Статті в журналах: "Transmedia studies"

1

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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11

Junguitu-Angulo, Leire, and Sara Osuna-Acedo. "Serie transmedia Go!azen. Educación en valores y tratamiento de la diversidad desde una perspectiva educomunicativa." Revista Mediterránea de Comunicación 14, no. 1 (January 1, 2023): 147. http://dx.doi.org/10.14198/medcom.23251.

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Estudio de la serie transmedia Go!azen analizando, desde una perspectiva educomunicativa, la educación en valores y tratamiento de la diversidad que en ella se dan. Para ello, se realiza un análisis del contenido de Go!azen y de su universo transmedia fundamentado en una investigación basada en la observación propia y en el análisis documental. Los instrumentos de investigación son el cuaderno de notas y un registro de observación de elaboración propia a partir del Cuestionario Valores y Televisión: Val-TV (Palacios, Medrano y Cortés, 2005; Medrano, Palacios y Aierbe, 2006). Los resultados del estudio ponen de manifiesto que Go!azen es una serie con un amplio universo transmedia, que hace un adecuado tratamiento de los valores morales y de la diversidad. Este enfoque educativo de Go!azen lo convierte en un recurso educativo adecuado para la intervención en contextos formales

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Alzamora, Geane, and Lorena Tárcia. "Proposed Methodology for Transmedia New Story Analysis." Interactive Film and Media Journal 1, no. 1 (November 22, 2021): 41–62. http://dx.doi.org/10.32920/ifmj.v1i1.1493.

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The study of transmedia in journalism is still evolving. Although news organizations around the world have been spreading stories through different and complementary platforms and screens, this does not necessarily constitute the use of transmedia concepts. Usually, the same story is simply distributed across multiple screens. Transmedia news reporting, in our view, would involve the expansion of content and engagement of the audience, instead of repetition and propagation. This article studies examples of possible applications of the transmedia concept to the news report, by examining The Float Project (Flutuador), in Brazil and comparing it to a potential model of engagement, The Great British Property Scandal: Every Empty Counts (2012) in the UK. The theoretical framework is provided by Henry Jenkins (2006), Carlos Scolari (2009), Kevin Moloney (2011), Renira Gambaratto (2013) Alzamora and Tárcia (2012) and proposes an evolving analytical model as a methodology for understanding transmedia applied to news features. The study points to major investments in building potential transmedia news reports by Globo Networks and suggests the necessary involvement of other departments and institutions to achieve full engagement and social relevance, as occurred in the UK project.

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De la Torre-Espinosa, Mario. "Reflecting worlds: noción de mundo transmedia aplicada al género documental." Arbor 195, no. 794 (December 18, 2019): 529. http://dx.doi.org/10.3989/arbor.2019.794n4003.

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Este trabajo parte de la concepción de la narrativa transmedia por parte de Henry Jenkins como el arte de making worlds, de construir mundos de ficción, para extender los fundamentos teóricos de esta definición al género documental. Si Bill Nichols indica que este género de no ficción tiene per se un gran poder persuasivo -por la naturaleza icónica de sus imágenes y sonidos y por el efecto psicológico de verosimilitud que suscita en el público-, aquí defendemos que este carácter se potencia por medio de la narrativa transmedia. La inmersión, la extrabilidad y la performatividad de este tipo de narrativa lleva a la participación activa del usuario en el mundo transmedia, que coincide con su propio mundo, el real. Por esa razón numerosos proyectos activistas han visto en el documental transmedia una oportunidad tanto para el ejercicio del pensamiento crítico como para el cambio social.

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Miranda-Galbe, Jorge, Francisco Cabezuelo-Lorenzo, and Ismael López-Medel. "Analytical Model of Transmedia Storytelling Ecosystems in Audiovisual Fiction: The Spanish Model of «The Ministry of Time»." Communication & Society 34, no. 1 (January 12, 2021): 1–13. http://dx.doi.org/10.15581/003.34.1.1-13.

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Transmedia storytelling has been widely researched as a new topic in the last decade. The transmedia field includes many publications exploring the topic from different perspectives, but it lacks a standard methodology that allows the measurement of different case studies under a unified pattern. This research suggests a model for transmedia ecosystems that will allow researchers to study them in-depth. Authors suggest a potential configuration based on a simplified image of the transmedia universe, in which projects are divided into well-differentiated narrative systems, allowing the obtention of precise details on their basic functioning. This paper provides an original methodology able to observe the transmedia universes from different perspectives. To test the validity of the paradigm, the model has applied to the case study of the Spanish-fiction product, The Ministry of Time (El Ministerio del Tiempo, in the original language), because of the multiplicity of content renders its study as highly efficient. Thus, we encounter a new transmedia universe that allows precise measurement and the obtention of conclusive data. The positive results confirm that the new methodological approach meets the initial expectations. At the same time, it offers the possibility of obtaining much more information than the one the limited space of this article allows to explain, which opens the door to new lines of research in the future.

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Washington, Chris. "Mary Shelley / Transmedia Creatures: Frankenstein’s Afterlives." European Romantic Review 31, no. 1 (January 2, 2020): 110–16. http://dx.doi.org/10.1080/10509585.2020.1698115.

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Hidalgo Jiménez, Pepe Alexander. "Transmedia narrative: elements of communication in the emotional and therapeutic support of diseases." SCIÉNDO 25, no. 2 (June 30, 2022): 195–201. http://dx.doi.org/10.17268/sciendo.2022.024.

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The objective of this review is to describe the use of the elements of the transmedia narrative in the emotional and therapeutic support of patients with diseases that allows identifying the most beneficial aspects of this experience from a look at case studies. The transmedia universe offers a gamification of resources that can turn any conventional experience into a much more assertive and collaborative process. It was concluded that when exploring the topic of transmedia narratives and their use as emotional and therapeutic support in the treatment of diseases, it was discovered that these become an optimal strategy for raising awareness, information and learning for patients and their environment, regarding how face certain difficulties, treatments or recognize some characteristics that warn about the presence of some evil.

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Horvat, Ana, Orly Lael Netzer, Sarah McRae, and Julie Rak. "Unfixing the Prefix in Life-Writing Studies: Trans, Transmedia, Transnational." a/b: Auto/Biography Studies 34, no. 1 (January 2, 2019): 1–17. http://dx.doi.org/10.1080/08989575.2019.1548084.

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Murray, Rona. "A survivor just like us? Lena Dunham and the politics of transmedia authorship and celebrity feminism." Feminist Theory 18, no. 3 (August 2, 2017): 245–61. http://dx.doi.org/10.1177/1464700117721877.

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Lena Dunham is a modern celebrity and television producer-writer who is important in her willingness to self-identify as a feminist, and to engage in feminist activism on social media and in her memoir writing. Her writing in her successful television series, Girls (2012–17), has already raised questions of authenticity. This article develops this analysis further by considering how Dunham’s situation, as a transmedia author, complicates this authenticity, particularly through her construction of ‘affective ordinariness’, a key aspect of her identity as a feminist activist. Her various personas, including that of the celebrity feminist, highlight the ‘contradictions’ which exist within the current complex culture of postfeminism and the perception of new feminisms. Nowhere are these contradictions more apparent than in the dissonance created by Dunham’s transmedia voice in the matter of rape and sexual violence.

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Palmer, Beth. "Mary Elizabeth Braddon’s and Dion Boucicault’s Sensational Re-writings across Media: The Octoroon." Victoriographies 12, no. 3 (November 2022): 288–306. http://dx.doi.org/10.3366/vic.2022.0471.

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This article seeks to add to the conversation around transmedia practices in Victorian culture and to suggest that sensation, a particular type of storytelling that sought to affect its audiences physically and emotionally with its extreme events in contemporary settings, was significant to the development of transmedia practices in the ease with which sensationalists moved their stories across boundaries and the highly self-reflexive way in which they did so. Whilst contemporary reviewers expressed anxiety about the fractured and multiple means by which sensation could be consumed, sensation writers like novelist Mary Elizabeth Braddon and playwright Dion Boucicault highlighted their sensational productions as transmedia, often in the face of critical opprobrium. Examining both writers’ versions of The Octoroon (1861–2), a story about racial inequality set in antebellum Louisiana, we can see how offering readers and audiences sensational stories that continued, expanded or re-told other sensational stories kept Victorian consumers coming back for more. Sensation, this article suggests, was at the forefront of stimulating its audiences in new ways: bodily, intellectually, and emotionally, and that the transmedia connectedness of sensationalists’ work increased their capacity to create new sensations.

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Baker, David, and Elena Schak. "The Hunger Games: transmedia, gender and possibility." Continuum 33, no. 2 (February 8, 2019): 201–15. http://dx.doi.org/10.1080/10304312.2019.1569390.

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Bilgili, Can, and Olena I. Goroshko. "Comparative Study on Transmedia Awareness of Traditional Media Audiences and Social Media Users in Turkey and Ukraine." RUDN Journal of Studies in Literature and Journalism 26, no. 4 (December 29, 2021): 697–704. http://dx.doi.org/10.22363/2312-9220-2021-26-4-697-704.

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The theory of mediatization focuses on discussions on the intertwining of the media with social institutions such as politics, family and religion, influencing and being affected by these structures. In general, mediatization refers to the social and cultural process in which a field or institution becomes to some extent dependent on the logic of the media (Hjarvard, 2011). Hjarvard draws attention to the processes of mediatization as a concept by cultural and social phenomena through the media, and their symbolic content is more or less under the influence of the media. The media is determinative on the fictional world with it produces and, on its audience (consumers). It influences, directs and shapes them through the discourse it produces. Mediatization is an important issue in the context of media literacy and especially transmedia methods. Because transmedia content practices and methods increase the mediatization effect and affect the orientations of the individual and society, especially when it comes to inadequacy in the context of media literacy. Therefore, this study focused on the awareness of the audience (consumers) about transmedia applications. It is seen that the studies conducted in the field of transmedia have developed in terms of content production methods, strategies and audience engagement. It is understood that there are not enough studies on subjects such as audience impacts or audience awareness. In this context and in this study, the competence of multimedia viewers who use social media and follow a traditional media tool to understand and be aware of the content transitions between different media tools has been examined. The television channel was chosen as the traditional media medium for the research study due to its widespread viewing.

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Stevens, J. Richard, and Burton St. John. "Corporate Affirmations of Self-Identity and Mutual Self-Help: Transmedia Rhetorics of Marvel Rising." Journal of Communication Inquiry 44, no. 4 (May 15, 2020): 376–95. http://dx.doi.org/10.1177/0196859920924383.

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In 2018, Disney launched a Marvel Rising transmedia campaign introducing a line of female superhero dolls and supporting media narratives across Disney XD, Marvel Comics, and Hasbro toys. Utilizing textual and industry analysis, we find that the concentration of ownership and the need to attract a new clientele resulted in a “commercialized feminism” text, one that thematically supports Disney’s prosocial messaging agenda, linking its products to what it perceives as the preferred social identity for its audience. As such, this work has implications for deeper understandings of how corporations can use transmedia rhetoric to mentor children, especially young women, toward confidence and self-empowerment while also allowing the corporation to maximize marketplace revenues.

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Segnini, Elisa. "From Scampia to Rione Luzzatti: Marginality and its Language in the Age of Convergence." Comparative Critical Studies 18, no. 1 (February 2021): 27–51. http://dx.doi.org/10.3366/ccs.2021.0385.

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In the age of convergence, bestselling novels have become parts of the phenomenon known as ‘branding’, and cultural production is highly conditioned by the mechanisms that regulate global markets. This article argues that if the contemporary global novel tends to render the plurilingual experience implicitly to ensure translatability, the use of dialect has become crucial for the construction of marginality on screen for products designed to travel internationally. By focusing on a case study grounded in the Italian context, a comparison between Roberto Saviano's Gomorra (2006), with its extensions in theatre, cinema, TV and fandom, and Elena Ferrante's tetralogy L'amica geniale (2011–2014), with its dramatized versions for radio, stage and television, it compares the intersection of language, space and power in recent examples of transmedia storytelling. Drawing on studies of multilingualism and marginality, the author addresses the following questions: how do linguistic strategies influence the portrayal of the urban periphery as a marginal, subaltern space? How does transmedia transposition relate to interlingual translation? Does the relation between fiction and the socio-linguistic reality represented change in the translation process? To what ends is dialect deployed in transnational productions designed for global reach, and what characterizes the reception by Italian and international audiences? A focus on transmedia adaptations, this article suggests, leads us to reconsider the paradigm of multilingualism in translation.

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Ledesma, Alejo Ezequiel González López. "ESCUELA Y MEDIOS DIGITALES: ALGUNAS REFLEXIONES SOBRE EL PROYECTO TRANSMEDIA LITERACY." Cadernos de Pesquisa 49, no. 174 (December 2019): 222–45. http://dx.doi.org/10.1590/198053146249.

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Resumen En este ensayo nos ocupamos de analizar en clave política, cultural y didáctica el proyecto educativo Transmedia Literacy (TL) (2015-2018). Con este fin, realizamos, primero, una descripción del proyecto, evaluamos el diagnóstico del que parte, sus antecedentes y filiaciones mediático-digitales y pedagógicas, y su potencial alcance en el escenario educativo de la región latinoamericana. Luego, asumiendo una perspectiva sociocultural, antropológica e histórica de la cultura escolar, revisamos una serie de problemas epistemológicos, teórico-metodológicos y políticos que entendemos lo atraviesan. En particular, nos detenemos a diseccionar una de las propuestas didácticas del Teacher’s Kit que el TL les ofrece a los docentes como orientación innovadora para la enseñanza con medios digitales. Por último, planteamos una serie de orientaciones generales que actúan como alternativas -aún en desarrollo- a las propuestas del proyecto analizado.

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Loads, Matthew. "Transmedia Television Drama: Proliferation and Promotion of Extended Stories Online." Media International Australia 153, no. 1 (November 2014): 41–52. http://dx.doi.org/10.1177/1329878x1415300106.

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This article reports on a study of additional transmedia content that is available online in relation to all Australian television drama productions and high rating international drama productions in a five-month period, between January and June 2012. In particular, it asks what additional material exists, and develops a typology of different types of content in order to further explain the current state of play in Australian production. The study examines extended storytelling texts developed specifically for the internet, like ‘webisodes’. It also considers other video and further content that can be based on extending the story world of a program. This article presents and examines the results of the study, arguing that this material can be seen to support the idea of an industry in transition. It finds that there are differences in approach to this type of content between public, free-to-air commercial and subscription broadcasters. Children's television programs are seen to offer the most sophisticated approach online at this time.

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Pedrero-Esteban, Luis-Miguel, Raúl Terol-Bolinches, and Alfredo Arense-Gómez. "El podcast como extensión transmedia sonora de la ficción audiovisual." Revista Mediterránea de Comunicación 14, no. 1 (January 1, 2023): 189. http://dx.doi.org/10.14198/medcom.23292.

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La ductilidad del podcast, un formato que favorece la autonomía y el control del oyente en el acceso al contenido y la intimidad y personalización en su escucha, permite expandir el alcance de la ficción audiovisual a través de relatos transmedia que amplían las posibilidades de conexión del usuario con sus historias, entornos y personajes. Esta investigación analiza los quince podcasts producidos en España durante el periodo 2015-2021 como extensiones de series estrenadas en cadenas de televisión en abierto (La1, Telecinco y Antena 3), canales de pago (FOX) y plataformas de video bajo demanda (Movistar+, HBO Max y Amazon Prime Video). El estudio confirma que todos ellos dan continuidad al universo narrativo original mediante una amplia variedad de géneros sonoros –audioficciones, entrevistas, tertulias, reportajes y documentales– y aportaciones argumentales exclusivas, distintivas y valiosas. Al mismo tiempo, se constata que, en algunos casos, las estrategias de distribución no están bien definidas ni aprovechan todas las plataformas y dispositivos de acceso al contenido. En todo caso, se evidencia el gran potencial del audio digital como un recurso creativo, eficiente y económicamente asequible tanto a nivel artístico como comercial. Con él se favorece la generación del engagement y se promueve una cultura de participación e interacción entre los fans que se convierte en una efectiva réplica a la creciente fragmentación de las audiencias en el contemporáneo ecosistema digital.

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Lutostański, Bartosz. "Prolegomena to Transmedial Genology." Tekstualia 3, no. 58 (October 15, 2019): 3–20. http://dx.doi.org/10.5604/01.3001.0013.6420.

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The main objective of the following article is to map out the analytical fi eld of transmedia and genre studies. There are at least three reasons for doing so. Firstly, a number of contemporary works of culture transcend the traditional genre distinctions and make use of heterogeneous genres, media and modalities in their semiotic apparatus. Secondly, genres practiced heretofore have been questioned and violated – not only in literary studies but also in the humanities as a whole. Finally, transmediality requires the utilization of methodologies derived from diverse disciplines and fi elds.

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Lamerichs, Nicolle. "Transmedia and the Future of Character Studies: A Response to Nieves Rosendo." Narrative 30, no. 2 (May 2022): 208–9. http://dx.doi.org/10.1353/nar.2022.0038.

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IVANCHUK, Kateryna. "Interaction of the sender and the addressee in the transmedia space." Humanities science current issues 2, no. 38 (2021): 99–103. http://dx.doi.org/10.24919/2308-4863/38-2-16.

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White, Andrew. "Transmedia in Asia and the Pacific: industry, practice and transcultural dialogues." Global Media and China 7, no. 1 (January 10, 2022): 124–26. http://dx.doi.org/10.1177/20594364211073860.

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Arcy, Jacquelyn. "The digital money shot: Twitter wars,The Real Housewives, and transmedia storytelling." Celebrity Studies 9, no. 4 (August 21, 2018): 487–502. http://dx.doi.org/10.1080/19392397.2018.1508951.

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García-Marín, David, and Roberto Aparici. "Domesticated voices and false participation: Anatomy of interaction on transmedia podcasting." Comunicar 28, no. 63 (April 1, 2020): 97–107. http://dx.doi.org/10.3916/c63-2020-09.

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Transmedia podcasting (transpodcast) is an example of a digital medium essentially promoted by a community of independent creators that arises from the technological advancement derived from the arrival of Web 2.0. This medium is considered to offer its users greater possibilities of participation and co-creation by abandoning the traditional communicative models based on unidirectionality. The objective of this work is to determine how audience engagement takes place in this medium, taking into consideration the analysis of its participation spaces. In order to reach this goal, a Mixed Method Research Design was used, integrating two case studies with a total sample of 2,490 units of participation generated by users on the iVoox platform, the blogs of the two selected projects, and messages on Twitter. The research was complemented with an ethnographic investigation through observational methods on the presence of the user’s voice in the podcasts of a total of 19 transpodcast projects. Despite the fact that numerous and relevant voices have defended that the new media ecosystem causes the decentralization and democratization of the agenda-setting and empowers ordinary citizens, this study shows a less optimistic and more critical perspective about the possibilities of meaningful citizen participation in online discourse. El transpodcast (podcasting transmedia) es un ejemplo de un medio digital desarrollado esencialmente por una comunidad de creadores independientes que surge del avance tecnológico derivado de la Web 2.0. Este medio ofrece a sus usuarios mayores posibilidades de participación y cocreación al abandonar los modelos comunicativos unidireccionales basados en la lógica broadcast, propios del siglo XX. El objetivo de este trabajo es determinar cómo se lleva a cabo la interacción de los usuarios en este medio a partir del análisis de los espacios de participación que despliega el transpodcast. Para ello, se empleó una metodología mixta (Mixed Method Research Design), que integra dos estudios de caso con una muestra total de 2.490 unidades de participación generadas por los usuarios en la plataforma iVoox, blogs de los dos proyectos y mensajes en Twitter. La investigación fue complementada con un estudio etnográfico, ejecutado a través de métodos observacionales sobre la presencia del usuario en los programas en formato podcast de un total de 19 proyectos transpodcast. Aunque numerosas y relevantes voces han defendido que el nuevo ecosistema mediático ha causado la descentralización y la democratización de la agenda-setting y ha empoderado a los ciudadanos en términos comunicacionales, este estudio aporta una perspectiva menos optimista y más crítica sobre las posibilidades reales de participación ciudadana significativa en el discurso online.

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Ina Listyani Riyanto. "Transmedia Storytelling: Fan Arts and Social Media in Gundala." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 1 (April 5, 2020): 1–7. http://dx.doi.org/10.33153/iicacs.v1i1.6.

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Transmedia storytelling is a new way to tell stories. One of its crucial elements is active audiences or fans in order to gain maximum information and enjoyment. This preliminary study wanted to examine the utilization of a website and social media by Gundala’s fans in fulfilling their needs to exhibit their artworks and to engage in social interaction. This qualitative study collects data by interviewing transmedia professionals and examining the website and social media related to Gundala. The result indicates that Gundala’s fans were very active and dynamic in social media. In this virtual space, they exhibited the creative fan arts and expressed themselves in social interaction enthusiastically. Since this is a preliminary study, conducting further studies on Gundala’s fan arts and social media with a broader range of data is necessary.

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Ryan Bengtsson, Linda, and Jessica Edlom. "Mapping Transmedia Marketing in the Music Industry: A Methodology." Media and Communication 9, no. 3 (August 5, 2021): 164–74. http://dx.doi.org/10.17645/mac.v9i3.4064.

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Over the last decade, the music industry has adapted its promotional strategy to take advantage of the fluid, contemporary, platform-based transmedia landscape. For researchers of contemporary culture, the multiplicity of promotional activities creates substantial methodological challenges. In this article, we present and discuss such methodological approaches using two studies of contemporary promotional music campaigns as illustrative cases. Inspired by digital and innovative methods and guided by the Association of Internet Researchers’ (AoIR’s) ethical guidelines, we developed two data collection strategies—reversed engineering and live capturing—and applied two analytical approaches—visual mapping and time-based layering. The first case study traced already staged music marketing campaigns across multiple online media platforms, and the second followed an online promotional campaign in real time for six months. Based on these case studies, we first argue for the importance of grounded manual capturing and coding in data collection, especially when working around data access limitations imposed by platforms. Second, we propose reversed engineering and live capturing as methods of capturing fragmented data, in contemporary promotional campaigns. Third, we suggest the visual mapping and time-based layering of data, enabling researchers to oscillate between qualitative and quantitative data. Finally, we argue that researchers must pool their experiences and resources regarding how to transcend platform limitations and question a lack of transparency while respecting ethical norms and guidelines. With these arguments, we assert the researcher’s necessary role in understanding and explaining the complex and hybrid contemporary promotional landscape and provide tools and strategies for further research.

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Hernández-Conde, Macarena, Sandra Arencón-Beltrán, and Salomé Sola-Morales. "Narrativas transmedia feministas. El caso del movimiento 8M español durante el 2019." Dixit, no. 35 (November 10, 2021): 51–70. http://dx.doi.org/10.22235/d35.2610.

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Este artículo realiza un estado de la cuestión de las narrativas transmedia feministas y utiliza el movimiento 8M español como ejemplo de caso que permite ilustrar las prácticas de intervención digital, a través de la exploración de los discursos autoproducidos y difundidos en Internet en 2019. Estas producciones simbólicas tienen gran potencial y permiten comprender las narrativas transmedia del movimiento. La muestra fue codificada mediante procedimiento abierto (software Atlas.ti). Se ha realizado una etnografía digital sobre las intervenciones e implementado un análisis sociosemiótico, con software cualitativo y codificación abierta. A la luz del análisis de los productos culturales virales remezclados (retratos, pancartas, ilustraciones, memes y pintadas), se confirma que los contenidos viajan de la red a la calle —y viceversa—, en un bucle que refuerza la idea de autoría colectiva, como característica esencial de la participación híbrida. Se concluye que, a través de la apropiación de las redes sociales, los feminismos muestran subjetividades, procesos de empoderamiento y autonomía social de gran relevancia para su acción política.

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Lastra, Ana. "El poder del prosumidor. Identificación de sus necesidades y repercusión en la producción audioviusal transmedia." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 14, no. 1 (January 1, 2016): 71–94. http://dx.doi.org/10.7195/ri14.v14i1.902.

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Un producto audiovisual transmedia se fundamenta en tres pilares: un universo narrativo, un número de plataformas de expansión de ese universo y un prosumidor que interactúe con el contenido. El presente trabajo supone un análisis de este prosumidor. Para ello, se ha realizado una documentación bibliográfica y un desarrollo comparativo de dos estudios de caso: El Ministerio del Tiempo y Kung Fury. Se optan por estos dos proyectos debido a sus diferencias tanto en su sistema de producción como en su prosumidor objetivo. Este análisis se realiza para observar cuáles son las necesidades del prosumidor y su repercusión en la viabilidad del proyecto. Se intenta, además de identificar el poder del prosumidor en la producción audiovisual transmedia, establecer qué aspectos relacionados con la comunicación deben reforzarse y/o mejorar de cara al futuro. Todo ello para obtener un feedback constructivo entre los medios de comunicación y el prosumidor. Transmedia audiovisual products have three basic pillars: a narrative universe, a number of expansion platforms of these universe and a prosumer who interacts with the content. This work represents an analysis of this prosumer. A bibliographic documentation and comparative work have been used for this two case studies, El Ministerio del Tiempo and Kung Fury. These two projects have been chosen because of their differences on production system and objective prosumer. All this analysis was made to determine which are the prosumer´s necessities and repercussion in the viability of the project. As well as identifying the power of prosumer in transmedia audiovisual production, it tries analyzing what communications aspects must be strengthen and/or improve in the future. All this work gives us a constructive feedback between mass media and prosumer.

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Bonifazio, Paola, and Maurizio Vito. "Convergence Culture and Transmedia Storytelling in Contemporary Italy." Italian Culture 39, no. 1 (January 2, 2021): 1–3. http://dx.doi.org/10.1080/01614622.2021.1891766.

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Ibarra, Álvaro. "Ancient Greece and Rome in Videogames: Representation, Play, Transmedia." Mediterranean Studies 30, no. 1 (June 1, 2022): 131–34. http://dx.doi.org/10.5325/mediterraneanstu.30.1.0131.

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Pérez-Manzano, Antonio, and Javier Almela-Baeza. "Gamification and transmedia for scientific promotion and for encouraging scientific careers in adolescents." Comunicar 26, no. 55 (April 1, 2018): 93–103. http://dx.doi.org/10.3916/c55-2018-09.

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The current growth in gamification-based applications, and especially in what is known as Digital Game-based Learning (DGBL), is providing new opportunities with considerable educational potential. In the present study, we report on the results of the progress of a project for developing a setting for a gamified website carried out ad hoc, complemented by transmedia resources and aimed at scientific promotion and the promotion of technological and scientific careers (S&T) in adolescents, who are at a stage in life when career preferences are established. At present, the decrease in S&T careers is one of the greatest problems for the society of technological development that we live in, where the number of professionals working in key areas for economic development and progress is declining. After completing a pre and post project participation survey, the results suggest a high level of efficiency achieved by projects of this type due to their online experimentation design, the knowledge of real cases of research activity, and the communication of positive scientific values and attitudes appropriate for the target population. The participants significantly increased their interest in the subject area, scientific professions, and research activity and their social benefits demonstrating the acquisition of positive attitudes towards scientific knowledge and skills. En la actualidad la proliferación de aplicaciones basadas en gamificación y especialmente en el denominado Aprendizaje Digital Basado en Juegos (Digital Game-Based Learning, DGBL) abre un panorama de elevado potencial educativo. En el presente trabajo se muestran los resultados del desarrollo de un proyecto con el funcionamiento de un entorno web gamificado y realizado ad hoc, complementado con recursos transmedia y dirigido a la divulgación científica y al fomento de las vocaciones científico-tecnológicas (CyT) en adolescentes, siendo precisamente en este rango de edad donde se configura la preferencia vocacional. El descenso de vocaciones CyT supone uno de los mayores problemas actuales para la sociedad de desarrollo tecnológico en la que nos encontramos, con un descenso generalizado de profesionales en áreas claves para el desarrollo económico y de progreso. Tras la realización de una encuesta previa a la participación en el proyecto y la misma encuesta tras la realización del mismo, los resultados obtenidos indican la elevada eficacia de proyectos de este tipo, diseñados en base a la experimentación online, el conocimiento de situaciones reales de la actividad investigadora y la comunicación de valores y actitudes procientíficas de forma afín a la población objetivo. Los participantes aumentan significativamente su interés por la profesión científica, la actividad investigadora y su beneficio social manifestando la adquisición de conocimientos y destrezas procientíficas y poniendo de relieve su interés por la temática tratada.

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Russo, Stephanie. "Austen Approved: Pemberley Digital and the Transmedia Commodification of Jane Austen." Women's Writing 25, no. 4 (August 28, 2018): 512–24. http://dx.doi.org/10.1080/09699082.2018.1510884.

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Rueda Laffond, José Carlos, and Carlota Coronado Ruiz. "Historical science fiction: from television memory to transmedia memory inEl Ministerio del Tiempo." Journal of Spanish Cultural Studies 17, no. 1 (January 2, 2016): 87–101. http://dx.doi.org/10.1080/14636204.2015.1135601.

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Baelo-Allué, Sonia. "Transhumanism, transmedia and the Serial podcast: Redefining storytelling in times of enhancement." International Journal of English Studies 19, no. 1 (June 30, 2019): 113–31. http://dx.doi.org/10.6018/ijes.335321.

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The digital age has facilitated the creation of fluid, open stories that are subject to change as they unfold across different media platforms, each contributing to the story as a whole. Transmedia storytelling is also linked to transhumanism, a philosophy based on the idea that human limitations can be overcome through reason, science and technology to finally free us from the limitations of our bodies and minds. The concept of the literary has changed because the concept of the human has also evolved, as technology has been used to enhance both human capacities and storytelling through active participation, group work, and collective intelligence. This double enhancement that transmedia and transhuman storytelling entail is explored in this article through a textual and paratextual analysis of Serial, the world’s most popular podcast, which can help us redefine the present blurring of disciplinary boundaries and the new territory of the literary.

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Ramasubramanian, Srividya. "Racial/ethnic identity, community-oriented media initiatives, and transmedia storytelling." Information Society 32, no. 5 (September 6, 2016): 333–42. http://dx.doi.org/10.1080/01972243.2016.1212618.

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Fernández Ruiz, Marta, and David García-Reyes. "Blacksad: Under the Skin. Transmedia y ludificación como experiencia cultural." Revista de Comunicación 20, no. 2 (September 15, 2021): 131–47. http://dx.doi.org/10.26441/rc20.2-2021-a7.

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La convergencia mediática y la transmedialidad han supuesto que los mundos de ficción desarrollados originalmente en las novelas gráficas tiendan an expandirse en medios más actuales como los videojuegos, donde los entornos y los personajes se vuelven jugables y los elementos de la narración se entrelazan con las mecánicas y las reglas del juego. Este trabajo tiene como objeto estudiar la saga de novelas gráficas Blacksad (Díaz Canales y Guarnido, 2001) y el videojuego Blacksad: Under the Skin (Pendulo Studios, 2019) con el fin de arrojar luz sobre cómo la narración de las novelas gráficas se complementa con la del videojuego. Además, indaga en las prestaciones específicas de los videojuegos, que amplifican la experiencia del universo de Blacksad. Tanto la saga de novelas gráficas como el videojuego se analizan desde las perspectivas de la ecología de los medios, los game studies, los fundamentos de los mundos transmediales y la estética de los nuevos medios. El cómic y el videojuego conviven en una lógica de transmedialidad e intertextualidad que sumerge a los usuarios/jugadores en un mundo ficticio cuya extensión crece a medida que interactúan con sus entornos, personajes y códigos éticos, así como con las diferentes plataformas y contenidos generados por la comunidad de fans o usuarios.

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Gossiaux, Axel Mudahemuka. "Decolonising Arts and Culture in Belgium." Anthropological Journal of European Cultures 30, no. 2 (September 1, 2021): 132–40. http://dx.doi.org/10.3167/ajec.2021.300210.

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This contribution gives insight into the decolonisation of thought by presenting Black Out, a transmedia initiative located in the city of Liège in Belgium. Black Out is a project designed for promoting black music and culture and fighting against racism, principally through information technology and social media. I highlight how Black Out may participate in efforts for decolonising arts and culture in Belgium and Europe. To do so, I present a few contextual elements about racism and the postcolonial debate in Belgium before giving examples on how the projects of Black Out are in line with some of the driving forces of the decolonial approach.

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Goldschmitt, Kariann. "“Joga Bonito Pelo Mundo, Guerreiro”: Music, Transmedia Advertising, and Brasilidade in the 2006 World Cup." Popular Music and Society 34, no. 4 (October 2011): 417–36. http://dx.doi.org/10.1080/03007766.2011.601572.

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Meyers, Eric M., Julia P. McKnight, and Lindsay M. Krabbenhoft. "Remediating Tinker Bell: Exploring Childhood and Commodification through a Century-Long Transmedia Narrative." Jeunesse: Young People, Texts, Cultures 6, no. 1 (June 2014): 95–118. http://dx.doi.org/10.3138/jeunesse.6.1.95.

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The one-hundred-year trajectory of the mischievous Tinker Bell, from J. M. Barrie’s 1904 play Peter Pan, or the Boy Who Would Not Grow Up to the present-day Disney Fairies franchise, is a metanarrative of adaptation and remediation through which media and “childhood” can be seen to interrelate as mutually constitutive forces. With a focus on contemporary children’s narratives and media, this paper examines incarnations of this media franchise at fifty-year intervals. Our close reading yields insights into the reflexive relationship between the social constructions of childhood, the evolution of narrative in children’s literature, and the development of media for child audiences since the Edwardian era. Using Tinker Bell as an exemplar for a phenomenon, we find that as children’s narratives and media evolve in ways that increase the potential for childhood agency, commercial formulations shape this agency strategically by structuring access and participation.

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Palioura, Maria, and Charalampos Dimoulas. "Digital Storytelling in Education: A Transmedia Integration Approach for the Non-Developers." Education Sciences 12, no. 8 (August 16, 2022): 559. http://dx.doi.org/10.3390/educsci12080559.

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The present paper focuses on digital storytelling in education, emphasizing the teachers’ needs for familiarization with the new technological conditions. A transmedia integration approach is deployed to make productive, blended learning values while utilizing the availability of tools and reusable media assets in a component-based software engineering kind of framework. The topic is inspired by social studies and humanities, which seem to be marginalized, usually failing to make effective technological facilities, benefits, and contemporary findings. It is, therefore, necessary to modernize the approach to literary things and integrate digital means into the educational process, even in cases where a sole educator on humanities and social studies lacks multidisciplinary support in multimedia authoring and software engineering. This modernization can be made possible by introducing user-friendly tools into the process, representing not just a fashion of the time but mostly a renewal trend, aiming at revitalizing the course to attract and engage learners. Undoubtedly, today’s pupils have grown up with technological means, becoming familiar with their use so their implication causes undiminished interest in most daily activities, including schooling. In this high-tech generation, it is absurd to address the transmission of knowledge and values in outdated ways. Apart from adapting to the timely students’ needs, lesson plans on transmedia storytelling practices can also satisfy tutors, triggering their inspiration and co-creation potentials. Overall, the project aims to attract the trainees’ interest with the help of digital tools, which will be embodied in the educational processes by teachers without technical know-how, while continuously adapting to the audience’s needs. Research hypothesis and questions are formed as part of the deployed human-centered interactive design, aiming at modeling best practices for teaching classical topics, such as the “Odyssey”.

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Zurian, Francisco A., Francisco-José García-Ramos, and Lucía-Gloria Vázquez-Rodríguez. "Transnational Dissemination of Discourses on Non-normative Sexualities through Netflix: the Sex Education Case (2019-2020)." Comunicación y Sociedad 2021 (August 11, 2021): 1–22. http://dx.doi.org/10.32870/cys.v2021.8041.

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This paper analyzes the series Sex Education’s role in the transnational dissemination of discourses on non-normative sexualities, equality and LGBTIQ+ diversity. From a LGBTIQ+ Studies perspective, a mixed design with non-experimental ex-post-facto methodology has been applied through transmedia measurement instruments and the ILGA World and Global Attitudes reports. Netflix –through Sex Education– is confirmed to transnationally spread values of diversity and LGBTIQ+ equality in countries without full social and legal protection for such diversity, promoting the construction of alternative subjectivities.

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Hernández-Pérez, Manuel. "Looking into the “Anime Global Popular” and the “Manga Media”: Reflections on the Scholarship of a Transnational and Transmedia Industry." Arts 8, no. 2 (April 28, 2019): 57. http://dx.doi.org/10.3390/arts8020057.

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This article introduces the special issue dedicated to global industries around anime, its theoretical commentary and its cross-cultural consumption. The concepts “anime” and “anime studies” are evaluated critically, involving current debates such as those presented in this volume. This discussion will employ the concepts of “manga media” as well as the “popular global”, giving an account of the transmedia and transcultural character of these creative industries. The conclusion critiques the irregular presence of Cultural Studies in the study of Japanese visual culture and advocates for constructing an updated dialogue with this tradition in order to readdress the study of these media as a form of global popular culture.

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