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Добірка наукової літератури з теми "Transmedia studies"

Автор: Grafiati

Опубліковано: 23 вересня 2022

Оновлено: 29 січня 2023

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Статті в журналах з теми "Transmedia studies"

Fast, Karin, and Henrik Örnebring. "Transmedia world-building: The Shadow (1931–present) and Transformers (1984–present)." International Journal of Cultural Studies 20, no. 6 (September 15, 2015): 636–52. http://dx.doi.org/10.1177/1367877915605887.

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The study of transmedia storytelling has in recent years turned towards a more historicized understanding of its object of study, and also shifted to a wider perspective on narrative and narrative elements, focusing more on the transmediality of story-worlds and world-building rather than just narratives (‘plots’) in the stricter sense. This article combines these interrelated perspectival shifts in an analysis of story-worlds/world-building in two transmedia franchises: The Shadow (1931–present) and Transformers (1984–present), with a focus on the mechanics and processes of world-building in relation to transmedial change (i.e. how world elements are transformed over time as well as when story-worlds move across media platforms).

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Lee, Christopher Joseph. "Transmedia Uprising." TSQ: Transgender Studies Quarterly 9, no. 1 (February 1, 2022): 132–36. http://dx.doi.org/10.1215/23289252-9475607.

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Ryan, Marie-Laure. "Narratologia transmedia e transmedia storytelling." Mediapolis – Revista de Comunicação, Jornalismo e Espaço Público, no. 6 (March 5, 2018): 9–25. http://dx.doi.org/10.14195/2183-6019_6_1.

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O termo transmedia storytelling tornou-se viral na área dos media studies. Mas, em que medida é que este termo define um fenómeno verdadeiramente novo e diferente dos conceitos já conhecidos de adaptação e transficcionalidade? O que significa realmente contar uma história através de diferentes media e em que condições isto é uma mais-valia? Neste artigo, serão avaliados vários tipos de projetos que se podem considerar de transmedia storytelling, embora não se enquadrem necessariamente no paradigma transmedia da ‘Costa Oeste’ dos Estados Unidos (i.e. Hollywood), bem como analisados três tipos de discurso associados a este fenómeno – o discurso da indústria, o discurso dos fãs e o discurso académico –, esperando poder diferenciar este último dos outros dois e, assim, definir alguns dos seus objetivos.

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Hernández Ruiz, Javier. "Diseñando una recepción participativa para universos transmedia: roles y desafíos." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 28 (August 1, 2017): 21. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2017282055.

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Desde una perspectiva que complementa la experiencia como creador de su autor y las aproximaciones académicas, desde una metodología conscientemente interdisciplinar, este artículo explora la problemática que se deriva a la hora de acometer un diseño de producción de un universo transmedia. Se parte del estudio del caso Plot 28 (2013), narrativa transmedia cocreada por el autor del artículo, para ir radiografiando los distintos pasos de ese diseño de potenciales audiencias –parte fundamental del diseño de producción en la lógica transmedial-: destinatarios, público objetivo, perfil, intereses y motivaciones de los usuarios, evolución del consumidor al prosumidor, exigencias de la cultura participativa, los Contenidos Generados por Usuarios (CGU), creación de comunidades de fans a partir de narrativas participativas y su proyección en las redes sociales. Amparándose en las aportaciones de la mercadotecnia, cruzándolas con la narratología, los estudios inermediales y de los new media, así como los estudios de recepción, se buscan unos parámetros que definan las problemáticas y el modus operandi con vistas a lanzar un producto basado en el transmedia storytelling. Combining the experience as a transmedia author and the academic approach, from an interdisciplinar methodology, this article explores the challenges about a transmedia production design. From the case study of Plot 28 (2013), a Spanish transmedia storytelling created by the author of this text, it will be the excuse of mapping the different steps in order to reach the potential audiences; this is a relevant part of transmedia production design that has an impact on several items: target, profiles, interests, motivation of users, evolution from consumer to prosumer, challenges of participative culture, Users Generated Contents, fandom and the use of social networks… Sharing the advances of marketing, mixing with narratology, studies in intermediality, recepcion and new media studies, this text is looking for some parameters to define which is the modus operandi to put on the market a transmedia product.

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Pietrzak-Franger, Monika. "Transmediality: A Model in Global Nineteenth-Century Studies." Global Nineteenth-Century Studies 1, no. 1 (June 1, 2022): 21–26. http://dx.doi.org/10.3828/gncs.2022.5.

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I argue that the nineteenth century is particularly pertinent to our understanding of transmediality and, moreover, that transmediality offers a valuable framework to rethink and study the period itself. In what follows, then, I sketch some of the advantages of what I call nineteenth-century transmedia studies, and of global transmedia studies in particular. I begin by outlining how a focus on transmediality transforms our understanding of the era. Against this backdrop, I show the value of transmedia practices for global nineteenth-century studies, and, last but not least, spotlight some of the implications this may have for the shape of future nineteenth-century scholarship and funding.

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Aziz, Jamaluddin, Normah Mustaffa, and Norhayati Hamzah. "Proposing Transmedia Storytelling for Malaysian Film Industry: Thematic Considerations." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 4 (December 30, 2021): 56–69. http://dx.doi.org/10.17576/jkmjc-2021-3704-04.

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Media convergence is ultimately the result of the disruption in media technology, creating a new episteme that foregrounds the diverse and interlinked way a story travels across platforms. One crucial development of media convergence is transmedia. While media scholars argue that media convergence has resulted in ontological uncertainties, it ironically entrenches some recognisable functions of the traditional media. This enables traditional communication functions like storytelling to be incorporated within media convergence. Storytelling, as communication functions, has continued to challenge the spatial and temporal metaphors of messages, allowing cultural symbols to transcend traditionally held boundaries in communication. Indeed, much has been written about transmedia storytelling, less however, has linked transmedia storytelling with the Malaysian film industry. The main aim of this paper is to thematically review past studies on transmedia storytelling in order to propose the idea that transmedia storytelling can help the Malaysian film industry as it is a new form of communication that the industry needs in increasing production, creating and determining local and global consumption of Malaysian stories. The review of past studies on transmedia storytelling reveals five salient themes: 1) Transmedia and engagement; 2) Liberatory potential; 3) Hybridisation of producer and user; 4) Uniqueness of media genre, and 5) Media literacy. The themes found are used to problematise transmedia storytelling and the Malaysian Film industry; this leads to the proposal of how transmedia storytelling can help the Malaysian film industry prosper while contributing to the understanding of transmedia storytelling and its benefit for the Malaysian film industry. Keywords: Transmedia storytelling, Malaysian film industry, media convergence, digital technologies, themes.

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du Plessis, Charmaine. "Prosumer engagement through story-making in transmedia branding." International Journal of Cultural Studies 22, no. 1 (January 9, 2018): 175–92. http://dx.doi.org/10.1177/1367877917750445.

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This article pertains to prosumer engagement, an important topic in academic research on media consumption and branding. Increasingly, there have been calls in the branding literature for a more audience-centred approach to making a deeper emotional connection with consumers in an age when interactive media have become imperative for communication. Prosumers, who both consume and produce media, have a different relationship with a brand to traditional consumers, as they are more actively involved in the brand’s story. The participatory nature of transmedia branding strengthens prosumer engagement through brand stories that enable an active contribution in an immersive story world. This article considers the rise in the use of transmedia story-making within the contemporary branding environment by proposing a framework for prosumer engagement in transmedia branding. Specifically, it examines how a leading transmedia brand, LEGO, has sought to engage prosumers in an active community using elements of this framework through an integrative, immersive and spreadable story.

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Sánchez-Mesa, Domingo, and Jan Baetens. "La literatura en expansión. Intermedialidad y transmedialidad en el cruce entre la Literatura Comparada, los Estudios Culturales y los New Media Studies." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 27 (January 3, 2017): 6. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2017271536.

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Este artículo, que los autores entienden como un «position paper», apunta a dos cuestiones fundamentalmente. Por un lado, trata de ofrecer una revisión crítica, tanto desde el punto de vista terminológico como teórico, de los cambios que ha experimentado el campo de la literatura comparada desde la emergencia de la cultura visual dentro del estudio de la literatura, a partir de la aparición institucional de los estudios sobre «palabra e imagen» en los años 80 y de las tendencias actuales de atención a los textos y productos digitales y transmediales. Por otro lado, centrándonos en el éxito reciente de la noción de transmedia storytelling (relato transmedial), el artículo elabora una distinción conceptual entre narrativa («narrative») y relato (storytelling) al tiempo que discute, de un modo algo más general el lugar de la literatura en el dominio de la escritura digital contemporánea. This article, which the authors see as a position paper, addresses a twofold issue. On the one hand, it tries to offer an overview, terminological as well as theoretical, of the changes that have modified the field of comparative literature since the emergence of visual culture within the study of literature, from the institutional appearance of word and image studies in the 1980s till the actual tendencies toward digital and transmedial studies. On the other hand, focusing on the current success of the notion of transmedia storytelling, it elaborates on the conceptual distinction between narrative and storytelling, while also discussing in a more general mode the place of literature in contemporary digital writing.

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Nieracka, Agnieszka. "Wędrując z TARDIS przez „rozrywkowe supersystemy” albo jak niebieska budka policyjna ratuje (?) badaczy z opresji." Literatura i Kultura Popularna 25 (July 28, 2020): 97–108. http://dx.doi.org/10.19195/0867-7441.25.6.

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Contemporary reflection upon the category of entertainment supersystem proposed by Marsha Kinder can be combined with the concept of transmedia storytelling (Henry Jenkins) applied in numerous academic publications in various contexts and understandings. The subject of the author’s reflection is the functioning of the BBC TV series, Doctor Who, and its media extensions. This BBC TV series is considered to be the most complex model example of transmedia storytelling. Both the classic series (1963–1989) and the 2005 Doctor Who reboot make researchers conduct a textual an-alysis which is inextricably linked to the research on television production practices. The new series of Doctor Who’s adventures can be best described by the culture of convergence and its practices. While tracing the development of the brand, its historic and contemporary contexts inscribed in British cultural studies, as well as relations of the anchor product with the categories of transmed-iality and remediation — the author concludes that nowadays studying supersystems requires the application of much more complex research tools.

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De la Torre Espinosa, Mario. "Narrador y narratario en el cine documental transmedia." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 28 (August 1, 2017): 60–75. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2017282057.

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Frente a la descripción de los mundos ficcionales transmedia proporcionada por Henry Jenkins, numerosas prácticas documentales recientes están demostrando la posibilidad de que estos mundos tengan una clara base factual. La teoría debe ahora articular conceptos que sean aplicables al ámbito cinematográfico, a pesar de las resistencias que puedan encontrarse. En este artículo se analizan las figuras del narrador y del narratario en los documentales transmedia y las mutaciones que se pueden producir a medida que se va cambiando de medio. Although Henry Jenkins has declared the need of creating fiction worlds for the existing of transmedia storytelling, numerous documentary works are showing recently the possibility too of transmedia with a factual basis. Theory must now to articulate concepts to be applied in cinema studies, though the resistances. This article analyzes the figures of narrator and the narratee in transmedia documentaries, and the mutations produced in the changes of medium.

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Дисертації з теми "Transmedia studies"

Long, Geoffrey A. "Transmedia storytelling : business, aesthetics and production at the Jim Henson Company." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39152.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2007.
Includes bibliographical references (p. 177-181) and index.
Transmedia narratives use a combination of Barthesian hermeneutic codes, negative capability and migratory cues to guide audiences across multiple media platforms. This thesis examines complex narratives from comics, novels, films and video games, but draws upon the transmedia franchises built around Jim Henson's Labyrinth and The Dark Crystal to provide two primary case studies in how these techniques can be deployed with varying results. By paying close attention to staying in canon, building an open world, maintaining a consistent tone across extensions, carefully deciding when to begin building a transmedia franchise, addressing open questions while posing new ones, and looking for ways to help audiences keep track of how each extension relates to each other, transmedia storytellers can weave complex narratives that will prove rewarding to audiences, academics and producers alike.
by Geoffrey A. Long.
S.M.

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Gupta, Anjali. "Beneath Still Waters: An Exploration of Transmedia Narratives and Twitter Fiction." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/604.

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Beneath Still Waters is an original transmedia mystery narrative that explores the possibilities of an interconnected media landscape as a unique platform for creative use and audience engagement. Transmedia storytelling refers to the building of a fictional world comprised of multiple parts across different platforms, where each component makes a valuable contribution to the whole. This project uses the tools and strategies of social media to tell a complex and interactive multi-platform story.

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Higgins, Evan (Evan Lee). "The allure of choice : agency and worldbuilding in branching-path, transmedia universes." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/111300.

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Thesis: S.M. in Comparative Media Studies, Massachusetts Institute of Technology, Department of Humanities, 2017.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 88-92).
Agency is often taken as a given in branching-path stories because they, almost by definition, allow for enhanced user involvement. But this truism hasn't changed as the structure of the worlds that these branching texts exist within have. Transmedia, branching-path texts represent an intersection of both linear media and forking ones and thus, an interesting case study of how player agency can be expanded and re-categorized in these larger universe. By looking at where and how agency is located in three different case studies, we can get a better sense of how agency is changing-and staying the same-in these multi-platform, player-driven worlds. The first chapter in this thesis looks at the intersection of worldbuilding and transmedia and where player agency can hope to fit between these traditions. The second focuses on the Game of Thrones universe, looking to understand the effects that adding the branching-path Telltale game had on this universe. The third chapter looks to Mass Effect and all its related media in an effort to understand how an undefined hero ties the whole universe together. The fourth chapter focuses on Quantum Break, and its groundbreaking, wholly integrated, transmedia structure. The final chapter discusses steps creators in the future can take to expand player agency. By looking at these worlds through an increased understanding of where the player fits in, it becomes clearer how these universes can be expanded in the future while still giving the player the most autonomy over their story.
by Evan Higgins.
S.M. in Comparative Media Studies

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Benson, Krystina Lee. "The committee on public information : a transmedia war propaganda campaign." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/53820/1/Krystina_Benson_Thesis.pdf.

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This thesis develops an understanding of how propaganda entered the realm of journalism and popular culture in the United States during World War I through an examination of materials created by the Committee on Public Information (CPI). The CPI was a US governmental propaganda organisation created during World War I to persuade the nation to mobilise for war. Three of its divisions were chosen for this study: the Division of News (DoN), the Division of Four Minute Men (FMM) and the Division of Pictorial Publicity (DPP). Chapter 1 provides a general context for the thesis, outlines the research questions and details previous research on the CPI. Chapter 2 outlines the methods of analysis for interpreting the case study chapters and provides contextual information. The case studies are presented in Chapters 3, 4 and 5. These chapters are structured in the order of context, medium and content, and contain historical contextual information about each particular division, medialogical aspects of its propagated form and thematic groupings created from close reading of CPI materials. A semiotic analysis in the Peircian tradition is also performed on visual forms of propaganda in Chapter 5. Chapter 6 discusses how the expectations of persuasion, truth and amusement relate to each other when mediated in culture, using Lotman’s concept of the semiosphere. This further develops an understanding of propaganda as a cultural system in relation to other cultural systems – in this case, journalism and popular culture. Chapter 7 provides conclusions about the study, outlines relative strengths and weaknesses regarding the selection and deployment of methods, makes recommendations for future research, and summarises the key contributions of the thesis.

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Lewis, Alicen M. "Fish Out of Water: A Transmedia Adaptation of The Little Mermaid." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/601.

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Fish Out of Water: A Transmedia Adaptation of The Little Mermaid is a critical examination of how by using transmedia approaches to storytelling we are able to make characters with less common background more relatable. In this project the story of Maria, a first generation student, is told through the mediums of vlogs, blog posts, tumblr, and twitter.

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Calhoun, Claudia. ""The Story You Are About to Hear Is True"| Dragnet, Transmedia Storytelling, and the Postwar Police Procedural." Thesis, Yale University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3582257.

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“The Story You Are About to Hear Is True”: Dragnet, Transmedia Storytelling, and the Postwar Police Procedural" places the radio, television program, and feature film, Dragnet (19491959), at the intersection of cultural history and media history during the U.S. postwar period. The program, which follows two police detectives as they investigated crime, was drawn from real cases from the Los Angeles Police Department. By bringing audiences into police work with a new seriousness, Dragnet functioned artistically and ideologically as a pedagogical site for U.S. citizens. Heavily influenced by the program's collaboration with the LAPD, Dragnet presented an ideal of civic cooperation that responded to the increased faith in professionalized knowledge and organizational competence resulting from the successes of World War II.

This dissertation argues that Dragnet's place in postwar culture cannot be understood apart from its place in media history. The source of Dragnet's pedagogical effectiveness, as well as its popularity, was an aesthetically ambitious form of realism that crossed media platforms. By breaking the hackneyed conventions of crime drama, Dragnet reinvigorated radio drama (19491957). It then carried its prestige over to television (1951-1959), where it defined the terms of one of the new medium's most stable genres, the police procedural. In 1954, it became one of the first television shows to become a feature film. In addition to its contribution to postwar culture, Dragnet's fluid movement across media fills out the history of transmedia storytelling and convergence culture, making an important intervention in media studies.

Combining archival research and close textual analysis to see the full spectrum of Dragnet's cultural influence, this project contributes to a fuller understanding of how industrial practices shape civic knowledge and definitions of citizenship, a critical concern in an increasingly mediated age.

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Boyacioğlu, Beyza. "Zeki Müren, a prince from outer space : reading Turkey's gender-bending pop legend as a transmedia star." Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/106744.

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Анотація:

Thesis: S.M., Massachusetts Institute of Technology, Department of Comparative Media Studies/Writing, 2016.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 94-99).
Zeki Müren is Turkey's beloved queer pop star whose career spans a period between his first radio emission in 1951 and his death during a live television program in 1996. He is a pioneer of 'Turkish Art Music', a trailblazer in utilizing novel mass communication tools, a proud nationalist who donated half of his estate to Military Veterans Organization, and an LGBTQ solidarity symbol whose gender-bending image has been an inspiration to queer individuals in Turkey. Müren's artistic production and his star image contain multiplicity of meanings that have rendered him accessible to publics from various backgrounds, subcultures, and generations. This thesis examines Zeki Müren as a media text that is scattered across music (radio and records), cinema, gazino nightclub performances, and television, during his lifetime, and deconstructed and appropriated by fans, artists, musicians, and media makers after his death. Based on their ideological and representational affordances, these media together create a polysemy - multiple meanings that Müren's star image signifies - whose elements are often in tension with each other, while providing different entry points for different audiences. With the guidance of Richard Dyer's work on intertextuality and structured polysemy of star images, and Henry Jenkin's theory of transmedia storytelling, this research follows the traces of Müren's transformation from his radio days, to cinema, gazino, and television performances, while situating these textual analyses within Turkey's political, media, and LGBTQ histories. In addition, two media components in-production - a feature-length film 'A Prince from Outer Space: Zeki Müren' and a participatory and interactive documentary 'Zeki Müren Hotline' are interwoven into this intertextual and cross-generational conversation, emphasizing the generative polysemy of Müren's star image.
by Beyza Boyacioglu.
S.M.

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Kanco, David. "Transmedia education on carbon capture and storage technology : The case of the CO2 degrees challenge." Thesis, Jönköping University, HLK, Medie- och kommunikationsvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-54648.

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The master’s thesis addresses the transmedia education strategies applied in the CO2 degrees challenge, a project by the Global Carbon Capture and Storage Institute (GCCSI), dedicated to educating students about the low-carbon technology carbon capture and storage (CCS). Based on the literature review, the thesis theoretically discusses the public perception of low-carbon technology and carbon capture and storage in connection to transmedia storytelling and education. The thesis is structured upon a qualitative approach and conducts a detailed study of a selected single case. In addition, expert interviews are used to support the in-depth analysis of the case study with the use of the transmedia design analytical and operational model by Gambarato et al. (2020). The analysis provides insights into how this technical process was presented to the educators and students and identifies challenges and opportunities of the transmedia education project in the realm of low-carbon technologies. The results of the study show that the CO2 degrees challenge offered a significant contribution to the knowledge dissemination about the CCS technology among students, helped them to understand current problems, and to discuss real-time solutions. The results also point to the challenge of communicating a scientific and engineering topic with the audience outside of the technological and engineering industry, the complicated structure of the project, and difficulties connected with possible financial interests of the private companies supporting and funding the educational material and the project itself.

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Jenkins, Alexandra Mary. "Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407770633.

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Bozic, Sonja. "Transmedia Storytelling Through the Lens of Independent Filmmakers: A Study of Story Structure and Audience Engagement." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou154152508641946.

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Книги з теми "Transmedia studies"

Guynes, Sean, and Dan Hassler-Forest, eds. Star Wars and the History of Transmedia Storytelling. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462986213.

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Star Wars has reached more than three generations of casual and hardcore fans alike, and as a result many of the producers of franchised Star Wars texts (films, television, comics, novels, games, and more) over the past four decades have been fans-turned-creators. Yet despite its dominant cultural and industrial positions, Star Wars has rarely been the topic of sustained critical work. Star Wars and the History of Transmedia Storytelling offers a corrective to this oversight by curating essays from a wide range of interdisciplinary scholars in order to bring Star Wars and its transmedia narratives more fully into the fold of media and cultural studies. The collection places Star Wars at the center of those studies’ projects by examining video games, novels and novelizations, comics, advertising practices, television shows, franchising models, aesthetic and economic decisions, fandom and cultural responses, and other aspects of Star Wars and its world-building in their multiple contexts of production, distribution, and reception. In emphasizing that Star Wars is both a media franchise and a transmedia storyworld, Star Wars and the History of Transmedia Storytelling demonstrates the ways in which transmedia storytelling and the industrial logic of media franchising have developed in concert over the past four decades, as multinational corporations have become the central means for subsidizing, profiting from, and selling modes of immersive storyworlds to global audiences. By taking this dual approach, the book focuses on the interconnected nature of corporate production, fan consumption, and transmedia world-building. As such, this collection grapples with the historical, cultural, aesthetic, and political-economic implications of the relationship between media franchising and transmedia storytelling as they are seen at work in the world’s most profitable transmedia franchise.

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Fehrle, Johannes, and Werner Schäfke-Zell, eds. Adaptation in the Age of Media Convergence. NL Amsterdam: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462983663.

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This collection considers new phenomena emerging in a convergence environment from the perspective of adaptation studies. The contributions take the most prominent methods within the field to offer reconsiderations of theoretical concepts and practices in participatory culture, transmedia franchises, and new media adaptations. The authors discuss phenomena ranging from mash-ups of novels and YouTube cover songs to negotiations of authorial control and interpretative authority between media producers and fan communities to perspectives on the fictional and legal framework of brands and franchises. In this fashion, the collection expands the horizons of both adaptation and transmedia studies and provides reassessments of frequently discussed (BBC’s Sherlock or the LEGO franchise) and previously largely ignored phenomena (self-censorship in transnational franchises, mash-up novels, or YouTube cover videos).

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Chobanov, Georgi, ред. Books and reading in audiovisual transmedia: Film Database for empirical book science: Книги и четене в аудиовизуална трансмедийност: Филмова база данни за емпиричното книгознание. Varna, Bulgaria: LiterNet, 2018.

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Elleström, Lars. Transmedial Narration: Narratives and Stories in Different Media. Cham: Springer Nature, 2019.

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author, Livingstone Andrew 1987, and McKenny Mike author, eds. The Marvel Studios phenomenon: Inside a transmedia universe. New York: Bloomsbury Academic, 2016.

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Christie, Ian, and Annie Oever, eds. Stories. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462985841.

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Stories are perceived as central to modern life. Not only in narrative entertainment media, such as television, cinema, theater, but also in social media. Telling/having "a story" is widely deemed essential, in business as well as in social life. Does this mark an intensification of what has always been part of human cultures; or has the realm of "story" expanded to dominate twenty-first century discourse? Addressing stories is an obvious priority for the Key Debates series, and Volume 7, edited by Ian Christie and Annie van den Oever, identifies new phenomena in this field — complex narration, puzzle films, transmedia storytelling — as well as new approaches to understanding these, within narratology and bio-cultural studies. Chapters on such extended television series as Twin Peaks, Game of Thrones and Dickensian explore distinctively new forms of screen storytelling in the digital age. With contributions by Vincent Amiel, Jan Baetens, Dominique Chateau, Ian Christie, John Ellis, Miklós Kiss, Eric de Kuyper, Sandra Laugier, Luke McKernan, José Moure, Roger Odin, Annie van den Oever, Melanie Schiller, Steven Willemsen, Robert Ziegler.

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Fink, Moritz. Understanding The Simpsons. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462988316.

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Another book on The Simpsons? you might wonder. Isn’t the yellow cartoon troupe around the eponymous chaotic family somewhat worn-out? Perhaps you even ask yourself whether that nineties’ show is still on the air anyhow. Accolades such as "the best TV show of the twentieth century" or "the longest-running scripted series on American prime-time television" have elevated The Simpsons to the pop culture pantheon, while also suggesting the very vintage character of the program. But the label "The Simpsons" refers not just to a show that seems to belong to a bygone television era, it implies a rich narrative universe, including a set of iconic figures, familiar across continents and generations. Through lens of a transmedia studies, Understanding The Simpsons traces the franchise’s trajectory, from its original conception shaped by alternative media traditions to its astounding, long-lived impact as a cult phenomenon in popular culture. Examining the legacy of online fan forums and bootleg T-shirts from the show’s heyday in the early 1990s, as well as the meaning of The Simpsons in contemporary digital culture, this book demonstrates how one of the most popular comedy series of all time has redefined the intersections between the corporate media and participatory culture – and is alive indeed.

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Routledge Companion to Transmedia Studies. Taylor & Francis Group, 2018.

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Freeman, Matthew, and Renira Rampazzo Gambarato. Routledge Companion to Transmedia Studies. Taylor & Francis Group, 2018.

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Freeman, Matthew, and Renira Rampazzo Gambarato. Routledge Companion to Transmedia Studies. Taylor & Francis Group, 2018.

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Частини книг з теми "Transmedia studies"

Huang, Kuo-Ting. "Immersive Storytelling Case Studies." In Transmedia Change, 169–77. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003150862-13.

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Euritt, Alyn M. "Podcasting's transmedia liveness." In The Routledge Companion to Radio and Podcast Studies, 267–74. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003002185-31.

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Ludewig, Bianca. "Researching popular music through transmedia festivals." In Contemporary Popular Music Studies, 251–57. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25253-3_23.

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Legerén Lago, Beatriz, and Verónica Crespo-Pereira. "Innovation, Transmedia and Neuroscience in Television." In Studies in Systems, Decision and Control, 103–12. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91860-0_7.

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Gilardi, Filippo, and Celia Lam. "Correction to: Transmedia in Asia and the Pacific." In Palgrave Series in Asia and Pacific Studies, C1. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-7857-1_15.

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Gilardi, Filippo, and Celia Lam. "Introduction to Transmedia in Asia and the Pacific." In Palgrave Series in Asia and Pacific Studies, 1–10. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-7857-1_1.

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Vázquez-Herrero, Jorge, and Arnau Gifreu-Castells. "Interactive and Transmedia Documentary: Production, Interface, Content and Representation." In Studies in Systems, Decision and Control, 113–27. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91860-0_8.

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Ng, Jenna, and Shen Jiang. "Transmedia Non-Fiction in China: Mapping the Transmedia Story of “Yiyi,” the Youngest Survivor of the 2011 Wenzhou Train Crash." In Palgrave Series in Asia and Pacific Studies, 83–105. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-7857-1_5.

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Munro, Kim. "Transmedia Activism and Future Dreaming: Big hART’s Yijala Yala." In Palgrave Series in Asia and Pacific Studies, 213–31. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-7857-1_10.

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Gilardi, Filippo, and Celia Lam. "Teaching Transmedia in China: Complexity, Critical Thinking, and Digital Natives." In Palgrave Series in Asia and Pacific Studies, 281–305. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-7857-1_13.

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Тези доповідей конференцій з теми "Transmedia studies"

del Val Noguera, Elena, and Antonio González Sorribes. "TRANSMEDIA STORYTELLING EDUTAINMENT EXPERIENCE IN ENGINEERING STUDIES." In 14th International Technology, Education and Development Conference. IATED, 2020. http://dx.doi.org/10.21125/inted.2020.1510.

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Hening, Irish, and Suma Rusdiarti. "Dystopian Narrative in Gundala’s Multiverse: Transmedia Studies." In Proceedings of the 4th BASA: International Seminar on Recent Language, Literature and Local Culture Studies, BASA, November 4th 2020, Solok, Indonesia. EAI, 2021. http://dx.doi.org/10.4108/eai.4-11-2020.2314221.

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Li, Xiaolong. "Practical Exploration: Research Into the Strategies, Core Content, and Implementation of Transmedia Narrative Communication by the Palace Museu." In The Asian Conference on Asian Studies 2022. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2187-4735.2022.3.

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Evallyo, Violetta. "Transformations of the Other's Image in Transmedia. Discussion on the Example of The Witcher." In The 5th International Conference on Art Studies: Research, Experience, Education (ICASSEE 2021). Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789048557240/icassee.2021.021.

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Massarolo, João. "Study Group on Interactive Media in Image and Sound (GEMInIS)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.89.

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The Study Group on Interactive Media in Image and Sound (GEMInIS) is linked to the Postgraduate Program in Image and Sound, at the Federal University of São Carlos (UFSCar). The group's research lines are articulated in the theoretical and practical perspective of transmedia logic, prioritizing studies on multiplatform audiovisual communication (cinema, TV, video games, VOD, social media, and mobile devices, among others) as a thematic axis. The researchers developed are applied in the production of multiplatform audiovisual content, taking into account the dynamics of media, market and technological ecosystems, with emphasis on: studies on media convergence; structures of streaming platforms; formats and business models of media tech companies and video-on-demand services offered by television broadcasting; local and transnational audiovisual production arrangement; innovative serial fiction strategies; environmental narratives in the context of participatory culture and transmedia design. In this context, the reflections and analyzes on the processes of platforming of contemporary audiovisual incorporate transdisciplinary dialogue, rupture movements, literacy strategies and discussions on public policies for the Brazilian audiovisual sector. From these lines of work, we intend to discuss in this presentation the application domains developed by the group, specific to multiplatform audiovisual communication. (i) Specialization Course in Multiplatform Audiovisual Content Production (EAM) - Specialization course created in 2016, focused on practical applications, with the objective of training qualified specialists to work in the areas of communication, design, and arts, in the development of audiovisual content for platforms, thus expanding the field of professional performance in the audiovisual market. (ii) Post Graduation Program in Multiplatform Audiovisual Communication (PPGCOM) - Professional Master's Degree in Transmedia. Program conceived in the Stricto Senso Post-Professional Graduate Program, which prioritizes applied research based on transmedia logic, with innovative content, processes and projects. The Program requests to develop methodologies and design projects aimed at the development of multiplatform audiovisual communication. (iii) GEMInIS Journal (ISSN: 2179-1465 - Qualis: B2) Online publication, It’s dedicated to the dissemination of articles, reviews of works and on the context of media convergence and audiovisual production in multiple transmedia platforms. The journal can have open access to researchers who want to submit their work. (iv) GEMInIS International Journey (JIG) - Event held since 2014 with the theme of Multiplatform Transmedia Entertainment, with the objective of bringing together research groups that work at the intersection of the areas of communication, design and audiovisual, for the presentation and discussion of the results of their investigations. The presentation of the lines of action of the GEMInIS group try to find to discuss the importance of transmedia logic in the development of methodologies aimed at structured professional performance, based on the relationship between the university, the market, and the social impact of multiplatform communication.

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Звіти організацій з теми "Transmedia studies"

Donaghey, S., S. Berman, and N. Seja. More Than A War: Remembering 1914-1918. Unitec ePress, May 2016. http://dx.doi.org/10.34074/emed.035.

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More Than a War: Remembering 1914-1918 presents a creative juxtaposition of digital platforms—a combination of audio, video, archival images, soundscapes, and social media, among others—to tell the stories from 1914–1918 a century later. Led by Sara Donaghey, Sue Berman and Nina Seja, the transmedia project brings together staff and students from Unitec Institute of Technology’s Department of Communication Studies and Auckland Libraries to provide a unique oral contribution to recording the history of Aotearoa New Zealand in The First World War.

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