of cinema- montage, cinematography and mise-en-scene.
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Cardmarker, Amanda, and Caroline Beaufoy. "Parlamentet - politik på humornivå : en narrativ och samtalsanalytisk studie." Thesis, Halmstad University, School of Social and Health Sciences (HOS), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-4104.
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Då humor spelar en stor roll i våra vardagliga liv, inte minst som förmedlare av seriösa samhällsfenomen (Palmer, 2004), kändes det intressant för oss att belysa en medieform som har såväl humor som samhällspolitiska ämnen på agendan. I anknytning till vårt syfte och våra frågeställningar, vilka innefattar en jämförelse mellan två utvalda avsnitt ur TV-serien Parlamentet, har vi använt oss av två teoretiska utgångspunkter; narrativ teori och samtalsanalys.
Vi har arbetat med en kvalitativ och textanalytisk metod och applicerat de teoretiska utgångspunkterna narrativ teori och samtalsanalys till vårt empiriska material i analysen. De begrepp vi valde ur narrativ teori är Mishlers modell, innehåll och humor som berättarstrategi, och ur samtalsanalysen valde vi att fokusera på struktur, tur- och turtagning och multimodalitet. Vi har låtit begrepet politikens medialisering fungera som en fond till vår studie, och vi har följt upp våra resultat genom dessa glasögon i slutdiskussionen.
Analysen visar att det finns likheter, men framför allt skillnader mellan avsnitten, ur både narrativ och samtalsanalytisk synvinkel. Med hjälp av teorin har vi studerat helheter och delar ur avsnitten för att kunna ge en övergripande bild av vår analys. Det resultat vi fick fram var bland annat skillnader och likheter mellan komikernas roller och avsnittens innehåll och form diskuterar vidare i slutdiskussionen.
Books on the topic "Media narrativi"
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Ecosistemi narrativi: Dal fumetto alle serie tv. Roma: Carocci editore, 2018.
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Italy) Media Mutations (Conference) (3rd 2011 Bologna. Media Mutations: Gli ecosistemi narrativi nello scenario mediale contemporaneo : spazi, modelli, usi sociali. Modena: Mucchi, 2013.
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Negri, Erica. La rivoluzione transmediale: Dal testo audiovisivo alla progettazione crossmediale di mondi narrativi. Torino: Lindau, 2015.
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Elleström, Lars. Transmedial Narration: Narratives and Stories in Different Media. Cham: Springer Nature, 2019.
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1952-, Fulton Helen, ed. Narrative and media. Cambridge: Cambridge University Press, 2005.
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Storyworlds across media: Toward a media-conscious narratology. Lincoln: University of Nebraska Press, 2014.
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Aldama, Frederick Luis, ed. Latinos and Narrative Media. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137361783.
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Rodari, Biblioteca Gianni, ed. La narrativa nella scuola media. Campi Bisenzio, FI: La Biblioteca, 1991.
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Design, American Center for, and Living Surfaces Conference (1998 : Park City, Utah), eds. New media, new narratives? [Chicago]: American Center for Design, 2000.
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Narratives in popular culture, media, and everyday life. Thousand Oaks: Sage Publications, 1997.
Find full textBook chapters on the topic "Media narrativi"
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Alvarado, Manuel, Robin Gutch, and Tana Wollen. "Narrative." In Learning the Media, 119–40. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-18681-5_5.
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Green, Melanie, Helena Bilandzic, Kaitlin Fitzgerald, and Elaine Paravati. "Narrative Effects." In Media Effects, 130–45. Fourth edition. | New York, NY : Routledge, 2020. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429491146-9.
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Thwaites, Tony, Lloyd Davis, and Warwick Mules. "Narrative." In Introducing Cultural and Media Studies, 117–33. London: Macmillan Education UK, 2002. http://dx.doi.org/10.1007/978-1-137-10160-0_7.
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Moore, Sarah E. H. "Narrative analysis." In Crime and the Media, 177–92. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-40054-3_11.
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Watson, James. "Narrative: the Media as Storytellers." In Media Communication, 130–51. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-26546-6_7.
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Raney, Arthur A. "Narrative Persuasion." In Introduction to Positive Media Psychology, 158–75. New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429353482-10.
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Morita, Hitoshi. "Narrative on the Road." In Active Media Technology, 324–32. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-02750-0_35.
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Elleström, Lars. "Narrating Through Media Modalities." In Transmedial Narration, 45–60. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01294-6_4.
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Schachtner, Christina. "A Theoretical Postscript: Time, Space, the Self and the You, and Digital Media as Narrative Constructions." In The Narrative Subject, 185–224. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51189-0_5.
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Abstract This chapter explores how the concepts of time, space, the Self, the You, and the structural characteristics of the media concerned figure in the narratives. Time, for example, is fleshed out as biographical and sociocultural time whereas space takes on form in the narrative practices of managing boundaries and organizing virtual space. The analysis continues by confirming that the narrative subject is anything but isolated. The You sets foot on the narrative stage as a benchmark or a talking point. In the interplay between narrators and media, transmedia storytelling crystallizes as a new narrative form which interlinks media-based experiences from different phases of life and from different media, giving rise to a cosmos in which the narrators act as the designers of their own stories.
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Kerner, Aaron, and Julian Hoxter. "The Stupid as Narrative Dissonance." In Theorizing Stupid Media, 109–37. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-28176-2_4.
Full textConference papers on the topic "Media narrativi"
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Walker Moir-McClean, Tracey. "The Imaginative Space of Narrative." In 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.7.
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Narrative imagination creates a space of learning where contemporary and historic knowledge of designed place merge. This paperdiscusses how an instructor’s curation and narration of archival material can provoke design-students to imagine narratives and actively visualize processes humans use to construct, inhabit and adjust comfort in place. The concept of narrative imagination presented in this paper is informed by traditional narrative as Marie-Laure Ryan defines it her 2005 article, Narrative and the Split Condition of Digital Textuality: (The traditionalist school) “conceives narrative as an invariant core of meaning, a core that distinguishes narrative from other types of discourse, and gives it a trans-cultural, trans-historical, and trans-medial identity.”1 The work of Gerard Genette, Levi-Strauss, Roland Barthes, Jacques Derrida, Monica Fludernik, John Fiske, James Phelan, Henry Jenkins and others is also influential.2
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Notariano Belizário, Pedro, and João Carlos Massarolo. "Design narrativo de longo prazo de streaming." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.68.g61.
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Este artigo nasce da proposta de relacionar o estudo do roteiro com o estudo dos novos hábitos de consumo do espectador. Em essência, explicaremos o fenômeno do binge-wathching (compulsão), a partir da análise do desenho narrativo de séries complexas, identificando na macroestruturação deste formato suas qualidades específicas que promovem a maratona do espectador. De forma mais abrangente, faremos nossa análise comparando as estruturas narrativas de séries e filmes, apontando as diferenças entre os desenhos narrativos desses dois formatos que impossibilitam a comparação de uma série com um filme extenso. No fundo, procuramos refutar a ideia de que “à medida que evoluem os hábitos relacionados com a forma de ver séries televisivas, tendem a ser cada vez mais concebidos e escritos como um longa-metragem” (KALLAS, 2016, p. 16). A partir dessa afirmação de Kallas, entrelaçando conceitos de hábitos de consumo com os de roteiro, surgem algumas questões: se uma série é como um longa-metragem, por que reclamamos da duração de longas-metragens, como O Irlandês, de Martin Scorsese, com suas maçantes 3,5 horas de duração, enquanto consegue fazer uma maratona de séries inteiras contendo pelo menos o dobro de horas? Se uma série é como um filme longo, por que ela é dividida em episódios, mesmo quando podem ser assistidos em sequência – compulsivamente? Se uma série é como um longa-metragem, por que precisa da elaboração colaborativa de uma sala de escritores, em vez de ser concebida por um único autor? Para não dizer que essa comparação estrutural entre filmes e séries seja impossível, mostraremos como ela é problemática ou, no mínimo, prejudicial para a análise de séries complexas como formatos autônomos, com noções próprias de elaboração e estruturação. Neste sentido, ao contrário do cinema, as séries são construídas a partir de uma estrutura de repetição de atos dentro da estrutura — episódios que geralmente possuem de 3 a 5 atos cada. Isto resulta em uma maior densidade narrativa da série, uma vez que os atos comprimidos no tempo levam a um ritmo de narração mais rápido, com pontos de trama mais recorrentes na história, capazes de intensificar o engajamento e aumentar a atenção do espectador que pratica a compulsividade. Tamanha quantidade de atos, arcos narrativos e personagens vão além da capacidade criativa de um único autor, exigindo a elaboração colaborativa de uma sala de roteiristas, com várias cabeças pensando a história simultaneamente. Assim, este artigo busca, a partir da comparação das macroestruturas de séries e filmes, apontar as diferenças no desenho narrativo destes dois formatos. Em outras palavras, pretendemos elucidar um conceito simples: diferentes formatos pressupõem a existência de diferentes narrativas de design.
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Wang, Tong, Ping Chen, and Boyang Li. "Predicting the Quality of Short Narratives from Social Media." In Twenty-Sixth International Joint Conference on Artificial Intelligence. California: International Joint Conferences on Artificial Intelligence Organization, 2017. http://dx.doi.org/10.24963/ijcai.2017/539.
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An important and difficult challenge in building computational models for narratives is the automatic evaluation of narrative quality. Quality evaluation connects narrative understanding and generation as generation systems need to evaluate their own products. To circumvent difficulties in acquiring annotations, we employ upvotes in social media as an approximate measure for story quality. We collected 54,484 answers from a crowd-powered question-and-answer website, Quora, and then used active learning to build a classifier that labeled 28,320 answers as stories. To predict the number of upvotes without the use of social network features, we create neural networks that model textual regions and the interdependence among regions, which serve as strong benchmarks for future research. To our best knowledge, this is the first large-scale study for automatic evaluation of narrative quality.
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Notariano Belizário, Pedro, and João Carlos Massarolo. "Diseño narrativo de formato largo de la transmisión." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.68.g60.
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Este artículo nace de la propuesta de relacionar los estudios de guión con los estudios de los nuevos hábitos de consumo del espectador. En esencia, explicaremos el fenómeno de la maratón de series a partir del análisis del diseño narrativo de series complejas, identificando en la macroestructuración de este formato las cualidades específicas que promueven este fenómeno en el espectador. De manera más exhaustiva, haremos nuestro análisis comparando las estructuras narrativas de series y películas, señalando las diferencias entre los diseños narrativos de estos dos formatos, que hacen imposible que una serie sea comparada con una película extendida. Básicamente, intentamos desmentir la idea de que “a medida que evolucionen los hábitos relacionados con la forma de ver las series de televisión, tenderán a ser cada vez más concebidos y escritos como un largometraje” (KALLAS, 2016, p. 16). De esta afirmación de Kallas, entrelazando conceptos de hábitos de consumo con los de guion, surgen algunas preguntas: si una serie es como un largometraje, ¿por qué nos quejamos de la duración de los largometrajes, como El irlandés de Martin Scorsese, con sus aburridas 3.5 horas de duración, mientras podemos ver maratones de series completas que contienen al menos el doble de horas? Si una serie es como una película larga, ¿por qué está dividida en episodios incluso cuando estos se pueden ver en secuencia (maratones)? Si una serie es como un largometraje, ¿por qué necesita la elaboración colaborativa de una sala de escritores en lugar de ser concebida por un solo autor? Por no decir que esta comparación estructural entre películas y series sea imposible, mostraremos cómo es problemática o, al menos, perjudicial para el análisis de las series complejas como formato autónomo, con sus propias nociones de elaboración y estructuración. En este sentido, a diferencia de las películas, las series se construyen a partir de una estructura de repetición de actos dentro de la misma, episodios que generalmente tienen de 3 a 5 actos cada uno. Esto da como resultado una mayor densidad narrativa de la serie, ya que los actos comprimidos en el tiempo conducen a un ritmo de narración más rápido, con puntos argumentales más recurrentes en la historia, capaces de intensificar el engagement y aumentar la capacidad de atención del espectador que realiza la maratón. Tal cantidad de actos, arcos narrativos y personajes van más allá de la capacidad creativa de un solo autor, requiriendo una elaboración colaborativa de una sala de guionistas, con varias cabezas pensando la historia simultáneamente. Así, este artículo busca, a partir de la comparación de las macroestructuras de series y películas, señalar las diferencias en el diseño narrativo de estos dos formatos. En otras palabras, pretendemos dilucidar un concepto simple: diferentes formatos presuponen la existencia de diferentes diseños narrativos.
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Cobos, Miguel, and Patricia Salvador. "From literary narrative to video game narrative." In 8th International Conference on Human Interaction and Emerging Technologies. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002763.
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Videogames have become a technological application that goes beyond entertainment; their participation in sociocultural processes is much more interesting and profitable than we might think. They have evolved from their original mission of entertainment to other fields such as social, cultural, medical, and other categories that fall into serious games.In the beginning they were developed by programmers and companies that began to emerge to meet the demand of new players. Now we know that consumers of this type of media have many requirements that have made their production involves a multidisciplinary team, among these requirements we can highlight the need to live the story at every moment.Videogames are present in our society, playing them is only one of the shores of this great sea, on the other side, there is an emerging-producing world that directs its work to various areas of human development. In the career of Graphic Design at Indoamerica University, students generate videogames based on the contents they receive, however, there has not been a deep emphasis on the narrative during the design process of these. For this reason, it is intended to identify a model that allows relating literary, graphic and videogame narratives, to involve narrative design within the creative process. Based on classroom experiences of the last five years, the academic work and the result of the products delivered by the students, an analysis was made that determined that the story is present but is not immersed in each of the elements that can be seen from the gameplay. Based on this, bibliographic research was made about literary narrative and its relationship with the narrative design for the video game, considering the significant contributions of Clara Fernández, Adrián Suárez, Jesse Schell, Alckmar dos Santos, Scott Rogers, Oliver Pérez, among others. This work presents a model of the relationship between literary, graphic, and video game narratives aimed at building the narrative design in new video games, on the other hand, to analyze these narratives in a current video game and tune it.We intend to automate this model in a video game prototype, in which the students participate, and then make use of it in the narrative design of new projects.
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Kostopoulou, Efstathia, Ana Javornik, Petros Koutsolampros, Simon Julier, and Ava Fatah gen. Schieck. "Mediated Spatial Narratives." In MAB18: Media Architecture Biennale. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3284389.3284395.
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Lyons, Nina, Matt Smith, and Hugh McCabe. "Sensory Seduction & Narrative Pull." In 2018 IEEE Games, Entertainment, Media Conference (GEM). IEEE, 2018. http://dx.doi.org/10.1109/gem.2018.8516543.
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Kennedy-Karpat, Colleen. "Adaptation studies in Europe." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.02015k.
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Adaptation is a creative process that crosses and blurs boundaries: from page to stage, from small screen to big screen – and then, sometimes, back again. Beyond questions of form and medium, many adaptations also cross national borders and language barriers, making them important tools for intercultural communication and identity formation. This paper calls for a more intensive, transnational study of adaptation across print, stage, and screens in EU member and affiliate countries. For the highest possible effectiveness, interdisciplinarity is key; as a cultural phenomenon, adaptation benefits from perspectives rooted in a variety of fields and research methods. Its influence over transnational media flows, with patterns in production and reception across European culture industries, offers scholars a better understanding of how narratives are transformed into cultural exports and how these exchanges affect transnational relationships. The following questions are proposed to shape this avenue for research: (1) How do adaptations track narrative and media flows within and across national, linguistic, and regional boundaries? (2) To what extent do adapted narratives reflect transnational relationships, and how might they help construct Europeanness? (3) How do audiences in the EU respond to transnational adaptation, and how are European adaptations circulated and received outside Europe? (4) What impact does adaptation have in the culture industries, and what industrial practices might facilitate adaptation across media platforms and/or national boundaries? The future of adaptation studies and of adaptation as a cultural practice in Europe depends on the development of innovative, comparative, and interdisciplinary approaches to adaptation. The outcomes of future research can hold significant value for European media industries seeking to expand their market reach, as well as for scholars of adaptation, theater, literature, translation, and screen media.
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Kennedy-Karpat, Colleen. "Adaptation studies in Europe." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.02015k.
Full textAbstract:
Adaptation is a creative process that crosses and blurs boundaries: from page to stage, from small screen to big screen – and then, sometimes, back again. Beyond questions of form and medium, many adaptations also cross national borders and language barriers, making them important tools for intercultural communication and identity formation. This paper calls for a more intensive, transnational study of adaptation across print, stage, and screens in EU member and affiliate countries. For the highest possible effectiveness, interdisciplinarity is key; as a cultural phenomenon, adaptation benefits from perspectives rooted in a variety of fields and research methods. Its influence over transnational media flows, with patterns in production and reception across European culture industries, offers scholars a better understanding of how narratives are transformed into cultural exports and how these exchanges affect transnational relationships. The following questions are proposed to shape this avenue for research: (1) How do adaptations track narrative and media flows within and across national, linguistic, and regional boundaries? (2) To what extent do adapted narratives reflect transnational relationships, and how might they help construct Europeanness? (3) How do audiences in the EU respond to transnational adaptation, and how are European adaptations circulated and received outside Europe? (4) What impact does adaptation have in the culture industries, and what industrial practices might facilitate adaptation across media platforms and/or national boundaries? The future of adaptation studies and of adaptation as a cultural practice in Europe depends on the development of innovative, comparative, and interdisciplinary approaches to adaptation. The outcomes of future research can hold significant value for European media industries seeking to expand their market reach, as well as for scholars of adaptation, theater, literature, translation, and screen media.
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Millard, David. "Session details: Narrative systems." In HT '12: 23rd ACM Conference on Hypertext and Social Media. New York, NY, USA: ACM, 2012. http://dx.doi.org/10.1145/3259183.
Full textReports on the topic "Media narrativi"
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Yatsymirska, Mariya. MODERN MEDIA TEXT: POLITICAL NARRATIVES, MEANINGS AND SENSES, EMOTIONAL MARKERS. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11411.
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The article examines modern media texts in the field of political journalism; the role of information narratives and emotional markers in media doctrine is clarified; verbal expression of rational meanings in the articles of famous Ukrainian analysts is shown. Popular theories of emotions in the process of cognition are considered, their relationship with the author’s personality, reader psychology and gonzo journalism is shown. Since the media text, in contrast to the text, is a product of social communication, the main narrative is information with the intention of influencing public opinion. Media text implies the presence of the author as a creator of meanings. In addition, media texts have universal features: word, sound, visuality (stills, photos, videos). They are traditionally divided into radio, TV, newspaper and Internet texts. The concepts of multimedia and hypertext are related to online texts. Web combinations, especially in political journalism, have intensified the interactive branching of nonlinear texts that cannot be published in traditional media. The Internet as a medium has created the conditions for the exchange of ideas in the most emotional way. Hence Gonzo’s interest in journalism, which expresses impressions of certain events in words and epithets, regardless of their stylistic affiliation. There are many such examples on social media in connection with the events surrounding the Wagnerians, the Poroshenko case, Russia’s new aggression against Ukraine, and others. Thus, the study of new features of media text in the context of modern political narratives and emotional markers is important in media research. The article focuses review of etymology, origin and features of using lexemes “cмисл (meaning)” and “сенс (sense)” in linguistic practice of Ukrainians results in the development of meanings and functional stylistic coloring in the usage of these units. Lexemes “cмисл (meaning)” and “сенс (sense)” are used as synonyms, but there are specific fields of meanings where they cannot be interchanged: lexeme “сенс (sense)” should be used when it comes to reasonable grounds for something, lexeme “cмисл (meaning)” should be used when it comes to notion, concept, understanding. Modern political texts are most prominent in genres such as interviews with politicians, political commentaries, analytical articles by media experts and journalists, political reviews, political portraits, political talk shows, and conversations about recent events, accompanied by effective emotional narratives. Etymologically, the concept of “narrative” is associated with the Latin adjective “gnarus” – expert. Speakers, philosophers, and literary critics considered narrative an “example of the human mind.” In modern media texts it is not only “story”, “explanation”, “message techniques”, “chronological reproduction of events”, but first of all the semantic load and what subjective meanings the author voices; it is a process of logical presentation of arguments (narration). The highly professional narrator uses narration as a “method of organizing discourse” around facts and impressions, impresses with his political erudition, extraordinary intelligence and creativity. Some of the above theses are reflected in the following illustrations from the Ukrainian media: “Culture outside politics” – a pro-Russian narrative…” (MP Gabibullayeva); “The next will be Russia – in the post-Soviet space is the Arab Spring…” (journalist Vitaly Portnikov); “In Russia, only the collapse of Ukraine will be perceived as success” (Pavel Klimkin); “Our army is fighting, hiding from the leadership” (Yuri Butusov).
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Bwerinofa, Iyleen Judy, Jacob Mahenehene, Makiwa Manaka, Bulisiwe Mulotshwa, Felix Murimbarimba, Moses Mutoko, Vincent Sarayi, and Ian Scoones. Living Through a Pandemic: Competing Covid-19 Narratives in Rural Zimbabwe. Institute of Development Studies, August 2022. http://dx.doi.org/10.19088/ids.2022.058.
Full textAbstract:
Through a real time analysis of the Covid-19 pandemic across rural Zimbabwe, this Working Paper explores the competing narratives that framed responses and their politics. Based on 20 moments of reflection over two years, together with ongoing document and media analysis and an intensive period of qualitative interviewing, a complex, dynamic story of the pandemic ‘drama’ emerges, which contrasts with snapshot perspectives. Across the period, a science-led public health narrative intersects with a security and control narrative promoted by the state and is countered by a citizens’ narrative that emphasises autonomy, independence, and local innovation. The politics of this contestation over narratives about appropriate pandemic responses are examined over three periods – reflecting different waves of infection – and in relation to two conjunctures – an early, strict lockdown and the rollout of vaccines. Different narratives gain ascendancy and overlap at different times, but a local citizen-led narrative emerges strongly in the context of heavy-handed lockdowns, inadequate state capacity, and struggles around rural livelihoods. The pandemic has reshaped relationships between the state and citizens in important ways, with self-reliance rooted in local resilience central to local pandemic responses.
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Huang, Ran, Sejin Ha, and Jee-Sun Park. Consumers' Narrative Transportation on Social Media: A Study of Instagram of Fashion Brands. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-196.
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Kallas, Diana. The Magic Potion of Austerity and Poverty Alleviation: Narratives of political capture and inequality in the Middle East and North Africa. Oxfam, November 2021. http://dx.doi.org/10.21201/2021.8298.
Full textAbstract:
Dominant narratives promoting economic growth at the expense of state institutions and basic social services have long underpinned a neoliberal model of spiralling debt and austerity in the MENA region. This exacerbates political capture and inequality and takes shape in an environment of media concentration and shrinking civic space. It is important for change movements to understand dominant narratives in order to challenge and shift them. With the right tools, civil society organizations, activists, influencers and alternative media can start changing the myths and beliefs which frame the socio-economic debate and predetermine which policy options are accepted as possible and legitimate, and which are not.
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McVey, Molly. The Public Persona of Nelson R. Mandela: A Study of U.S. Print Media Narratives. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6576.
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Volkmer, Ingrid. Social media and COVID-19: A global study of digital crisis interaction among Gen Z and millennials. University of Melbourne, November 2021. http://dx.doi.org/10.46580/124367.
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The COVID-19 pandemic is revealing that global big tech platforms and social media are core sites for continuous engagement with crisis content for young citizens. This study included twenty-four countries from all continents at the time of the heightened COVID-19 crisis, and our survey targeted 18-40 year olds, Millennials and Gen Zs – overall n = 23,483 respondents. Outcomes show that for young citizens across continents, crisis communication is not just about press briefings. Instead, crisis communication is continuous interaction and engagement across their multiple source environments. Young citizens navigate social media, national media, search sites and messaging apps, they engage with peer communities, science and health experts and – across all countries – substantially with the social media content of the World Health Organization (WHO). Overall, they create their own individual crisis narrative based on the sources they use and the insights they select. This report outlines these new crisis communication dimensions within a transnational social media space and offers numerous suggestions for incorporating social media in crisis response strategies.
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Nalla, Vineetha, and Nihal Ranjit. Afterwards: Graphic Narratives of Disaster Risk and Recovery from India. Indian Institute for Human Settlements, 2022. http://dx.doi.org/10.24943/9788195648559.
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Afterwards is an anthology of visual narratives of disaster impacts and the process of recovery that follows. These stories were drawn from the testimonies of disaster-affected individuals, households, and communities documented between 2018-19 from the Indian states of Odisha, Tamil Nadu, and Kerala. They communicate challenges related to housing resettlement, loss of livelihoods, gender-based exclusion among others. At the heart of this anthology lies the idea of ‘representation’: how are those affected portrayed by the media, state actors, official documents; how are their needs represented and how do these portrayals impact the lives of those at risk and shape their recovery? Graphically illustrating these themes provides a platform to relay personal experiences of disaster risk and recovery.
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Rodríguez Borda, Nadia del Pilar, and María Isabel Porras Torres. Vivencias de la discapacidad en estudiantes universitarios de la modalidad virtual de la zona centro Boyacá como factor protector en salud pública. Universidad Nacional Abierta y a Distancia - UNAD, 2021. http://dx.doi.org/10.22490/ecisa.4765.
Full textAbstract:
El objetivo de la presente investigación es Interpretar las vivencias de la discapacidad, a partir de la narrativa de estudiantes universitarios de la modalidad virtual del departamento de Boyacá. Esta investigación se inscribe en el paradigma de naturaleza cualitativa, enfoque hermenéutico. Se seleccionarán a los participantes por bola de nieve o en cadena hasta la saturación teórica. Se recolectará la información por medio de una entrevista a profundidad, no estructurada basada en un derrotero temático afín a las categorías de análisis. Cada entrevista será grabada, transcrita y analizada. Posteriormente se realizará la codificación y categorización, para estructurar la historia de vida de cada participante. Este análisis e interpretación de los datos, requiere de un proceso de categorización y triangulación de los mismos, la comparación constante en cada uno de los pasos, y la ejecución de un análisis de contenido y un análisis visual. Así mismo se deberá elaborar matrices, que permitan la interpretación de la información, para finalmente comunicar los resultados obtenidos. Se realizará la comunicación de los resultados en primera medida a los participantes de la investigación quienes validarán la información y en segunda medida se realizará la comunicación relativa a los informes de corte académico.
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Nalla, Vineetha, Nihal Ranjit, Yashodara Udupa, Mythili Madhavan, Jasmitha Arvind, Garima Jain, and Teja Malladi. Afterwards – Graphic Narratives of Disaster Risk and Recovery from India (Volume Set). Indian Institute for Human Settlements, 2022. http://dx.doi.org/10.24943/9788195648573.
Full textAbstract:
Afterwards is an anthology of graphic narratives of disaster impacts and the process of recovery that follows. These stories were drawn from the testimonies of disaster-affected individuals, households, and communities documented from the Indian states of Odisha, Tamil Nadu, and Kerala. The book has been translated into the regional languages of these states – Odia, Tamil, and Malayalam. They communicate challenges related to housing resettlement, loss of livelihoods, and gender-based exclusion among others. At the heart of this anthology lies the idea of ‘representation’: how are disaster-affected people portrayed by the media, state actors, and official documents; how are their needs represented and how do these portrayals impact the lives of those at risk and shape their recovery?
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Pulido Montes, María Andreina. La narrativa como estrategia de aprendizaje de cuidado paliativo a la luz de una teoría de rango medio. Ediciones Universidad Cooperativa de Colombia, December 2022. http://dx.doi.org/10.16925/gcnc.39.
Full textAbstract:
Para los alumnos y estudiantes es importante contar con un insumo que permita llevar las experiencias de cuidado a la apropiación de la disciplina a la luz de una teoría de rango medio. A continuación, se describe una experiencia de cuidado en el servicio de urgencias con una paciente en situación paliativa. Teniendo en cuenta que la situación de un paciente paliativo tiene un impacto tanto en la familia como en la sociedad, y se hace necesario exponer acciones de cuidado, ya que las enfermedades paliativas van en aumento y los enfermeros debemos contar con estrategias para brindar un cuidado de calidad. A partir de esta narrativa, se desarrollarán ejercicios de identificación de metaparadigmas y conceptos según la teoría de los cuidados desarrollada, con el objetivo de realizar la vinculación de la teoría de Kristen M. Swanson al cuidado enfermero que se realiza en servicios críticos, como lo es un servicio de urgencias, además se dará una guía de los pasos de los primeros auxilios psicológicos como acción de cuidado.