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1
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.
Повний текст джерелаАнотація:
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.
2
Gupta, Anjali. "Beneath Still Waters: An Exploration of Transmedia Narratives and Twitter Fiction." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/604.
Повний текст джерелаАнотація:
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.
3
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.
Повний текст джерелаАнотація:
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
4
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.
Повний текст джерелаАнотація:
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.
5
Lewis, Alicen M. "Fish Out of Water: A Transmedia Adaptation of The Little Mermaid." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/601.
Повний текст джерелаАнотація:
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.
6
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.
Повний текст джерелаАнотація:
“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.
7
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.
Повний текст джерелаАнотація:
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.
8
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.
Повний текст джерелаАнотація:
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.
9
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.
Повний текст джерела
10
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.
Повний текст джерела
11
Hutten, Rebekah. ""You Spun Gold Out of This Hard Life": Feminist Worldmaking Practices in the Transmedia Storyworld of Beyoncé's Lemonade." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38194.
Повний текст джерелаАнотація:
This thesis examines the ways in which Beyoncé Knowles-Carter’s 2016 album Lemonade works as a culturally significant text in the realm of popular media. Situated within Black feminist theoretical concepts of freedom practices and Black Feminist Love Politics, the thesis argues that Lemonade mobilizes stylistic and strategic intertextual references to develop a transmedia storyworld within a paradigm of resistance to, and healing from, white supremacist histories. Such intertextual information exists within the musical, lyrical, visual, poetic, and transmedia domains of Lemonade. The transmedia extensions include interviews, live performances, speeches, social media posts, and photoshoots. Combined with theories from Black feminist thought of freedom practices—which include talking back (bell hooks 1989), dark sousveillance (Simone Browne 2015), and interruptions to whiteness (DiAngelo 2011)— and Black Feminist Love Politics (Jennifer Nash 2013), the intertextual data present in Lemonade can be analyzed using methodologies from the field of popular musicology (intertextuality and mediality).
12
Lilja, William, and Julia Jönsson. "Transmedialt berättande som marknadsföringsverktyg : En studie om hur Generation Z ställer sig till marknadsföring i flera mediekanaler i olika format." Thesis, Malmö universitet, Institutionen för datavetenskap och medieteknik (DVMT), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-44714.
Повний текст джерелаАнотація:
Syfte – Syftet med denna uppsats är att undersöka fenomenet transmedialt berättande som marknadsföringsverktyg och hur Generation Z ställer sig till marknadsföring som kommunicerar information genom flera mediekanaler i olika format. Ur ett historiskt perspektiv används transmedialt berättande inom n jesbranschen och definieras som en interaktiv berättelse som finns på flera plattformar i olika format. Från fiktiva berättelser används fenomenet både som ett världsskapande berättande till ett användbart verktyg inom marknadsföring. För denna uppsats definieras Generation Z som personer födda mellan år 1995 och 2008. Metod – Uppsatsens unders kningsmetod är tillämpad utifrån en metodtriangulering som inkluderar en kombination av en kvantitativ metod i form av en enkät, en kvalitativ metod i form av semistrukturerade intervjuer samt en litteraturs kning. Resultat och slutsats – Resultatet från enkätundersökningen visade att Generation Z är negativt inställda till att delta i en kampanj som stäcker sig över flera medier i olika format. Detta är baserat på respondenternas medievanor som visade lågt engagemang. Resultatet från intervjuundersökningen visades ytterligare fynd som menar på att geografisk plats kan vara en bidragande faktor till målgruppens låga engagemang. Empirin från undersökningen menade även på att respondenterna och intervjuobjekten behöver ha ett personligt intresse för en produkt, tjänst, företag eller kampanj för att vilja delta eller engagera sig. Det mest signifikanta resultatet var sociala medier som visade sig vara det mest använda mediet vilket stärker tidigare forskning. De mest använda sociala medieplattformarna var Snapchat, YouTube och TikTok. Formaten som den undersökta målgruppen ställde sig mest negativt till var marknadsföring via traditionella mediekanaler, däribland TV och tryckt material. Format som målgruppen var positivt inställda till var marknadsföring ä r via influencers samt korta reklamvideor. Resultatet visade således att det är svårt att engagera Generation Z genom platsspecifikt berättande, det vill säga att närvara fysiskt där kampanjen äger rum. Däremot visade undersökningen mottaglighet för genomarbetat samt unikt innehåll, gärna igenkänningsfaktorer såsom musik.Purpose – This paper aims to examine the phenomenon transmedia storytelling as a marketing tool and how Generation Z responds to marketing that communicate information through several media channels in different formats. From a historical perspective, transmedia storytelling has mainly been used in the entertainment industry and is described as an interactive narrative that exists on multiple platforms in different formats. From fictional stories, the phenomenon is used both as a world-creating narrative and as a useful tool for marketing campaigns. For this paper, Generation Z is defined as people who are born between the years 1995 and 2008. Methodology – The thesis has been using the approach of a method triangulation that includes a combination of a quantitative method by a survey, a qualitative method by semi-structured interviews, and a literature search. Findings and conclusion – The findings from the quantitative survey showed that the demographic cohort Generation Z has a negative attitude about marketing in several media in different formats. This is based on the target group's media habits that showed low commitment. The results from the interviews showed further findings that suggest that geographical location may be a contributing factor to the target group's low commitment. Through the qualitative interviews, further findings were shown that the respondents and the interviewees need to have a personal interest in a product, service, company, or campaign in order to want to participate or get involved with it. The most significant result was social media, that showed to be the most used medium, which strengthens previous research. The most used social media platforms were Snapchat, YouTube, and TikTok. The format that the target group showed the least engagement was marketing through traditional media channels, including television and printed material. Additional receptive formats for marketing are through influencers and short commercials. Also, the result suggested that it is difficult to engage Generation Z using site-specific storytelling, i.e., to be physically present where the campaign takes place. On the other hand, the thesis showed receptivity to elaborate and unique content, preferably recognition factors such as music.
13
Hall, Stefan. "“You’ve Seen the Movie, Now Play the Game”: Recoding the Cinematic in Digital Media and Virtual Culture." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300365433.
Повний текст джерела
14
Karlsson, Amanda, and Victor Tällö. "En inblick i transmedialt berättande : En kvalitativ studie om designandet av framgångsrika transmediala narrativ för barn." Thesis, Umeå universitet, Institutionen för informatik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135517.
Повний текст джерелаАнотація:
A transmedial narrative is to tell a story over different mediums. It's a fairly new area that took its start in 2003 by Henry Jenkins. Since then has the interest of this new way to tell a story become more and more popular. But since the access to internet and media makes it possible to reach out to a much younger audience. The research needs to do that aswell. This is a case study that is aiming to find out how a transmedial narrative could be successfully designed for children. Through analysing and comparing two giants of transmedial storytelling who has their main target audience as children. Disney's Frozen and Cars. Through mapping of boths brand’s transmedial ecosystems, then analyse them with transmedial theories, and theories about narratives for children. This paper will in the end come up with four components that all needs to take into consideration when designing successfully a transmedial narrative for children. The four components are the following: World, Content, Characters and Accessibility.
15
Boni, Marta. "De l'intertextualité au transmédial : pratiques de réécriture autour de "Romanzo criminale"." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030124/document.
Повний текст джерелаАнотація:
Tout en se présentant comme la relecture d’un fait divers de l’histoire italienne récente, Romanzo Criminale est un récit qui se déploie par le biais de différents médias : un livre, un film, une série télévisée, ainsi qu’un certain nombre de produits dérivés. On trouve également, dans les espaces en ligne Internet, des déclinaisons de ces produits générées par les utilisateurs eux-mêmes. Les pratiques de transformation ou de remix mises en œuvre par ces derniers, les hommages et autres parodies dilatent l’univers de départ en proposant des lectures alternatives au sein de communautés différentes. La présente étude explore les modalités qui s’offrent au chercheur pour une analyse de ce phénomène : si, dans un premier temps, la notion d’intertextualité peut être employée comme outil heuristique, la présence de véritables usages requiert le dépassement de la perspective narratologique et la construction d’une méthodologie de recherche adaptée au contexte contemporain. Afin de rendre compte de la multitude des pratiques existantes une enquête ethnographique dans les espaces en ligne (blogs, sites de partage de vidéos, réseaux sociaux) s’impose, assortie d’une approche critique de la notion de transmédialité. Enfin, l’une des caractéristiques les plus typiquement contemporaines du phénomène observé, celle qui consiste à faire advenir un univers fictionnel dilatable à souhait par les spectateurs, sera comparée à la mise en œuvre d’un "travail épique"Presented as a new interpretation of a momentous event in recent Italian history, Romanzo Criminale is a story spread through different types of media; it is a book, a film, a TV series, as well as a number of extra materials. Spin-offs of these products created by users can be found on the Internet as well. Users pay homage to or parody the original media by transforming or remixing its content, thus expanding the story’s universe by putting forward alternative interpretations throughout various communities both on and offline. In this study, we explore the methods available to researchers for analyzing this phenomenon. If, in the first section of the study, the notion of intertextuality can be used as a heuristic tool, in the second, the presence of actual uses requires the researcher to go beyond the narratological perspective and construct a methodology that is adapted to the contemporary context of convergence. In order to understand the multitude of existing practices, it is imperative to carry out an ethnographic investigation of online spaces (blogs, video sharing sites, social networks), and accompany it with a critical examination of the notion of transmediality. In the last section, we examine one of the most typical contemporary features of the studied phenomenon, the one which produces an everexpanding fictional universe created by spectators that will be compared to an "epic work"
16
Haugtvedt, Erica Christine. "But Wait, There's More: Serial Character and Adaptive Reading Practices in the Victorian Period." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1440247725.
Повний текст джерела
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Cox, Joseph M. "MOLOCH: Developing a German Expressionist Puzzle Game." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1492777907436196.
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Jonsson, Zakarias. "Portals drömvärld : en transmedial studie av det psykologiska rummet." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-119588.
Повний текст джерелаАнотація:
The field of video game studies has through later years shown a growing interest in game's spatialfeatures, along with their narrative implications. By introducing earlier findings of spatialmanifestations of dreams and psychological content in narrative works, with regards to their medialrepresentation into this discussion, I hope to conjoin video game research (better known asludology) with a line of psychoanalytic inquiry, which hitherto seems to have been left unexploredwithin media research. While establishing a viewpoint through the interdisciplinary field of media research andpsychoanalysis, my intention is to broach a discussion on the possibilities of expanding itsviewpoints and theoretical frameworks unto the video game medium. In the present thesis I will forthis purpose center the discussion on the dreamlike Portal games, developed by Valve Corporation,which manages to enact a psychologically interesting narrative content largely through its spatialfeatures, as well as their game mechanics. The psychoanalytic approach I intend to adopt for this study will, apart from taking mediaspecifications into account, also necessarily, following Gilles Deleuzes and Félix Guattaris focus onthe historical-political situation in their critique of earlier psychoanalytic inquiry, be directedtowards a societal context while addressing the individual works. I will thus, while analyzingspatial-psychological implications of works in different media, be regarding contemporary topics ofcultural phenomena and theories on human psychology as important factors for the forms ofexpression and thematic content, which contemporary cultural artifacts may take. The term transmediality, which below will be discussed in appliance to psychoanalytic inquiry,refers in this thesis to the definition outlined by the literary scholar Irina Rajewsky, who situates itsemergence in an ongoing development in the field of the interconnected narratology and intermedialstudy, in which I hope to engage and contribute.
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Grossi, Valerio. "Rilancio di una saga e lancio di una piattaforma. Il caso di The Mandalorian e Disney+." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amslaurea.unibo.it/25151/.
Повний текст джерелаАнотація:
Il lavoro si propone di dimostrare come il rilancio della saga di Star Wars, attuato dalla Disney e dalla Lucasfilm attraverso la serie live action The Mandalorian, presenti elementi in linea con la volontà della stessa conglomerata di lanciare la propria piattaforma OTT.
La serie ne ha rappresentato uno dei progetti di punta fin dalla data di lancio, alla ricerca di una programmazione capace di competere con le altre piattaforme non lineari sul mercato. The Mandalorian, attraverso una ricca rete di richiami inter ed extratestuali, si è prefissa il duplice obbiettivo di rilanciare la saga presso gli appassionati e il pubblico generalista e di promuovere la piattaforma.
Tramite l’analisi degli elementi testuali e contestuali si è andato ad esaminare come la produzione abbia tentato di raggiungere questi obbiettivi, ponendo particolare attenzione alla ricezione critica e alle reazioni del fandom. Oltre alla distribuzione statunitense si è affrontata anche la distribuzione internazionale della serie e le necessità di adattamento che ne sono conseguite, concentrandosi sullo specifico contesto italiano.
20
Peltola, Mikael. "Konvergenskultur – en medieteoretisk studie : En beskrivning av mediekulturens samtida tillstånd, utifrån populärkulturella och meningsskapande praktiker och dess ramverk knutna till nutida dramaserier." Thesis, Linköping University, Culture, Society, Media Production, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-20885.
Повний текст джерелаАнотація:
Drawing from the theoretical foundations of the “critical theory” of the Frankfurt School and the media ethnographic “cultural studies” approach of the british Birmingham School, this study attempts to sketch out a media theoretical overview of the contemporary state of media culture. Using the term convergence culture as the foundation, this study offers a theoretical background to the two contemporary streams that are the significant and distinct tendencies of convergence culture: intermedial convergence, its contemporary state and historical tendencies that can be traced back using the past media theoretical approach of the Frankfurt School, and cultural convergence, its contemporary state and historical tendencies, which lineage in a media theoretical context can be traced back to the british ethographic “cultural studies” field. Using contemporary drama serials to identify and pinpoint these two stream, this study shows how intermedial convergence expresses itself today through media conglomeration in terms of branding, product placement and marketing as the result of the “completed” convergence between screen culture and popular music as the current defining state of commodity culture. Using the contemporary british drama serial Doctor Who I examine the processes of meaning making among members of the television series fan culture on the popular video content page youtube.com as expressions of cultural convergence.
This study argues how the skills and talents developed in the interaction with popular culture and in a process of interaction between fans and participants (collective intelligence and participatory culture), will have an impact on the institutionalized knowledge “from above” and in a collective process will seep over to other fields of expertise. The study also argues, as a consequence of convergence culture, that in the contemporary state of online practices, social networking and in our interactions with digital media content, a mandatory “presence” has been created where we today are defined more through our online selves and these practices, than the ones that used to define us in our “physical” lives: “The medium is no longer just the message, we are living in a state where there is only messages”.
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Hörstedt, Eric. "Att designa engagerande cross-media : - en kvalitativ studie av framgångsfaktorer vid effektiv medieproduktion." Thesis, Umeå universitet, Institutionen för informatik, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-47999.
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22
Le, Hiress Sophie. "Le détective herméneute en fiction sérielle : origines et évolutions d'une figure mythique, du texte à l’image." Thesis, Brest, 2021. http://www.theses.fr/2021BRES0095.
Повний текст джерелаАнотація:
Sherlock Holmes est sans doute le détective le plus célèbre du monde, et l'une des figures littéraires les plus populaires depuis sa création par Arthur Conan Doyle en 1887. Sa notoriété est telle qu'elle outrepasse même celle de son créateur. Le personnage est devenu une véritable figure mythique dont s’est emparé l’imaginaire collectif, notamment par le biais de multiples fictions transfictionnelles et d’adaptations d’un média à l’autre. Le format sériel dans lequel le détective a fait ses premiers pas dans la fiction du XIXe siècle n’a cessé d’être utilisé pour le mettre en scène à la télévision, jusqu’à notre époque contemporaine. Cette thèse propose d’étudier la manière dont l’identité du détective s’est constituée, par un phénomène de répétition et de variation, pas le biais des transfictions qui l’ont mis à l’honneur, mais aussi grâce aux innombrables reprises dont la figure a fait l’objet jusque sur les médias sociaux. Cette étude analysera la construction du palimpseste identitaire qui façonne l’horizon d’attente des récepteurs. Nous partirons des premiers détectives de littérature (le Chevalier Dupin de Poe, l’inspecteur Lecoq de Gaboriau, et le Holmes de Doyle) et nous nous appuierons également sur des séries contemporaines, entre autres Sherlock (Gatiss et Moffat), Hannibal (Fuller), Mindhunter (Penhall) et The Alienist (Fukunaga et Verbruggen) pour explorer les devenirs possibles du détective dans la société écranique du XXIe siècle. Le parcours de la figure du détective herméneute, des origines à la période contemporaine, et les enjeux de la transposition du texte à l’écran, seront au coeur de cette analyse visant à comprendre la construction de l’identité du personnage, ce qui la constitue, et comment elle ne manifeste dans les récits étudiésSherlock Holmes is probably the most famous detective in the world, and one of the most popular literary figures since he was created by Arthur Conan Doyle in 1887. His fame even exceeds his creator’s. The character has become a true mythical figure that has been appropriated by collective imagination, particularly through numerous transfictionnal fictions and adaptations from on media to another. The serial format used for the first detective fictions in the 19th century has been continuously used to depict him on television until our contemporary era. This dissertation focuses on the way the detective’s identity has formed by repetition and variation, through transfictions but also thanks to the countless reuses of the figure, even on social media. This study will analyze the construction of a palimpsestic identity that shapes the expectations of the audience. We will start with the first detectives from literature(Poe’s Chevalier Dupin, Gaboriau’s inspecteur Lecoqand Doyle’s Sherlock Holmes) and we will also studycontemporary TV series such as Sherlock (Gatissand Moffat), Hannibal (Fuller), Mindhunter (Penhall)and The Alienist (Fukunaga and Verbruggen) inorder to explore the detective’s possible futures inthe digital culture of the 21st century.The hermeneutic detective’s evolution, from hisorigins to our contemporary era, and the issue of thetransposition from the text to the screen, will be atthe heart of this analysis that will aim atunderstanding the construction of the character’sidentity, what constitutes it and how it is representedin fiction
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Alfredsson, Philip, and Wictor Palmgren. "Är det här Amerika? : En kvalitativ studie om musikvideon “This is America” och dess plats i den samhälleliga kontexten." Thesis, Karlstads universitet, Institutionen för geografi, medier och kommunikation (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-71021.
Повний текст джерелаАнотація:
Att musik väcker känslor är nog något som vi alla kan komma överens om. Musiken kan få oss att skratta, gråta, dansa, ja, alla känslouttryck kan skapas genom den. Och kanske är den ultimata låten den som får oss att känna allting på en och samma gång, och får oss att vilja lyssna på den om och om igen. Vissa låtar med tillhörande musikvideos exploderar och får miljoner, för att inte tala om miljarder, klick. Musiken kan ibland bli mer än bara en låt, och folk kan bli sittandes och diskutera dess mening i timtal. Låten This is America, med tillhörande musikvideo, är en sådan. Den här studien redogör för den videons beståndsdelar, hur den anspelar med den nutida politiska kontexten och vad för eko den har skapat till omvärlden. För att ta reda på hur videon blivit så populär författade vi en övergripande frågeställning som löd: “Hur ska vi förstå meningsskapandet i This is America?”. Utifrån vår forskningsöversikt, kunde vi finna att ett popkulturellt fenomens mångtydighet och öppenhet till tolkning, bäddar för dess popularitet. Genom historien finns det även fog för att musik som är sprungen ur utanförskap och som kritiserar samhället, har möjlighet att bli än mer populär. Mot bakgrund av forskningsöversikten bröt vi ner musikvideon This is America i olika delar för att ta reda på dess innebörd och djupliggande meningar, allt för att förstå dess popularitet. Videon, tillsammans med dess låttext, tar upp ämnen såsom vapenfrågan i USA, spåren efter slaveriet och hur mörkhyade personer fortfarande lever i ett förtryck i landet. Videons enorma popularitet beror förmodligen på att de tecken och de ämnen som den tar upp berör väldigt många människor. I princip vem som än tittar på videon kan se något som de känner igen, oavsett om personen är fem år, eller 105. Barnen känner igen danserna från spelet Fortnite, medan de äldre ser figuren Jim Crow som de associerar till segregationen i det tidiga 1900-talets USA. En musikvideo kan säga oss så ohyggligt mycket mer än vad vi, vid första anblick, tror, vilket den här uppsatsen pekar på. Att skänka en extra blick åt den där musikvideon kan ge en inblick i en värld som vi annars inte alltid kan se in i. Den kan öppna dörren och ge en samhällsskildring som få medier skulle kunna presentera.The fact that music evoke emotions inside us is something that probably all of us are willing to agree on. Music can make us laugh, cry, dance - every possible expression of emotions can be created through it. Perhaps may the ultimate song be the one that make us feel all of these emotions at once, and make us want to listen to it, over and over again. Some songs and music videos blow up and create millions or even billions of views. At times, music can be more than just a song, making people want to sit down and discuss its meaning for hours. The song This is America and its music video is a good example of this phenomenon. The purpose of this study is to explore the elements of this particular video, how it alludes with the current political context and the aftermath that have aroused from it. To explore the reason behind the enormous popularity of this video, we composed a comprehensive research question, that goes “How are we to understand the meaning in This is America?”. From the background of our research summary, we were able to find that the ambiguousness and the potential of a wide interpretation of a popular cultural phenomenon, is what lays the ground for its popularity. Through history, it can be said that music, that have been made from alienation, have a possibility of becoming even more popular. With our research summary in hand, we broke down the music video This is America into sections, in order to learn its meaning and signification, and to understand its popularity. The video and its lyrics, brings up subjects such as gun politics in the United States, the remaining traces of slavery, and how people of colour still suffer from oppression. The enormous popularity of the video probably comes from the wide range of subjects and signs that it addresses. Basically anyone who watches it will see something they recognize, regardless of if the person is five or 105 years old. Children recognize the dances from the video game Fortnite, while the elder recognize the character Jim Crow, who they associate with the segregation in the United States in the beginning of the 20th century. A music video can tell us more than we originally think, which is also what this essay points to. If given an additional look, a music video might be able to give an insight to a world that is unknown to us. It may even open the door to provide a portrayal of society that regular media rarely presents.
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Wilhelmsson, Anna. "På väg till den tredje grisen : Studie av en transmedial konstpromenad för barn." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-9781.
Повний текст джерелаАнотація:
Art in the city can be invisible until we talk about it. Letting children see public art in the context of play and narrative is a way to enhance creative thinking and knowledge as well as making the art visible. By creating a prototype for an art walk for children this study was able to create a scenery of children using different kinds of mediated narrative combined with a physical environment and movement. The theoretical framework of the project was picture books (Rhedin, 1991) transmedia (Jenkins 2006, Ryan 2004) and public art (Kwon 2002). The project’s aim was to create an empirical context for primary school children to explore public artwork. The project was designed as a walk for children and teachers, within a narrative context presented in a printed book containing illustrations of the actual artwork and a framing mystery story. The book also contains blank pages for children to draw and write stories based on the book and their empirical experience. Analysing the material from a method based on narratology (Genette 1980, Brooks 1992, Brannigan 1995) and phenomenology (Merleau-Ponty 1945/1997) the study shows that switching between turning of pages, between the illustrations in the book and the first hand experience of being in the physical environment, leads to a high degree of engagement. Interaction with the artwork also inspires children to draw their own pictures, based on the artwork, and to create their own stories about it.
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Sturesson, Albin, and Julia Hermansson. "Transmedialt berättande som marknadsföringsverktyg - En studie med deltagande design som arbetsprocess." Thesis, Malmö universitet, Fakulteten för teknik och samhälle (TS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20233.
Повний текст джерелаАнотація:
Det kan idag vara svårt för företag att engagera sin publik på grund av allt innehåll som ständigtpubliceras. Transmedialt berättande har kommit att bli ett begrepp som tillåter publik attinteragera med innehållet och sprida det vidare. Konceptet har kommit att bli ettmarknadsföringsverktyg för att det tillåter att kunna interagera med målgrupp och sprida ettföretags information.Tidigare exempel på transmedialt berättande appliceras i huvudsak på större företag ochproduktioner. Syftet med studien är därför att utforska transmedialt berättande sommarknadsföringsverktyg för mindre verksamheter. Detta sker genom att praktiskt utforma enkampanj tillsammans med STPLN där STPLN står som exempel för hur detta kan appliceras påen mindre verksamhet.Studien har använt sig av två kvalitativa metoder - deltagande design ochfokusgruppsintervjuer. Deltagande design är studiens primära datainsamlingsmetod och haranvänts för att låta STPLN vara en del av arbetsprocessen då dessa besitter kunskap som är avvärde för utformningen av kampanjen. Utformningsarbetet har genomförts med hjälp av bådaparternas expertis, STPLN och författarna till studien. Fokusgrupperna med berörd målgrupputvärderade det praktiska arbetet.Resultatet av studien visar på att den transmedialt berättande kampanjen för STPLN börutformas utifrån aktivt deltagande, kollektiv intelligens, interaktion och platsspecifiktberättande. Detta kan i sin tur generera spridning i och med att det tillåter användaren att varaden indirekta marknadsföraren för kampanjen.Today it is difficult for companies to engage the audience due to the content that is constantlybeing published. Transmedia storytelling allows the user to interact with the content and to passit through. The concept has become an effective marketing tool to interact with the target groupand to spread a companys’ information.Previous examples of transmedia storytelling are mainly applied on enterprises and largeproductions. Thus, the purpose is to explore transmedia storytelling as a marketing tool forsmaller organizations. It happens by practically designing a campaign together with STPLNwhere STPLN stand as an example of how it can be applied to a smaller organization.The thesis has used two qualitative methods - participatory design and focus groups.Participatory design is the primary method and has been used to include STPLN in the processdue to their knowledge which is of value for the campaign. The practical work has beenimplemented by the expertise from both parties, the organization and the authors of the thesis.The target group then evaluated the practical work through two focus groups.The result indicates that the transmedia storytelling campaign for STPLN should be designedbased on the aspects of active participation, collective intelligence, interaction and site specificstorytelling. Subsequently this may generate in spreadability of the campaign since it allows theuser to be its indirect marketer.
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Bruggeman, Sara Balbastre. "Queera ögonblick i The Hobbits sagovärld : En studie av karaktärers villkor i transmedial fantasy." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-43282.
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Ekman, Nathalie. "Lev med SKAM : En kvalitativ studie om hur transmedialitet kan minimera gränsen mellan fiktion och verklighet." Thesis, Stockholms universitet, Institutionen för mediestudier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-143986.
Повний текст джерелаАнотація:
SKAM (”Shame”) is a Norwegian WebTV-series which portrays several youths during their time in high school. Each season addresses a new main character whom treats or is subjected to the feeling of shame. The WebTV-series is unique in its way of not being shown on the traditional television. Instead the series is shown on the digital play-service NRK and SKAM’s own blog. SKAM is transmedia in its way of using social platforms to expand and give new perspectives and stories to the fictional world. For example, the characters obtain authentic Instagram profiles where the viewers can to comment, like or follow the characters. The aim of this study was thus to explore what kind of relationship between fans establish with the fictional characters of SKAM when using transmedia storytelling and why they interact with the phenomenon’s social platforms. The paper also examines in which way SKAM is using transmedia storytelling. The paper is restricted to the platform Instagram and an audience segment called “fans”. This due to the time restriction for the paper to dictated as well as “fans” being the most exploited to extend a fictional world in form of social and cultural activities. The scientific questions attempt to be answered by interviewing a focus group along with carrying out a semiotic image analysis. The results showed that the way SKAM was using the transmedia storytelling in a realistic manner which created a similar form of hyperreality in which parasocial relationship and emotional realism could be formed. This due to Instagram being already an integrated platform in the fans lifestyles. The integrated platform along with the similar hyperreality allows the fans to interact or have the illusion to interact with the characters in a manner which portrays them as social friends. Creating a social bond from the fans to the characters. The characters Instagram profiles portrays in a realistic manner with text and pictures. Their problems, emotions and lifestyle creates a solid connotation to the audience. Making the fans laugh, cry and feel with the characters and wanting to engage in their life. The transmedia storytelling lets the fans engage with the character and letting new perspective of their realistic lives being portrayed. Creating parasocial and emotional realism.
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Myrta, Adem, and José Ax. "Sudda ut gränsen mellan lek och verklighet. En kvalitativ studie om transmedialt berättande." Thesis, Högskolan för lärande och kommunikation, Jönköping University, Fritidshemspedagogisk forskning, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-49545.
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de, Toro Alfonso. "Hacia una teoría de la cultura de la "hibridez" como sistema cientifico transrelacional, "transversal" y "transmedial"." Universitätsbibliothek Leipzig, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-159203.
Повний текст джерелаАнотація:
El problema a tratar o la reflexión sobre una redefinición o reestructuración de la ciencia literaria (crítica académica literaria, estudios literarios, CL) y estudios culturales (EC) es un fenómeno global obvio cuando, por ejemplo, en la propuesta para este volumen de reflexiones conjuntas, se pregunta "¿cómo reaccionar frente a la
disminución de estudiantes subgraduados y graduados de literatura y al incremento de los abocados a los estudios culturales?" Esta pregunta revela un fenómeno que se está dando masivamente en todos aquellos países en cuyas universidades se han introducido los estudios culturales, así en Alemania, así en el Instituto de Romanística y en el Centro de Investigación Iberoamericana de la Universidad de Leipzig.
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Heuer, Thomas. "Plotting Horror." Doctoral thesis, Humboldt-Universität zu Berlin, 2019. http://dx.doi.org/10.18452/19947.
Повний текст джерелаАнотація:
Die Entwicklungsschübe der modernen Medien im 20. Jahrhundert haben die Wechselbeziehungen zwischen den Künsten, den Medien, den Sinnesmodalitäten, den verbalen und nonverbalen Ausdrucks- und Zeichenprozessen verstärkt und erweitert. Im Zuge dieser Entwicklungen sind Genre- und Formatfragen über das disziplinäre Interesse einzelner Kunst- und Medienwissenschaften hinaus ins Aufmerksamkeitsfeld einer vergleichenden Medienästhetik und -dramaturgie ge-rückt.
Aufbauend auf den Erkenntnissen von Kalisch 2014, 2016 und den Überlegungen Gaudreaults 2009 zu einer Unterscheidung zwischen Narration und Monstration, ist es gelungen ein Modell zur Analyse von Werken unter dem Ausgangspunkt von Dramaturgie und Präsentationsstruktur herauszubilden, das für jedwedes dramaturgisch motiviertes und fiktionales Werk verwendet werden kann, unab-hängig vom Medium. Als Mittel zur Verdeutlichung der Thesen wird Horror als ästhetische Kategorie definiert, die einen direkten Einfluss auf die narrativen Strukturen eines Werkes besitzt, was den narrativ-monstrativen Doppelcharakter von Werken belegt und ferner verdeutlicht, dass Erzählung und Formung eines Werkes untrennbar verbunden sind. Die Dualität von Dramaturgie und Präsenta-tionsstruktur wird in der Formung eines Werkes offenbar. Um dies zu verdeutli-chen, werden im Verlauf der Arbeit kursorisch Beispiele von Werken mit Schre-ckensinhalten diskutiert und analysiert.
Basierend auf diesem Modell wird eine Diskussion des Themenkomplexes von Intermedialität und Transmedialität im Spannungsverhältnis zur Komparistik der Künste durchgeführt. In der Folge wird eine Ästhetik des Schreckens diskutiert und anhand von ästhetischen Wertungskategorien aufgezeigt. Abschließend werden drei narrativ-motivierte Konzeptionen für dramaturgisch angetriebene Schre-ckensinszenierungen aufgeführt, die zur Kategorisierung von Werken angewendet werden können: düstere Präfiguration, düstere Konfiguration und düstere Manifestation.The development in modern media during the 20th century (from movies over television to the hybrid forms of audiovisual and textual media in the internet) reveals interdependencies between art, media, the modalities of senses, the verbal and nonverbal dictions and semiotic processes that have evolved and expanded themselfes. According to this progress the interest in art and media studies should achive a collective interest in the changes of genre and formats, instead of a sepa-rated observation of only single disciplines. Following the Prolegomena on a comperative drama of media by Eleonore Ka-lisch (Kalisch 2014) and the thougts of André Gaudreault on Narration and Mon-stration (Gaudreault 2009) this thesis bulids a system to analyse works of fiction (e. g. movies, pictures, literature, video games). This system allows to analyse and compare works of fiction based on drama and presentation structure. The horror genre is used to show the mechanics of this system. Horror has a direct influence on the narrative structure of a work and manifests a duality of narration and mon-stration (Kalisch 2016), that binds drama and presentation to each other and shows the necessity of a separated consideration on both aspects. The duality of drama and presentation reveals itself during the modeling of a work of fiction. Build on the system the discourse is open to discuss intermetiality and transmedi-ality and their influence on the field of interest. Furthermore, an aesthetic of hor-ror is defined by evaluation categories of aesthetic indicators. In the end three types of narrativ driven concepts of horror are revealed and discussed: gloomy pre-figuaration, gloomy configuration and gloomy manifestation.
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Beldi, Ariane. "Le DVD et la transformation des séries TV en oeuvres : le cas de la réception des séries TV d'animation japonaise en Europe." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAG020/document.
Повний текст джерелаАнотація:
Depuis la fin des années 90, la plupart des animes n'arrivent en Europe qu’en DVD, alors qu’ils ont occupé largement les programmes pour enfants, il y a 30 ans. Rompant avec le circuit marketing habituel qui impose un passage à la télévision avant d'être éditées pour le marché de la vidéo, les animes édités en DVD illustrent une forme de « démédiation » des séries TV. De rendez-vous télévisuels, ils sont "re-conditionnés" en œuvres vendues directement au public pour qu'il les collectionne. Cette thèse étudie la manière dont les publics acceptent d’entrer dans cette logique de collection. L’hypothèse suivie a été celle de la ciné-vidéophilie qui postule une convergence entre des pratiques autrefois distinctes de cinéphiles et de vidéophiles. Cette recherche combine les études de réception et la sociologie des usages, permettant d'éclairer sous cet angle spécifique le développement des stratégies transmédia à l’œuvre dans les industries du divertissement audiovisuelSince the end of the 1990’s, most Japanese animated TV series have been arriving in Europe as DVDs, even though they used to be the main content of children TV programs 30 years ago. Breaking away from the usual marketing circuit which usually imposes a television broadcasting of a series before it is edited for the video market, animes on DVD illustrate a form of TV series « demediation ». Through this “repackaging” process, they are turned from regular TV programs into collectibles, directly sold to consumers . This dissertation studies the ways anime publics accept or not this logic of collecting TV series. The hypothesis offered is that of cine-videophilie, based on the premisse of a convergence of formerly distinct cinephile and videophile practices. This research combines reception studies and sociology of technology, thus highlighting under this specific angle some present developments in the transmédia processes at work within the audiovisual entertainment industries
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de, Toro Alfonso. "Hacia una teoría de la cultura de la "hibridez" como sistema cientifico transrelacional, "transversal" y "transmedial"." Vervuert, 2006. https://ul.qucosa.de/id/qucosa%3A13093.
Повний текст джерелаАнотація:
El problema a tratar o la reflexión sobre una redefinición o reestructuración de la ciencia literaria (crítica académica literaria, estudios literarios, CL) y estudios culturales (EC) es un fenómeno global obvio cuando, por ejemplo, en la propuesta para este volumen de reflexiones conjuntas, se pregunta "¿cómo reaccionar frente a la
disminución de estudiantes subgraduados y graduados de literatura y al incremento de los abocados a los estudios culturales?" Esta pregunta revela un fenómeno que se está dando masivamente en todos aquellos países en cuyas universidades se han introducido los estudios culturales, así en Alemania, así en el Instituto de Romanística y en el Centro de Investigación Iberoamericana de la Universidad de Leipzig.:Introducción al problema: estudios culturales (EC) y crítica literaria (CL). - Prolegómenos: algunas reflexiones básicas. - "Hibridez" – "transversalidad" – "transmedialidad" – "cuerpo"/ "sexualidad". -
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Tedebring, Edvin. "SKAM - En bra serie eller ett utmärkt transmediafenomen? : En studie om NRKs framgångsrika transmediaproduktion SKAM." Thesis, Umeå universitet, Institutionen för informatik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135673.
Повний текст джерелаАнотація:
Young audiences of today live in a society of constant converging of digital artefacts and media production principles. No longer is it enough to sit back and watch a TV-show. These audiences expect to activate themselves within multiple platforms, to become active participants instead of passive spectators. For production companies to face these demands, designing transmedia storytelling is becoming essential. To create transmedia storytelling is to create a story spreading over several media channels, where every channel contributes to the storyline in its’ own manner, in order to enable a broad narrative experience. Throughout its’ combining of a series, and establishing of characters’ social media profiles, NRKs’ production SKAM has become somewhat of a success story within the transmedia field. Through qualitative analysis based on models of grounded theory, theories on convergence and participatory culture, as well as on crossmedia and transmedia storytelling, it has been stated that NRK appears to have considered every important aspect in order to develop a phenomenon well suited for audiences of todays’ expectations. By that, SKAM is well to be considered a grand example of how to shape a functioning, reputable and strikingly successful transmedia story.
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Hollström, Hampus. "Ett skräckfyllt brobyggande från tv-spel till litteraturens domäner : En narratologisk och didaktisk läsning av transmediala genrekonventioner." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-84437.
Повний текст джерелаАнотація:
Denna studie utgör en didaktisk läsning av tre tv-spel inom skräckgenren, Among the Sleep (2016), Little Nightmares II (2021) samt Until Dawn (2015). Syftet är att undersöka hur dessa spel potentiellt kan länkas till litteraturen i svenskämnesundervisningen och fungera som en bro mellan medierna tv-spel och litteratur i undervisningen i gymnasieskolan. Analyserna bygger på en narratologisk läsning av materialet i ljuset av karakteristiska drag för skräckgenren som diskuteras i relation till teorier om undervisning. Analyserna visar att de analyserade tv-spelen besitter likheter med de karakteristiska drag som förekommer inom andra medieformat inom skräckgenren, däribland litteraturen. En slutsats som kan dras utifrån analyserna är att det tycks finnas potential i att nyttja tv-spelen som fiktion i litteraturundervisningen i svenskämnet för att använda de som en bro över till litteraturen, i form av gemensamma nämnare mellan medieformaten.This study constitutes a didactical reading of three videogames within the horror genre, Among the Sleep (2016), Little Nightmares II (2021) and Until Dawn (2015). The aim is to investigate how these games potentially can be utilized to create a connection between videogames and literature within the context of education, more specific the Swedish subject in upper secondary school. The analyses are based upon a narratological reading of the videogames, through the lens of traits usually found within the horror genre, to be discussed in relation to didactical aspects. The analyses address that the videogames, within this study, occupy similarly traits as presented in other formats of media, including literature. A conclusion that can be drawn based upon the analyses is that there ought to be a potential in using the videogames as fiction to create a bridge over to the literature, more specific to use the similarities that exists between the two types of media, this within the Swedish subject at upper secondary school.
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Rojas, Theresa Nevarez. "Manifold Imaginaries: Latino Intermedial Narratives in the Twenty-first Century." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1440403026.
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Goldie, David. "Les adaptations cinématographiques des romans de J. R. R. Tolkien, C. S. Lewis et J. K. Rowling." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3113.
Повний текст джерелаАнотація:
L’adaptation existe depuis les débuts du cinéma. Dès lors, le nombre de versions filmiques d’œuvres littéraires ne cesse de croître et l’adaptation reste au cœur de la production cinématographique partout dans. Toutefois nous constatons que l’adaptation se trouve dans une situation quelque peu paradoxale. Ce qui motive sa conception est également à l’origine de la majeure partie des critiques. D’une part, le bénéfice économique est évident. La notoriété d’un roman à succès garantit un public nombreux. D’autre part, le contexte créatif se révèle difficile car, du point de vue ontologique, l’adaptation préserve la comparaison traditionnelle en s’appuyant sur un paradigme oppositionnel des arts où le film se doit de se justifier face au texte source. Se situant à la croisée des arts, l’adaptation focalise un débat sur une hiérarchie notionnelle des arts où la narration à travers des images serait toujours perçue comme inférieure aux autres formes. Dans cette thèse, nous étudions ce phénomène dans le contexte de la résurgence de la fantasy lors des années 2000. Ce fait culturel du monde anglophone atteindra un niveau inattendu au cinéma avec le succès des adaptations des romans de J. R. R. Tolkien et de J. K. Rowling tandis que la réception des versions filmiques des œuvres de C. S. Lewis peut paraître mitigée. À partir de ces constats, nous nous interrogeons parallèlement sur le processus et le produit de l’adaptation en plaçant notre corpus au centre du débat à travers une approche descendante de comparaison. Nous espérons ainsi pouvoir apporter quelques éléments de réflexion sur l’engouement du public pour ces histoires et sur l’adaptation comme domaine d’étudeAdaptation has been a part of cinema since its very beginning. Since then, the number of film versions of literary works which appear on screen has never ceases to increase and adaptation is still at the heart of cinematic production around the world. Adaptation actually exists in a rather paradoxical situation. What motivates its conception is also the source of the majority of criticism against it. On one hand, the economic advantage is clear. The fame of a popular novel guarantees a large audience. On the other hand, its creative context can prove to be difficult since ontologically adaptation serves to preserve the traditional comparison based on an oppositional paradigm of the arts where the film has to justify itself in front of the source text. Standing at a crossroads between the arts, adaptation is the focus of a debate on a notional hierarchy within the arts where narration through images could still be perceived as inferior compared to other forms.We wanted to study this phenomenon within the context of the resurgence of fantasy witnessed in the 2000’s in this thesis. In the English-speaking world this cultural event reached an unexpected level with the success of the adaptations of J. R. R. Tolkien and J. K. Rowling’s novels while the film versions of C. S. Lewis’ works were less well received. With these points in mind, we consider the process and the product of adaptation in order to situate our corpus in the debate through a top down approach of comparison. We thus hope to bring some elements of reflections on the craze for these stories and the domain of adaptation studies
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Esping, Alva. "(Robot)influencern Miquelas visuella yttranden i vår samtida digitala verklighet : – En kvalitativ visuell analys av innehåll från Miquelas (@lilmiquela) Instagramprofil." Thesis, Malmö universitet, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-18637.
Повний текст джерелаАнотація:
Miquela är en så kallad ”robot-influencer”, vilket bland annat betyder att ”hon” är en virtuell fiktiv karaktär i ett pågående transmedialt narrativ som upprätthålls av företaget Brud. Eftersom Miquela består av datormodifierade bilder och animationer, ser ”hon” uppenbart overklig ut, vilket kan väcka en uncannyvalley effekt hos betraktaren. Arbetet med uppsatsen grundas i ett intresse av att vilja förstå hur något så synbart overkligt kan uppfattas och accepteras socialt som en aktuell (virtuell) influencer. Syftet är därmed att nå en djupare förståelse för hur Miquela visuellt tar sig i uttryck på Instagram. Således genomförs en kvalitativ bild- och textanalys av material från Miquelas Instagramprofil. Analysen utgår från (social) semiotiska förhållningsätt och fokuserar på hur olika former av kapital yttras. Resultatet visar främst på att Miquela (visuellt och tillsynes) innehar och nyttjar socialt kapital, samt genom att ”hon” uppträder ”vardagligt” enkelt går att relatera till, vilket kan bidra till de parasociala relationer ”hon” har till sina följare.Miquela is a so-called “robot-influencer”, which means that “she” is a fictional character within a transmedial narrative maintained by the company Brud. Due to Miquela being constructed by computer-generated imagery and animations, it is easy to perceive her appearance as unrealistic, which may cause the uncannyvalley-effect for the viewer. This paper has its foundation in an interest of wanting to understand how something so apparently unrealistic can become social accepted as an actual (virtual) influencer. The purpose is thereby to explore a deeper understanding of how Miquela gets expressed through visual content on Instagram. Hence a qualitative image- and textanalysis will be conducted on material from Miquelas Instagramprofile. The analysis will rely on an (social) semiotic perspective and its focal point will be on how various forms of capital is expressed. The results primarily show how Miquela, visually and seemingly, owns and uses social capital, and that “she” exhibits a relatable “everyday” behavior, which can contribute to the parasocial relationships "she" has with her followers.
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Cannerstad, Kim. "Transmedicalism : A critical discourse analysis on transnormativity in online discussion websites and publishing platforms." Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-85924.
Повний текст джерела
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Chen, Hsin-Yu, and 陳欣妤. "A Preliminary Study of Branding through Transmedia Storytelling: Case Studies of “Morewater” and “peacock biscuit”." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/7epkk5.
Повний текст джерелаАнотація:
碩士淡江大學
大眾傳播學系碩士班
103
The media environment is changing and forcing consumers to change their media usage behavior. For the past few years, advertising industry were springing up native advertising, branded content and branded entertainment, new forms of advertising communication, trying to combine entertainment and advertising. If consumers don''t think the purpose of advertising, that is the most successful way of marketing. Through the different stories across the different media platforms, transmedia storytelling is a valuable theme to enabling consumers to contact and engage. There are no Taiwan brands as case studies of transmedia storytelling, so this study trying to provide academia and industry to understand how to branding through transmedia storytelling, and more stories and cases. This study used narrative analysis to analyze branding through transmedia storytelling what to say, how to say, and why to say. And then the depth interviews to consumers are used to understand attractive factors of transmedia storytelling and the states and the reasons of consumers'' flow experience. This study found that stories, media, and consumers makes branding through transmedia storytelling have a relationship with consumers. Telling a story about people, especially the story of brand and consumers. Building a story world through across media to communicate depth and width with consumers. Consumers become creators, engage and influence the brand story.
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Santana, Fernanda Castilho. "TELETUBE: Novo passeio pelos bosques da ficção televisiva." Doctoral thesis, 2014. http://hdl.handle.net/10316/26010.
Повний текст джерелаАнотація:
Tese de doutoramento em Ciências da Comunicação apresentada à Faculdade de Letras da Universidade de Coimbra.As narrativas de ficção, emitidas pelos canais de sinal aberto, figuram entre os programas televisivos de maior importância sociocultural, em virtude do inegável êxito conquistado entre os portugueses desde o final dos anos 70. Tendo como ponto de partida esse enquadramento histórico, notamos que a ficção televisiva perpassou diversas fases que acompanharam as alterações do panorama mediático nacional. No contexto atual, torna-se impossível ignorar o contributo da difusão acelerada da tecnologia informática para o surgimento de um novo cenário de produção e divulgação dos textos ficcionais. As alterações do paradigma tecnológico afetam diferentes esferas sociais, todavia no campo da ficção televisiva identifica-se, sobretudo, a tendência para a migração da emissão dos conteúdos da televisão para outras plataformas, com destaque para a visualização online. O aparecimento destes novos pontos de acesso aos conteúdos audiovisuais contribuem, fundamentalmente, para o declínio das audiências da TV. Como reação à consolidação deste cenário tecnocultural, as indústrias produtivas iniciam um processo de materialização das narrativas que extrapola os limites da televisão, integrando multiplataformas e originando novos processos de envolvimento com o universo ficcional. A adesão dos públicos a esta estratégia, denominada como narrativas transmedia, do inglês, transmedia storytelling, confirma-se particularmente entre os mais jovens. Assim, este trabalho divide-se em duas partes complementares, de caráter teórico e empírico, que propõem uma análise das tendências de mudança nesta área, com especial atenção para as novas configurações no campo da receção dos conteúdos de ficção. Com este objetivo, implementámos um modelo de análise de quatro ficções televisivas produzidas em Portugal e emitidas nos canais nacionais de sinal aberto, para observar se estes títulos do Top 10 de audiências podem ser classificados como textos transmedia. Num segundo momento, realizámos um estudo de receção destas ficções nas páginas do YouTube, analisando, sobretudo, os comentários dos fãs publicados nesta plataforma. Estas dimensões empíricas foram exploradas a partir duma metodologia de análise centrada em métodos mistos que pressupõem a integração de dados quantitativos e qualitativos. Com efeito, os métodos de trabalho selecionados pertencem aos campos da etnografia virtual, da análise de conteúdo, da análise do discurso e da análise de redes sociais. Em linhas gerais, os resultados da análise da expansão do universo ficcional de três séries e uma telenovela apontam para o incumprimento parcial dos objetivos inicialmente propostos pelo conceito de transmedia storytelling. Todavia, este indicador, que parte duma interpretação mais hermética deste conceito, é sobejamente ultrapassado pela ação dos fãs na internet, responsáveis por ampliar as formas de receção dos conteúdos em plataformas como o YouTube. Neste espaço, desenvolvem-se práticas culturais exclusivas que assentam num comportamento interativo e participativo destas audiências, indicando que, apesar do parco investimento na produção de conteúdos de raiz transmedia, o consumo das ficções televisivas realiza-se de forma transmediática. Os resultados indicam que apesar do YouTube constituir um espaço privilegiado para partilha de conteúdos de ficção, reside na dicotomia produção/receção divergências de caráter legal, tais como a violação dos direitos de autor. Estas ameaças ao trabalho gratuito dos fãs comprovam, igualmente, o facto das indústrias mediáticas ainda não se terem adaptado à cultura da convergência. No âmbito da receção, importa assinalar que identificámos nos comentários publicados nas páginas do YouTube a formação de comunidades, caracterizadas, tanto pela integração dos membros de diferentes identidades, como pela manifestação de conflitos no seio destes grupos. Os principais temas de debate nas conversas sobre a ficção nesta plataforma foram, para além da história, as personagens, a banda sonora e a partilha gratuita de conteúdos. Nestas comunidades, surgem, igualmente, debates que extrapolam os limites dos assuntos ficcionais, gerando novos temas de conversa como a portugalidade das produções nacionais. Por último, conseguimos observar que as formas de interação e participação dos fãs possuem um cariz predominantemente positivo e podem variar conforme a emissora, o título de ficção, e, ainda, mediante diferentes identidades, sobretudo de género.
The fiction narratives emitted by the FTA channels are among the most sociocultural significant television programs in view of the undoubted success conquered among the Portuguese since the late 70s. Taking as a starting point this historical background, we note that television fiction ran through various stages that accompanied the changes of the national media landscape. In the current context, it becomes impossible to ignore the contribution of the accelerated expansion of computer technology for the emergence of a new stage production and the dissemination of fictional texts. The changes in the technological paradigm affect different social spheres, however, in the field of television fiction is identified, especially the tendency to migrate from the issue of television content for other platforms, especially for online viewing. The emergences of these new points of access to audio-visual contents contribute primarily to the decline of TV audiences. As a reaction to the consolidation of this techno-cultural scenario, the productive industries begin a process of materialization of narratives that transcend the boundaries of television and integrate multi-platforms yielding new engagement processes with the fictional universe. The adherence of public to this strategy, known as trans media narratives, from the English, trans media storytelling, it is confirmed particularly among younger people. So, this work is divided into two complementary parts, theoretical and empirical, offering an analysis of changing trends in this area, with special attention to new configurations in the field of reception of the fiction contents. With this aim, we implemented a model of analysis of four television fictions produced in Portugal and issued in the national open signal channels to see if these titles of Top 10 audiences can be classified as trans media texts. In a second moment, we conducted a study of the reception of these fictions in YouTube pages, especially analyzing the fan comments posted on this platform. These empirical dimensions were explored from an analysis methodology focused on mixed methods which require the integration of quantitative and qualitative data. Indeed, the work methods selected belong to the fields of virtual ethnography, content analysis, discourse analysis and social network analysis. In general lines, the results of the analysis of the expansion of the fictional universe of the three series and a soap opera, point to the partial failure of the objectives initially proposed by the concept of transmedia storytelling. However, this indicator, which starts from a more hermetic interpretation of this concept is well exceeded by the action of fans on the Internet, responsible for expanding the ways of receiving content on platforms like YouTube. In this space, are developed unique cultural practices that are based on an interactive and participatory behavior of these hearings, indicating that despite the meager investment in producing transmedia content root, the consumption of television fictions is carried out by a transmedia way. The results indicate that although YouTube constitutes a privileged space for sharing fiction content, lies in the dichotomy production / reception, legal nature divergences, such as the breach of copyright. These threats to the free labor of fans, also prove that the media industries have not yet been adapted to the convergence culture. In the reception ambit, it should be noted that we have identified in comments published in the YouTube pages, the community formation, characterized by both the integration of members of different identities, as the manifestation of conflicts within these groups. The main topics of discussion at the talks on this platform were fiction, beyond the story, the characters, the soundtrack and the free sharing of content. In these communities, there are also discussions that go beyond the limits of fictional subjects, creating new topics of conversation as the Portuguese national productions. Finally, we could observe that the forms of interaction and participation of the fans have a predominantly positive nature and may vary according to the issuer and the title of fiction, as well as have changed through different identities, especially of gender.
Fundação CAPES
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Ysberg, Katrin, and Anna Ivares. "Transmedialt arbete med spel på svenska folkbibliotek : En enkätstudie." Thesis, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-23405.
Повний текст джерелаАнотація:
The aim of this bachelor's thesis is to attain an understanding of the adoption and development of games and transmedia storytelling in Swedish public libraries. We studied the extent, the purposes and the way in which Swedish public libraries have included games and transmedia storytelling into their collections and programs. In order to fulfill the aim of the study a survey study was conducted. The survey was distributed to one public library in every Swedish municipality. The empirical material was analyzed using both quantitative and qualitative methods, as well as the SCOT-model. Transmedia storytelling proved to be a difficult concept to study, therefore we focused mainly on its connection to gaming programs. The findings show that transmedial gaming programs are less common than regular gaming programs, and among these eight different types of programs were identified. Concerning the purposes for these different types of programs nine distinct categories were identified, which showed that the public libraries had diverse views regarding games and transmedial work with games in libraries. Through an analysis using the SCOT-model we reached the conclusion that the studied libraries’ adoption of games and transmedial work with games is in its early stages and that there are still problems to be solved before a consensus can be reached.
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Ljungkvist, Stina. "Spel, transmedialitet och bibliotek : Fallet Dynamo Game." Thesis, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-14366.
Повний текст джерелаАнотація:
The aim of this bachelor’s thesis is to study Gothenburg’s main public library’s youth department, Dynamo with a certain focus on one of the two departments called Dynamo Game. This with regard to conducting a case study with an aim to partly identify work methods concerning the public library and videogames but also on the other hand study the potential connection between videogames as a medium and reading-literacy for this specific case. The study has been conducted as a case study taking shape as semistructured interviews with users and personnel, examining documents and finalizing these results in a SWOT- analysis. The results of this study showcases how Dynamo Game works with video games in different ways regarding transliteracy, meeting spaces and for enjoyment. Video Games for Dynamo Game is an important part of its youth-related mission, as the youth area of Gothenburg's public city library. To be a successful youth library one must also embrace the youth culture and the surrounding medias that these youths makes use of daily. This study presents Dynamo Game’s strengths, weaknesses, possibilities and threats/difficulties concerning work with video games in general and in a library context.
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Leduc, Véronique. "C’est tombé dans l’oreille d’une Sourde : la sourditude par la bande dessignée." Thèse, 2015. http://hdl.handle.net/1866/18443.
Повний текст джерелаАнотація:
Cette thèse de doctorat de recherche-création comporte un essai doctoral en français ainsi qu'une bande dessignée: une bande dessinée vidéographiée bilingue en langue des signes québécoises (LSQ) et français, composée de 10 chapitres-vidéos.C’est tombé dans l’oreille d’une Sourde. La sourditude par la bande dessignée est une recherche-création composée d’un essai doctoral et d’une bande dessignée - une bande dessinée bilingue en langue des signes québécoise (LSQ) et en français (BD*) - produite à partir d’extraits de rencontres avec des personnes sourdes et des membres de ma famille entendante réalisées dans le cadre de la thèse. Par une démarche exploratoire, la recherche vise à documenter et à réfléchir à ce que cela fait de vivre comme personne sourde, à la sourditude comme devenir, à l'entendance comme concept pour réfléchir à certains rapports de pouvoirs ainsi qu’aux enjeux communicationnels, technologiques et médiatiques soulevés par les perspectives épistémologiques sourdiennes. C’est en partant du postulat que l’oppression est ce qui est éprouvé à travers des pratiques quotidiennes souvent bien intentionnées (Young, 1990) et avec le désir de composer avec l’exigence du multiple (Deleuze et Guattari, 1980) que s’est développée la question générale de la thèse : En la posant comme un devenir complexe, comment l'expérience singulière de la sourditude, son affectivité et son effectivité se conçoivent, s'actualisent et se communiquent-elles? Cette question se pose dans son articulation avec le lieu où elle prend forme, à savoir la réalisation d’un essai doctoral et d’une BD*, dont le processus sert de milieu exploratoire à diverses questions d’ordre philosophique, théorique, épistémologique, éthique, artistique et politique qui, à leur tour, nourrissent la démarche. Utilisant la vidéo comme forme d’écriture apte à rendre compte de la tridimensionnalité des langues des signes et de leurs composantes linguistiques, la BD* est produite sous forme de chapitres vidéo diffusés sur un site Internet. Produite en noir et blanc, elle comporte des vidéos de protagonistes signant la LSQ, éditées avec un effet de dessin animé, des textes en français disposés dans des phylactères et des arrière-plans édités avec un logiciel de graphisme. Écrit sous forme de dissertation, l’essai comporte cinq chapitres. De façon sommaire, l’introduction présente la recherche-création, la question de recherche et les différentes parties de l’essai; le chapitre 1 intitulé « Les possibles de la sourditude » met en jeu quelques éléments afin d’appréhender la sourditude dans sa complexité, problématise et historicise la sourditude en tant que processus, devenir et appartenance, théorise diverses dimensions de l’oppression, interroge l'expérience subjective comme site de savoirs et propose une analyse critique du concept de sourditude; le chapitre 2 intitulé « Parcours de recherche-création » s’articule autour de la démarche de réalisation de la BD*, documente mon approche de la recherche-création, interroge ma posture épistémologique à travers le paradoxe de vouloir contribuer à « faire entendre des voix sourdes », discute des enjeux soulevés par l’écriture vidéographiée, s’intéresse aux enchevêtrements du cinéma et de la sourditude sous divers angles et discerne certains enjeux relatifs à la situation de la BD* aux confins des codes de la littérature, du cinéma et de la BD; le chapitre 3 intitulé « La production de la bande dessignée » s’attarde de façon plus précise aux diverses étapes de réalisation de la BD*, aborde les rencontres réalisées avec cinq Sourd-es et quatre membres de ma famille entendante, documente le processus de production et postproduction de la BD* en soulevant certains enjeux sur le plan de la traduction et du montage, analyse de façon critique l’Internet comme plateforme de diffusion et présente le site Internet www.BDLSQ.net; la conclusion intitulée « Quelques enjeux posés par la sourditude » propose certaines réflexions issues des rencontres, interroge la question des technologies à travers la notion de sourditude et du handicap, amorce une réflexion sur l’agentivité conférée par les media numériques et se termine en soulevant quelques enjeux politiques et éthiques concernant le développement des études sourdes et des perspectives sourdiennes.
Résumé en langue des signes québécoise (LSQ) disponible à l’adresse Internet suivante : V. Leduc. 2016. « C’est tombé dans l’oreille d’une Sourde. La sourditude par la bande dessignée ». Résumé LSQ. En ligne: https://vimeo.com/190658903
Abstract in American Sign Language (ASL) available on the following website : V. Leduc. 2016. "It Fell on Deaf Ears. Deafhood by Graphic Signed Novel". PhD thesis, ASL Abstract. Online: https://vimeo.com/190659491
It Fell on Deaf Ears. Deafhood by Graphic Signed Novel (C’est tombé dans l’oreille d’une Sourde. La sourditude par la bande dessignée) is a research-creation project consisting of a doctoral essay and a bilingual graphic signed novel in Québec sign language (LSQ) and in French, produced from excerpts of encounters with Deaf people and with members of my hearing family that have been carried out as part of the thesis. Through an exploratory process, the project seeks to document and to reflect upon what it means to live as a Deaf person, about Deafhood as becoming, about hearingness as a concept that can be used to think about certain power relations, as well as about the communicative, technological and media issues that arise from deafian epistemological perspectives. From the assumption that oppression is experienced through often well-intentioned everyday practices (Young, 1990), and from an interest in dealing with the requirement of multiplicity (Deleuze and Guattari, 1980), was developed the broad question of the thesis: while positioning it as a complex becoming, how can the singular experience of Deafhood, its affects and effects, be conceived, actualized and communicated? This question is posed through its articulation with the site where it takes shape, namely the creation of a doctoral essay and a graphic signed novel, the process of which serves as an exploratory site for various philosophical, theoretical, epistemological, ethical, artistic and political questions, which, in turn, feed the process. Using video as a form of writing that is able to account for the three-dimensionality of sign languages and of their linguistic components, the graphic signed novel is produced as video chapters distributed on a website. Produced in black and white, it features videos of protagonists signing in LSQ edited with a cartoon effect, French text inscribed in speech bubbles, and backgrounds that have been edited with graphic design software. The production team and the project are presented in LSQ, ASL, French and English on the website www.BDLSQ.net. Written in the form of a dissertation, the essay includes five chapters. In summary, the introduction presents the research-creation project, the research question and the different parts of the essay. Chapter 1, titled “The Possibilities of Deafhood”, brings together elements that help us understand Deafhood in its complexity, problematizes and historicizes Deafhood as a process, becoming and belonging, theorizes various dimensions of oppression, questions the subjective experience as a site of knowledge, and provides a critical analysis of the concept of Deafhood. Chapter 2, titled “Trajectory of Research-Creation”, revolves around the process of making a bilingual graphic signed novel; documenting my research-creation approach, and questioning my epistemological stance through the paradox of wanting to make “Deaf voices heard”. The chapter further discusses issues raised by videographed writing, is interested in the entanglements of film and Deafhood from various angles, and identifies some questions related to the place of the graphic signed novel in relation to the confines of the codes of literature, film and the graphic novel. Chapter 3, titled “The Creation of the Graphic Signed Novel”, focuses more specifically on the various production stages of the graphic signed novel. It addresses the meetings held with five Deafs and four members of my hearing family, documents the production and postproduction processes of the graphic signed novel while raising some issues related to translation and editing, analyzes, in a critical way, the internet as a distribution platform, and introduces the website www.BDLSQ.net. The conclusion, titled “Some Challenges Posed by Deafhood”, offers some reflections stemming from the meetings, interrogates the question of technologies through the notions of Deafhood and disability, proposes a reflection on agency afforded through digital media, and ends by raising some political and ethical issues related to the development of Deaf studies and perspectives. Keywords : Deafhood, graphic novel, digital art, signed litterature, video, transmedia, Deaf Studies, Critical Disability Studies, intersectionality, audism, Quebec Sign Language.
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Medendorp, Liz. "Rethinking Intersemiotic Translation through Cross-Media Adaptation in the Works of Joss Whedon." 2013. https://scholarworks.umass.edu/theses/1137.
Повний текст джерелаАнотація:
This thesis seeks to respond to the existing dearth of work on practical matters of intersemiotic translation in translation studies thus far by turning to other disciplines that have explored comparable phenomena in greater depth. In particular, in the current atmosphere of media convergence and transmedia production, characterized by the ubiquity of adaptations, remakes, spin-offs, and sequels in the entertainment industry, cross-media adaptation represents one of the most common and prominent forms of intersemiotic translation. Therefore, the various fields of inquiry related to current phenomena of intersemiotic translation, including adaptation studies, film studies, fan studies, and media studies in general, offer relevant and informative models for expanding our understanding of success in intersemiotic translation.
The methodology employed involves an interdisciplinary descriptive approach, using examples of cross-media adaptation found in the works of one successful intersemiotic translator, Joss Whedon. Acknowledging the contextually contingent nature of any such case study, the findings of this thesis identify all three participants in cultural production—form, producer, and audience—as active contributors in the successful production and perpetuation of intersemiotic translations. In particular, this thesis explores possible causes of success in relation to specific cross-media adaptations, proposes attributes of the successful intersemiotic translator, and examines how the reiterative behaviors of active audiences, such as rereading, reinterpretation, and rewriting, help to extend a work’s success.
The capacity to inspire a continuing tradition of translation is itself a key contributing factor to the success of an intersemiotic translation and is most often performed with the collaboration of a community of interpreters. Achieving success is therefore a collective endeavor and a continual process of sustaining a work’s presence in the collective consciousness by renewing its value across temporal, cultural, and semiotic systems. Based on these findings, notions of form, production, and reception in intersemiotic translation are understood by proposing a model of convergent translation, the notion of the auteur-translator, and a collaborative understanding of the construction of a text and its significance through the afterlife of translation.
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Krchová, Eva. "Green communication: případová studie na outdoorové oděvní firmě Patagonia Inc." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-404725.
Повний текст джерелаАнотація:
Tato diplomová práce, Byla, nebyla jedna firma, a ta se jmenovala Patagonie, se zabývá případovou studií outdorové značky Patagonia a jejích aktivistických transmediálních obsahových projektů, s důrazem na nejaktuálnější kampaň značky: Zachraňte Bears Ears. Park Bears Ears je obdobou české chráněné krajinné oblasti, jejíž status ale současný americký prezident Donald Trump nedávno neautorizovaně sebral. Zatímco se firma zabývá výrobou a prodejem kvalitního outdoorového oblečení, tak se Patagonie ve stejnou dobu také aktivně angažuje do veřejného dění. Firma informuje své zákazníky zejména o stavu životního prostředí prostřednictvím svćyh multimediálních poutavých příběhů nesoucí prvky žurnalistiky. Patagonie usiluje o podněcování veřejnosti a ostatních firem zapojovat se do občanské společnosti, změnit spotřební chování nejen zákazníků, ale i výrobců, s konec̆ným cílem udržitelné ochrany této křehké planety, kterou my všichni obýváme. Patagonie potvrzuje své altruistické odhodlání prostřednictvím svého oficiálního firemního hesla: "Jsme v businessu, abychom zachránili planetu."
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Matuszkiewicz, Kai. "Zwischen Interaktion und Narration:." Doctoral thesis, 2017. http://hdl.handle.net/11858/00-1735-0000-002E-E458-E.
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