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Книги з теми "Transmedia studies"

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Автор: Grafiati
Опубліковано: 23 вересня 2022
Оновлено: 29 січня 2023

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1

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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2

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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Анотація:
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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3

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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4

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

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5

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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6

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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7

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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8

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

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9

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

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10

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

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11

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

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12

Zagal, José, and Sebastian Deterding. Role-Playing Game Studies: Transmedia Foundations. Routledge, 2018.

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13

Freeman, Matthew, and Renira Rampazzo Gambarato. The Routledge Companion to Transmedia Studies. Edited by Matthew Freeman and Renira Rampazzo Gambarato. Routledge, 2018. http://dx.doi.org/10.4324/9781351054904.

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14

Zagal, José, and Sebastian Deterding. Role-Playing Game Studies: Transmedia Foundations. Taylor & Francis Group, 2018.

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15

Zagal, José, and Sebastian Deterding. Role-Playing Game Studies: Transmedia Foundations. Taylor & Francis Group, 2018.

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16

Hassler-Forest, Dan, and Sean Guynes. Star Wars and the History of Transmedia Storytelling. Amsterdam University Press, 2017.

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17

Stein, Daniel, Jan-Noël Thon, and Andreas Rauscher. Comics and Videogames: From Hybrid Medialities to Transmedia Expansions. Routledge, Chapman & Hall, Incorporated, 2022.

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18

Stein, Daniel, Jan-Noël Thon, and Andreas Rauscher. Comics and Videogames: From Hybrid Medialities to Transmedia Expansions. Taylor & Francis Group, 2020.

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19

Stein, Daniel, Jan-Noël Thon, and Andreas Rauscher. Comics and Videogames: From Hybrid Medialities to Transmedia Expansions. Taylor & Francis Group, 2020.

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20

Stein, Daniel, Jan-Noël Thon, and Andreas Rauscher. Comics and Videogames: From Hybrid Medialities to Transmedia Expansions. Routledge, 2020.

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21

Daniel, Stein, Thon Jan-Noël, Rauscher Andreas, Stein Daniel, and Thon Jan-Noël, eds. Comics and Videogames: From Hybrid Medialities to Transmedia Expansions. Taylor & Francis, 2021.

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22

Stein, Daniel, Jan-Noël Thon, and Andreas Rauscher. Comics and Videogames: From Hybrid Medialities to Transmedia Expansions. Taylor & Francis Group, 2020.

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23

King, Rob. Cornell Woolrich and Transmedia Noir: Crime Fiction Studies Volume 4, Issue 1. Edinburgh University Press, 2023.

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24

Harvey, C. Fantastic Transmedia: Narrative, Play and Memory Across Science Fiction and Fantasy Storyworlds. Palgrave Macmillan, 2015.

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25

Harvey, C. Fantastic Transmedia: Narrative, Play and Memory Across Science Fiction and Fantasy Storyworlds. Palgrave Macmillan Limited, 2015.

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26

Fantastic Transmedia: Narrative, Play and Memory Across Science Fiction and Fantasy Storyworlds. Palgrave Macmillan, 2015.

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27

Marvel Studios Phenomenon: Inside a Transmedia Universe. Bloomsbury Publishing Plc, 2017.

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28

Voigts, Eckart. Memes and Recombinant Appropriation. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.16.

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This essay considers the ways in which new intertextual forms engendered by emerging technologies—mashups, remixes, reboots, samplings, remodelings, transformations—further develop the impulse to adapt and appropriate, and the ways in which they challenge the theory and practice of adaptation and appropriation. It argues that broad notions of adaptation in adaptation studies and the emergence of media protocols are useful for the analysis of recombinant appropriations and adaptations/appropriations in general. It explores the political and aesthetic dimensions of participatory mashups and viewer engagements with, and appropriations of, transmedia franchises, taking a variety of Internet memes and the BBC franchise Sherlock as case studies and focusing on the politically, ethically, and aesthetically transgressive potential of recombinant adaptations.
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29

Elleström, Lars. Transmedial Narration: Narratives and Stories in Different Media. Springer International Publishing AG, 2018.

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30

LEGO Studies: Examining the Building Blocks of a Transmedial Phenomenon. Taylor & Francis Group, 2014.

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31

LEGO Studies: Examining the Building Blocks of a Transmedial Phenomenon. Taylor & Francis Group, 2014.

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32

Starks, Lisa S. Ovid and Adaptation in Early Modern English Theatre. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474430067.001.0001.

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Ovid was a multifaceted icon of lovesickness, endless change, libertinism, emotional torment and violence in early modern England. This collection uses adaptation studies in connection with other contemporary theoretical approaches to analyze early modern transformations of Ovid, providing innovative perspectives on the “Ovids” that haunted the early modern stage, while exploring intersections between adaptation theory and gender/queer/trans studies, ecofeminism, hauntology, transmediality, rhizomatics and more. The chapters explore Ovidian adaptations in the works of Shakespeare, Marlowe, Jonson, Mary Sidney Herbert, Lyly, Hewood, among others. The volume is divided into four sections: I. Gender/Queer/Trans Studies and Ovidian Rhizomes; II. Ovidian Specters and Remnants; III. Affect, Rhetoric, and Ovidian Appropriation; and IV. Ovid Remixed: Transmedial, Rhizomatic, and Hyperreal Adaptations.” Focusing on these larger topics, this book examines the multidimensional, ubiquitous role that Ovid and Ovidian adaptations played in English Renaissance drama and theatrical performance. The book contains chapters by Simone Chess, Shannon Kelley, Daniel G. Lauby, Deborah Uman, Lisa S. Starks, John S. Garrison, Catherine Winiarski, Jennifer Feather, John D. Staines, Goran Stanivukovic, Louise Geddes, Liz Oakley-Brown, Ed Gieskes, and Jim Casey.
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33

Santiago Iglesias, José Andrés, and Ana Soler Baena, eds. Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbp.

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Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion aims at advancing the study of anime, understood as largely TV-based genre fiction rendered in cel, or cel-look, animation with a strong affinity to participatory cultures and media convergence. Taking Neon Genesis Evangelion (Shin Seiki Evangerion) as a case study, this volume acknowledges anime as a media form with clearly recognizable aesthetic properties, (sub)cultural affordances and situated discourses. First broadcast in Japan in 1995-96, Neon Genesis Evangelion became an epoch-making anime, and later franchise. The initial series used already available conventions, visual resources and narrative tropes typical of anime in general and the mecha (or giant-robot) genre in particular, but at the same time it subverted and reinterpreted them in a highly innovative and as such standard-setting way. Investigating anime through Neon Genesis Evangelion this volume takes a broadly understood media-aesthetic and media-cultural perspective, which pertains to medium in the narrow sense of technology, techniques, materials, and semiotics, but also mediality and mediations related to practices and institutions of production, circulation, and consumption. In no way intended to be exhaustive, this volume attests to the emergence of anime studies as a field in its own right, including but not prioritizing expertise in film studies and Japanese studies, and with due regard to the most widely shared critical publications in Japanese and English language. Thus, the volume provides an introduction to studies of anime, a field that necessarily interrelates media-specific and transmedial aspects. In Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion, anime is addressed from a transnational and transdisciplinary stance. The disciplinary and methodological perspectives taken by the individual chapters range from audio-visual culture, narratology, performance and genre theory to fandom studies and gender studies. In its first part, the book focuses on textual analysis and media form in the narrow sense with regard to filmic media, bank footage, voice acting and musical score, and then it broadens the scope to consider subcultural discourse, franchising, manga and video game adaptations, as well as critical and affective user engagement.
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34

Guarneri, Michael. Vampires in Italian Cinema, 1956-1975. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458115.001.0001.

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The book takes as its subject a corpus of thirty-three vampire movies made, distributed and exhibited during the peak years of film production in Italy, and certified to be of Italian nationality by state institutions such as the Italian Show Business Bureau and the Italian Film Censorship Office. Positioning itself at the intersection of Italian film history, horror studies and cultural studies, the book asks: why, and how, is the protean, transnational and transmedial figure of the vampire appropriated by Italian cinema practitioners between 1956 and 1975? Or, more concisely, what do the vampires of post-war Italian cinema mean? The aim is to show that – in spite of Italian vampire cinema’s imported and derivative nature, and its great reliance on profits coming from distribution on the international market – Italian cinematic vampires reflect their national zeitgeist from the economic miracle of the late 1950s to the mid-1970s austerity, twenty years of large political and socio-economic change in which gender politics were also in relative flux. The result of an original research into film production data, film censorship files, screenplays, trade papers, film magazines and vampire-themed paraliterature, the book leaves the well-trod track of award-winning art films to shed light on some of the so-called ‘lower forms’ of cinematic culture, looking for the economic backbone and cultural instrumentality of post-war Italian cinema in the run-of-the-mill genre movies rushed through a cheap production and into domestic and international distribution to parasitically (vampirically?) exploit a given commercially successful film.
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35

Fleury, James, Bryan Hikari Hartzheim, and Stephen Mamber, eds. The Franchise Era. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474419222.001.0001.

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As Hollywood shifts towards the digital era, the role of the media franchise has become more prominent. Over a series of essays by a range of international scholars, this edited collection argues that the franchise is now an integral element of American media culture. As such, the collection explores the production, distribution, and marketing of franchises as a historical form of media-making. In particular, the essays analyze the complex industrial practice of managing franchises across interconnected online platforms with a global scope, presenting a network of scholarly texts that critically look at the collision of new and old industrial logics against an ever more fragmented and consolidated mediascape. The authors address how traditional incumbents like film studios and television networks have responded to the rise of big data, Silicon Valley companies like Facebook, Apple, Amazon, Netflix, and Google; the ways in which legacy franchises are adapting to new media platforms and technologies; the significant historical continuities and deviations in franchise-making and how they shape the representation of on-screen texts across digital displays; and, finally, how emerging media formats are expanding the possibility for transmedia experiences. In this regard, The Franchise Era: Managing Media in the Digital Economy offers an in-depth analysis of the tectonic shifts that have disrupted entertainment companies in the twenty-first century, demonstrating that the media franchise stands front and center in this high-stakes environment.
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36

Teo, Tze-Yin. If Babel Had a Form. Fordham University Press, 2022. http://dx.doi.org/10.5422/fordham/9781531500184.001.0001.

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In twentieth-century intersections of China and Asia with the United States, translations did more than communicate meaning across politicized and racializing differences of language and nation. Instead, transpacific translation breached the regulative protocols that created those very differences of cultural value and meaning. The result saw translators cleaving to the sounds and shapes of poetry to imagine a translingual “likeness of form” but not of meaning or kind. At stake in this form without meaning is a new task of equivalence. As a concept, equivalence has been rejected for its colonizing epistemology of value, naming a broken promise of translation and false premise of comparison. Yet in veering from those very ways of knowing, the writers studied in this book theorized a poetic equivalence, negating the colonial foundations of the concept to discover the power of translation in surprising places. Igniting aporias of meaning into flashpoints for a radical literary translation, the book’s immanent readings narrate accounts of poetic equivalence across the iconoclastic poetics of American modernist Ernest Fenollosa, the vernacular experiments of Republican-era China’s central reformer Hu Shih, the trilingual musings of modern Chinese writer and Los Angeles expatriate Eileen Chang, the unfinished work of the Asian American transmedial artist Theresa Cha, and a post-Tiananmen elegy by the contemporary Chinese poet Yang Lian. The conclusion returns to the deconstructive genealogy of recent debates on translation and untranslatability, displacing the convention of radical alterity for a no less radical equivalence.
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37

Hermansson, Casie. Filming the Children's Book. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474413565.001.0001.

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Children’s metafictions have their roots in literacy pedagogy and entertainment, and remain enormously popular both with authors, readers, and teachers. But they pose a number of unique challenges to screen adaptation. While – arguably – audiences of children’s adaptations prefer that the adaptation adhere to the source as closely as possible, in the case of metafiction its defining ‘meta’ element does not directly transmediate. Yet a more direct filmic equivalence for metafiction – metafilm – reflects filmicity rather than bookishness. This book studies first what children’s metafiction purports to be and to do for the youth reader (infants to young adults). The second chapter examines the distinctive challenges in adapting children’s metafiction to film. The third chapter presents a number of children’s films, adaptations and not, featuring ‘bookish’ themes, characters, settings, and symbols, and develops a ‘film grammar’ for how these are traditionally depicted. The fourth chapter discusses children’s metafilm and draws from a selection of these films. The final, fifth, chapter presents a sub-type of children’s metafilm adaptations which ‘break the fifth wall’ by reflexively focusing not on a single medium (literature or film) but rather on the adaptation processes themselves. These adaptations are meta-adaptations. The book contains over fifty film stills and a glossary of terms. It discusses works like Inkheart, The Invention of Hugo Cabret, The Spiderwick Chronicles, and the Harry Potter series and the Series of Unfortunate Events. It is grounded in and contributes to contemporary adaptation criticism and theory.
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