Relevant bibliographies by topics / Media franchises

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Media franchises'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Media franchises"

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King, Brian L. "Caught in the middle: franchise businesses and the social media wave." Journal of Business Strategy 37, no. 2 (April 18, 2016): 20–26. http://dx.doi.org/10.1108/jbs-04-2015-0037.

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Purpose The purpose of this paper is to explore the impact of the Internet, and more specifically social media, on franchise business models. Design/methodology/approach A review of both franchising and Internet literatures enables the creation of a simple model that distinguishes between surface waves, highly visible innovations that influence a restricted set of franchise business models, and deep waves that have a broader and more long-lasting influence on all franchises. Findings The first Internet era had a surface wave, online selling, that impacted relatively few franchises, but the deep wave of the wide availability of information and training materials has had a broader and more sustained impact on franchise systems. Similarly, Web 2.0’s social element has created a surface wave, the shared economy for hotels and cars, that affects relatively few franchises, but the deep wave of user-rating Web sites and Apps promises to have a broader and more long-lasting influence. Research limitations/implications This paper enables researchers identify potential research topics, highlighting the need to determine the impact of social media on how consumers perceive quality and the influence this has on their ongoing behavior. Practical implications This paper helps practitioners understand how the Internet influences the competitive balance between franchised and non-franchised businesses. Hence, it will be of interest to any large organization that offers high quality decentralized products or services, as they typically either franchise or compete with franchised businesses. As well, for entrepreneurs considering investing in a franchise, this paper will help identify which business models are more sustainable in the face of Internet innovation. Originality/value The surface wave/deep wave model is a new approach to analyzing the long-term impact of the Internet on all decentralized businesses.
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SUMMERS, TIM. "Music and Transmediality: The Multi-Media Invasion ofJeff Wayne's Musical Version of The War of the Worlds." Twentieth-Century Music 15, no. 2 (June 2018): 231–58. http://dx.doi.org/10.1017/s1478572218000154.

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AbstractThis article investigates music in the modern transmedial franchise. Popular culture franchises flow across different forms of media, taking the audience, and often the music, with them. Music plays an important role in articulating and developing textual relationships, while adapting to the possibilities of each particular medium.To focus on the role of music, a case study that emphasizes audio is chosen, a transmedial franchise founded upon a rock album.Jeff Wayne's Musical Version of The War of the Worlds(1978) has served as the basis for several (very different) video games that also prioritize music. The article traces how musical materials are selected, transformed, and deployed as media boundaries are traversed. It ultimately argues that music is an important part of how media consumers engage with transmedial franchises.
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Harvey, Jean, Alan Law, and Michael Cantelon. "North American Professional Team Sport Franchises Ownership Patterns and Global Entertainment Conglomerates." Sociology of Sport Journal 18, no. 4 (December 2001): 435–57. http://dx.doi.org/10.1123/ssj.18.4.435.

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This paper maps the current ownership patterns of North American major professional sports franchises in order to assess the extent to which they are interconnected with media/entertainment conglomerates. First, the 120 franchises are classified according to owner’s industrial sector. Second, five models of linkages between franchises and media/entertainment corporations are followed by case studies representative of each. The paper concludes that indeed empirical evidence supports the alleged increasing control of North American pro sport franchises by large media/entertainment conglomerates. However, the paper also demonstrates that the phenomenon involves much more diversity than the major conglomerates commonly identified in the current literature. Finally, the paper discusses the impacts of this trend on sport, as well as on fans.
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Denison, Rayna. "Adaptation in Japanese media mix franchising: Usagi Drop from page to screens." Journal of Adaptation in Film & Performance 12, no. 3 (December 1, 2019): 143–61. http://dx.doi.org/10.1386/jafp_00003_1.

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Abstract Japanese media franchising is normally discussed in relation to long-running chains of serial transmedia production known in Japan as 'media mix'. I argue that this focus on the biggest of Japanese franchises is over-determining how we conceptualize the flows of adaptation in Japanese media culture. Therefore, in this article, I focus on a short-lived franchise based around Yumi Unita's manga Usagi Drop (literally, Bunny Drop, 2009‐11) in order to think about the media mix as a set of relational adaptation processes. In the space of just a few months in 2011, this manga about a young man adopting his grandfather's illegitimate daughter became the seemingly unlikely source of a transmedia franchise that included television animation and live action film. Focusing on such a short-lived cycle of production allows me to reconsider how Japanese franchise media texts relate to one another, and to decentre anime as the defacto core medium in Japanese franchising. Expanding the view of Japanese media mix adaptations, I consider how both internal and external factors can influence media franchising and adaptation practices in contemporary Japan. Retracing the production discourses around the creation of the Usagi Drop franchise therefore allows me to reconsider the concept of media mix as adaptation practice and process in Japan.
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Lino, Mirko. "Spatial Storytelling in the Transmedial Storyworld of The Walking Dead Franchises." Tekstualia 3, no. 58 (October 15, 2019): 35–54. http://dx.doi.org/10.5604/01.3001.0013.6422.

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Zombies are conceivable as cultural artefact that follow and embody the evolution of media narratives. They have migrated from the margins of a media system (the niche of the horror cinema genre) to the center of media convergence practices, which could be summarized in the crossmedia dissemination of its key features and the construction of a transmedia storytelling for its fi ctions. Crossmedia dissemination and transmedia storytelling seem to have become two of the most dominant logical elements of contemporary entertainment; they indicate the power of the narrative to spill over the media boundaries in order to arrange a story through media ubiquity and a network of integrated media. To demonstrate this affi rmation, the following analysis will focus on the transformation both cultural, medial and formal of zombie fi ction, by considering as a case study the infamous comic novel (2003–) and TV serial The Walking Dead (2010–). The analysis will also be carried out into the ways they engage the spectator within a storyworld sustained by different media sharing and working together to consolidate a narrative system via fi ctional and – as we shall see – „real” spatialities.
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Johnson, Derek. "Activating activism: Facebook trending topics, media franchises, and industry disruption." Critical Studies in Media Communication 34, no. 2 (March 9, 2017): 148–57. http://dx.doi.org/10.1080/15295036.2017.1298142.

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Cassilo, David, and Jimmy Sanderson. "“They Hired a Baseball Guy”: Media Framing and Its Influence on the Isomorphic Tendencies of Organizational Management in Professional Football." International Journal of Sport Communication 10, no. 3 (September 2017): 290–306. http://dx.doi.org/10.1123/ijsc.2017-0034.

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Many professional sport franchises have undergone shifts in talent evaluation strategies by moving to analytic and data-driven approaches. However, National Football League (NFL) franchises have been resistant to fully embrace the analytical model, as NFL organizational management structures tend to be isomorphic. In 2016, the Cleveland Browns initiated an ideological break from this system by hiring “moneyball” guru Paul DePodesta, a move that signaled a shift to an analytics-based model in organizational management. A textual analysis of 120 online media articles was carried out to determine how media reports framed this philosophical shift. Results revealed that frames predominantly portrayed analytics as being in direct opposition to normalized operational structures in the NFL. The results illustrate how difficult it is to change the discourse and embrace new management ideas that are perceived to contrast with dominant ideologies.
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Booth, Paul. "Board, game, and media." Convergence: The International Journal of Research into New Media Technologies 22, no. 6 (July 8, 2016): 647–60. http://dx.doi.org/10.1177/1354856514561828.

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Interactive media board games reflect a changing media culture. Converging media text and technology with game play mechanics and rules, these board games exist as a hybrid form of game and media. In this article, I examine interactive paratextual board games – games based on media products that utilize other forms of media to produce random or immersive experiences. While previous discussions of media franchising investigates game paratexts through industrial and economic shifts, I explicate aesthetic, ludic, and textual concerns of cult franchises through an analysis of three interactive board games, namely, Isaac Asimov’s Robot VCR Mystery Game, the Star Trek: The Next Generation Interactive VCR Board Game, and the Indiana Jones DVD Adventure Game. Ultimately, I argue that these interactive paratextual board games manifest, reflect, and augment early convergence culture characteristics, revealing that interactive board games exemplify contemporary new media characteristics.
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Garmon, Lance C., Rebecca J. Glover, and Elizabeth C. Vozzola. "Self-perceived use of popular culture media franchises: Does gratification impact multiple exposures?" Psychology of Popular Media Culture 7, no. 4 (October 2018): 572–88. http://dx.doi.org/10.1037/ppm0000153.

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Satomi Saito. "Beyond the Horizon of the Possible Worlds: A Historical Overview of Japanese Media Franchises." Mechademia: Second Arc 10 (2015): 143. http://dx.doi.org/10.5749/mech.10.2015.0143.

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Dissertations / Theses on the topic "Media franchises"

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Jones, Christopher. "How sports franchises communicate via social media." Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/854.

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The aim of the research is to evaluate how professional sport organizations communicate via social media and lay groundwork on how to effectively do so in the future. The research focuses on the history of social media and its involvement in sport, how it's used today, examples of effective communication and how it can eventually drive revenue for a sport franchise and build a stronger fan base at the same time.
B.A.
Bachelors
Sciences
Nicholson School of Communication
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Knott, Stuart. "The adaptive contexts of videogame adaptations and franchises across media." Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/12100.

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Videogame adaptations have been a staple of cinema and television since the 1980s and have had a consistent presence despite receiving overwhelmingly negative reactions. Recognising the perseverance of videogame adaptations, I examine some of the key issues and debates surrounding the genre with in-depth analysis of the source material, the machinations of the film and videogame industries, and the films themselves, specifically relating to three prominent onscreen videogame adaptations. Following an introduction to the various theories and areas of study already performed in this field, all of which I incorporate into an intricate, blended methodology, I explore issues of fidelity, localisation, and evolution that occur when adapting Sonic the Hedgehog out of the confines of its limited narrative. In examining adaptations of Mortal Kombat and Street Fighter, I explore how cinematic genres (such as the Hong Kong martial arts and American action movies) have influenced the creation of videogames and the production of their film and television adaptations. Finally, I delve into the history of zombie horror films, which influenced the Resident Evil franchise. As this became the longest-running (and, by extension, most successful) live-action videogame franchise, I explore the complex production of videogame adaptations, their critical and financial reception, and their ability to evolve into multimedia franchises. Overall, my work is designed to take videogame adaptations seriously by examining them through in-depth analysis, exploring how they convey the gameplay mechanics of their source material, analysing why they remain so popular despite their negative reputation, and by establishing an academic framework by which to discuss them with the same reverence afforded to literary adaptations.
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Hamer, Naomi Elana. "Reading tween franchises : cross-media practices and the discourses of tween girlhood." Thesis, University College London (University of London), 2010. http://discovery.ucl.ac.uk/10007385/.

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The 'tween' age group, particularly preadolescent females between the ages of 8 and 12, constitutes a heavily targeted niche for the branding and cross marketing of products. Consequently, books aimed at tween readers are often part of cross-media franchises that may include film and television adaptations, affiliated music albums, online fan clubs, video games, clothing, and cosmetics. In this context, representations may be adapted across a number of media forms, and conversely, responses to texts may be facilitated by engagement with diverse media. In light of these trends, this research explores how intersecting discourses of tween girlhood are negotiated through crossmedia practices by both producers and consumers of tween franchises. The thesis begins with a review of research from the fields of children's literature criticism, cultural and media studies, girlhood studies, and New Literacies. Building on this review, I outline a theoretical and methodological frame rooted in theories of discourse as articulated through multimodal design and cross-media play. The analysis traces a cultural history of key discourses in Anglo-American texts for and about preadolescent girls. In the following chapters, two tween-oriented cross-media worlds, The Chronicles ofNarnia and Mary-Kate and Ashley Olsen, are used as case studies to examine the roles of multi modal design and cross-media play in the articulation of these discourses of tween girlhood. Each case study addresses the design of franchise texts (i.e. books, DVDs, tie-in texts); fan cultures related to these texts; and the responses of eightyear- old participants during fieldwork in Toronto, Canada. The conclusion of this thesis discusses the potential application of this doctoral study in future research on crossmedia texts and practices.
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Monnet-Cantagrel, Hélène. "Les Séries télévisées du format aux franchises. Pratique et esthétique des dramas américains de prime-time, créés entre 1996 et 2006." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA173.

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Les séries télévisées de fiction suscitent depuis quelques années un intérêt sans précédent dans leur histoire, qui amène à s’interroger sur le sens pris par cette forme de fiction. Mais, à cette question de la signification de l’objet, s’ajoute celle de la méthode permettant d’y répondre. Récits, fictions, les séries sont aussi des produits commerciaux et industriels et, de ce fait, fortement déterminées par leurs contextes de production et de réception.Depuis 1996 et la dérégulation des télécommunications aux Etats-Unis, le paysage médiatique et le marché télévisuel, américains puis internationaux, ont connu d’importants bouleversements économiques et technologiques dont une des conséquences a été l’adoption de stratégies d’expansion et de branding des programmes, qui prennent un tour inédit et auxquelles les séries n’échappent pas.Adaptées, dérivées, reprises, les séries, notamment dramatiques, se franchisent, faisant apparaître alors ce qui constitue une spécificité de la création sérielle, le format. Forme minimale de la fiction, le format consiste en une présentation écrite qui en fixe les constituants fondamentaux permettant non seulement sa sérialisation mais aussi sa distribution.A partir de formats et de franchises de séries dramatiques américaines de la décennie initiée à 1996, cette thèse se propose d’examiner en quoi le format pourrait contribuer à enrichir l’étude des séries télévisées dans une perspective autant théorique qu’interprétative
Since the beginning of the 2000s, television series arouse an unheard-of interest in their history, which brings to question the sense of this kind of fiction. But, in this issue of the meaning of the object, is also the one of the method to answer it.Narratives and fictions, series are also commercial and industrial products and, therefore, strongly determined by their contexts of production and reception. Since 1996 and the deregulation of telecommunications in the United States, american then international media landscapes and markets have known important economic and technological upheavals which led to new strategies of expansion and branding of the programs, in an unprecedented tourAdapted, spun off, remade, dramatic series lead to franchises, revealing then what establishes a specificity of the serial creation : the format. The television format is a written presentation which sets the fundamental core of the fiction, allowing not only serialization but also its distribution.Studying formats and franchises of American dramatic series of the decade introduced in 1996, this thesis examines how the television format could contribute to enrich the study of television series in a theoretical as well as in an interpretative objective
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Ryd, Camilla. "Deltagande, empowerment och kommersiell mediekultur : Relationen mellan Twilight fandom och franchise." Thesis, Stockholm University, Department of Journalism, Media and Communication (JMK), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-40301.

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Den här studien utforskar deltagande kring det populärkulturella fenomenetThe Twilight Saga. Ett fenomen som både utgörs av fandom och kommersiell franchise. Fokus ligger på hur praktiker utvecklats fördeltagande på Internet. Materialet är både fansidor ägda och administreradeav enskilda fans och webbsidor som representerar aktörer inom franchise.Syftet är att undersöka relationen mellan fandom och franchise. Det för attundersöka karaktären av deltagande när fans har sina egna kanaler för attpublicera och producera material. Fans beskrivs teoretiskt både sompotentiella aktivister i en kommersiell mediekultur, som skriver över denmed sina egna texter, eller så karaktäriseras fans deltagande som ett understödjande deltagande som stärker kommersiella intressen.

Metoden är en modifiering av Foot & Schneiders webbsfärsanalys. Genomatt studera hur relationerna konkret manifesterar sig i webbläsaren beröra frågeställningarna; På vilket sätt associerar aktörer inom och mellan fandom och franchise med varandra och till synes med vilka intentioner? Vilken typav innehåll samproduceras av fandom och franchise? Hur används struktureronline för att mobilisera fans offline? Hur hanteras spänningen mellansjälvständighet och kontroll när fans blir medproducenter av ettpopulärkulturellt fenomen?

Studien visar att trots att fansidorna agerar självständigt är deras deltagandeett understödjande av kommersiella intressen. Fans kreativitet inkorporeras ifranchisen och ger både underhållningsvärde och stärker varumärket”Twilight”. Med fansen fascination för kändiskultur upprätthålles också ensymbolisk hierarki mellan producenterna av den ”primära texten” ochfansen. Relationer som kan ses som en inkarnation av de relationer mellanpubliker och producenter förknippade med massmedier.

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Quinn, Megan Ruth. "Passive Subversion: Franchised City vs. Found-Object Adaptability: A Media Beacon / Public Dialog Venue in an Abandoned Grain Elevator." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/quinn/QuinnM0507.pdf.

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Public space has been integral to city planning since Ancient Greek and Roman civilizations. Greek and Roman governmental structures were based on the idea of people coming together to discuss. The senators were the main speakers in the Forum, but the citizens would gather to listen or contribute. The architecture of this kind of public space was large, open, and able to accommodate everyone willing to attend. Both the Agora in Athens and the Forum in Rome included marketplaces and other public amenities which drew people to the public arena.¹ During Ancient Times, public gatherings were the only form of passing on information. Human contact and interaction was necessary, and people gained a civic sense from the live interaction and involvement with their fellow citizens. Everything was live, including entertainment. Live encounters were the media. In Contemporary American Culture, it is not necessary to have live dialog. Communication can be carried across various media, some of which include simultaneous audiovisual conversations. Public space and a civic sense has been lost to electronic media, and shopping space is the remaining public space.² Just as the marketplace drew people to the Agora and the Forum, shopping centers today draw people from their homes to common locations. The intent of this thesis is to explore design opportunities that would proactively address contemporary consumer culture. This passive consumer culture has eroded the "civic sense" of the past, and architecture can restore the "civic sense" by structuring opportunities for interaction between people that would not otherwise exist. This thesis will investigate the current situation in American culture, and research ways in which architecture can provide an intermediate venue between the public sense of the past (before electronic media) and the world of consumerism, convenience, and burgeoning technology. The power and efficiency of electronic media makes it a nearly irresistible cultural magnet. It simulates reality and can be combined with the intensity of live dialog and encounters to create a hybrid that will enhance contemporary culture.
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Kim, Michelle. "Cracking the Hollywood Formula: The Secret Powers of the Superhero Franchise." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/396.

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There are many perceived advantages of developing a film from a comic book series such as its preexisting built-in audiences, easy marketability, licensing opportunities of comic book characters, and easily adaptable stories. All these qualities make the comic book conducive to film adaptation and profitable franchises. Studios have also taken notice and have been producing comic book inspired films in record numbers in the past decade. This thesis will investigate the comic book-to-film phenomena and will attempt to quantify whether it is in fact as lucrative as it appears. In order to quantify the effect of the comic book variable on film's success, this study will utilize the ordinary least squares method. By regressing the comic variable along with all other control variables, we hope to determine if the effect of the comic variable varies between two different measures of success.
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NEGRI, ERICA. "OLTRE IL FRANCHISE. TRANSMEDIA STORYTELLING FRA NARRAZIONE E PRATICA DISTRIBUTIVA NELL'ERA DIGITALE DELLA CONVERGENZA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2015. http://hdl.handle.net/10280/6169.

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I processi di digitalizzazione e convergenza hanno avuto un forte impatto sulle modalità di produzione, distribuzione e fruizione dei contenuti audiovisivi. Ma tale impatto non si è limitato ai suddetti ambiti. Fenomeni come il transmedia storytelling, le narrazioni distribuite, l’intertestualità, l’ibridazione delle forme discorsive, l’integrazione di elementi di game-playing all’interno di strutture narrative tradizionalmente lineari, e la crescente rilevanza del world-building all’interno del processo creativo di una storia dimostrano che il cambio di paradigma non sta avvenendo solo a livello delle strutture economiche, produttive e comunicative, ma anche a livello narratologico. Scopo di questa ricerca è mappare tale cambio di paradigma, approfondendo in modo particolare l’emergere delle forme narrative transmediali.
The processes of digitalization and media convergence have had a major impact on the procedures of production, distribution and reception of audiovisual content. However, the impact has not been limited to those areas. The emergence of cultural phenomena such as transmedia storytelling, distributed narratives, intertextuality, the hybridization of forms of discourse, the integration of elements of game-playing within the traditionally linear narrative structures, and the growing importance of world-building within the story development process attest that the paradigm shift is not only occurring at an economical, industrial and communicational level, but also at a narratological one. The aim of this research is to map this paradigm shift, with particular focus on the emergence of transmedia narrative forms.
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Pukszta, Claire A. "Star Wars and Franchising: Emotional Ownership and Tensions in the Digital Age." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1257.

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This paper unpacks the franchise system and the often-tumultuous relationship between Producers and Consumers, especially around the release of new films by the Producers. Star Wars represents far more than just a corporate product. There is a thriving ecosystem around pieces that have touched fans lives personally. The reaction of fans to new media texts in existing franchises is in constant flux. Tumultuous emotions of betrayal come in waves from fans immediately following the release of new content. Specifically focusing on reception to prequel films, Episode 1: The Phantom Menace (1999) and Solo: A Star Wars Story (2018), reveals how both generational differences and technology affect fan interaction and reaction across iterations of the franchise. Fans attempt to remediate the differences in cannon and their own interpretations of the franchise through fan creation. Fans have historically been early embracers of new technologies and have used increasingly available editing software and cameras to express their passion for the franchise. A digital world has created ever expanding platforms of interactivity in which Producers/Consumers can reach one another. The spaces in which these interactions occur have evolved from personal fan websites to social media sites. The amount of online information available to consumers, from reviews to fan content, has diminished the power of official franchise content. The release of Solo revealed a dangerous level of apathy from consumers. As opposed to the fervor surrounding powerful media texts at the time of The Phantom Menace, the diversified media landscape has undoubtedly affected Star Wars.
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Strandell, Julia. "En filmseries förbannelse : En analys om franchiseutveckling i Pirates of the Caribbean." Thesis, Högskolan Dalarna, Bildproduktion, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-33541.

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Denna uppsats undersöker förändringar som sker inom filmserien Pirates of the Caribbean med fokus på hur de tre inriktningarna: Klass, genus och frihet utvecklar sig genom filmerna. Syftet med uppsatsen är att undersöka hur de tre ideologiska samhällsstrukturerna utvecklas genom filmserien för att förhoppningsvis kunna dra en slutsats gällande kopplingen mellan strukturernas utveckling och filmseriens fallande betyg på Rotten Tomatoes. I analysen har filmerna noggrant analyserats utifrån de tre ideologiska inriktningarna för att se hur de utvecklat sig i seriens uppföljare. Resultatet gav tydliga tendenser av att var film i serien tappat kontakt med någon av de strukturer som tidigare presenterats. Vissa strukturer utvecklas genom filmens handling medan andra försvinner utan förklaring. Utan att kunna dra en säker slutsats misstänker uppsatsförfattaren att diskontinuitet som skapats vid osammanhängande utveckling av samhällsstrukturerna i filmen kan vara en bidragande orsak till att filmerna fått ett lägre omdöme för var film som släppts i serien.
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Books on the topic "Media franchises"

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

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This collection considers new phenomena emerging in a convergence environment from the perspective of adaptation studies. The contributions take the most prominent methods within the field to offer reconsiderations of theoretical concepts and practices in participatory culture, transmedia franchises, and new media adaptations. The authors discuss phenomena ranging from mash-ups of novels and YouTube cover songs to negotiations of authorial control and interpretative authority between media producers and fan communities to perspectives on the fictional and legal framework of brands and franchises. In this fashion, the collection expands the horizons of both adaptation and transmedia studies and provides reassessments of frequently discussed (BBC’s Sherlock or the LEGO franchise) and previously largely ignored phenomena (self-censorship in transnational franchises, mash-up novels, or YouTube cover videos).
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Lamerichs, Nicolle. Productive Fandom. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789089649386.

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To dismantle negative stereotypes of fans, this book offers a media ethnography of the digital culture, conventions, and urban spaces associated with fandoms, arguing that fandom is an area of productive, creative, and subversive value. By examining the fandoms of Sherlock, Glee, Firefly, and other popular television-based franchises, the author appeals to fans and scholars alike in her empirically grounded methodology and insightful analysis of production hierarchies, gender, sexuality, play, and affect.
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Guynes, Sean, and Dan Hassler-Forest, eds. Star Wars and the History of Transmedia Storytelling. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462986213.

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Star Wars has reached more than three generations of casual and hardcore fans alike, and as a result many of the producers of franchised Star Wars texts (films, television, comics, novels, games, and more) over the past four decades have been fans-turned-creators. Yet despite its dominant cultural and industrial positions, Star Wars has rarely been the topic of sustained critical work. Star Wars and the History of Transmedia Storytelling offers a corrective to this oversight by curating essays from a wide range of interdisciplinary scholars in order to bring Star Wars and its transmedia narratives more fully into the fold of media and cultural studies. The collection places Star Wars at the center of those studies’ projects by examining video games, novels and novelizations, comics, advertising practices, television shows, franchising models, aesthetic and economic decisions, fandom and cultural responses, and other aspects of Star Wars and its world-building in their multiple contexts of production, distribution, and reception. In emphasizing that Star Wars is both a media franchise and a transmedia storyworld, Star Wars and the History of Transmedia Storytelling demonstrates the ways in which transmedia storytelling and the industrial logic of media franchising have developed in concert over the past four decades, as multinational corporations have become the central means for subsidizing, profiting from, and selling modes of immersive storyworlds to global audiences. By taking this dual approach, the book focuses on the interconnected nature of corporate production, fan consumption, and transmedia world-building. As such, this collection grapples with the historical, cultural, aesthetic, and political-economic implications of the relationship between media franchising and transmedia storytelling as they are seen at work in the world’s most profitable transmedia franchise.
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Bitten by Twilight: Youth culture, media, & the vampire franchise. New York: Peter Lang, 2010.

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

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Another book on The Simpsons? you might wonder. Isn’t the yellow cartoon troupe around the eponymous chaotic family somewhat worn-out? Perhaps you even ask yourself whether that nineties’ show is still on the air anyhow. Accolades such as "the best TV show of the twentieth century" or "the longest-running scripted series on American prime-time television" have elevated The Simpsons to the pop culture pantheon, while also suggesting the very vintage character of the program. But the label "The Simpsons" refers not just to a show that seems to belong to a bygone television era, it implies a rich narrative universe, including a set of iconic figures, familiar across continents and generations. Through lens of a transmedia studies, Understanding The Simpsons traces the franchise’s trajectory, from its original conception shaped by alternative media traditions to its astounding, long-lived impact as a cult phenomenon in popular culture. Examining the legacy of online fan forums and bootleg T-shirts from the show’s heyday in the early 1990s, as well as the meaning of The Simpsons in contemporary digital culture, this book demonstrates how one of the most popular comedy series of all time has redefined the intersections between the corporate media and participatory culture – and is alive indeed.
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Verheul, Jaap, ed. The Cultural Life of James Bond. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462982185.

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The release of No Time To Die in 2021 heralds the arrival of the twenty-fifth installment in the James Bond film series. Since the release of Dr. No in 1962, the cinematic James Bond has expedited the transformation of Ian Fleming's literary creation into an icon of western popular culture that has captivated audiences across the globe by transcending barriers of ideology, nation, empire, gender, race, ethnicity, and generation. The Cultural Life of James Bond: Specters of 007 untangles the seemingly perpetual allure of the Bond phenomenon by looking at the non-canonical texts and contexts that encompass the cultural life of James Bond. Chronicling the evolution of the British secret agent over half a century of political, social, and cultural permutations, the fifteen chapters examine the Bond-brand beyond the film series and across media platforms while understanding these ancillary texts and contexts as sites of negotiation with the Eon franchise.
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Advertising Research Foundation Key Issues Workshop (1987 New York, N.Y.). Transcript proceedings: Promotion effectiveness : the relationship between advertising and promotion, brand franchise effects, measurement problems and solutions : an Advertising Research Foundation Key Issues Workshop, the New York Hilton, April 22, 1987. New York, NY (3 E. 54th St., New York 10022-3180): Advertising Research Foundation, 1987.

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Media Franchising Creative License And Collaboration In The Culture Industries. New York University Press, 2013.

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Media Franchising: Creative License and Collaboration in the Culture Industries. New York University Press, 2013.

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

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

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Salter, Anastasia, and Bridget Blodgett. "Through the Boob Window: Examining Sexualized Portrayals in Transmedia Comic Franchises." In Toxic Geek Masculinity in Media, 101–29. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66077-6_5.

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Pearson, Roberta. "Sherlock Holmes, the De Facto Franchise." In Popular Media Cultures, 186–205. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137350374_10.

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Calbreath-Frasieur, Aaron. "Multimedia Muppets: Narrative in ‘Ancillary’ Franchise Texts." In Storytelling in the Media Convergence Age, 221–37. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137388155_13.

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Wroot, Jonathan. "Battle Royale as a One-Film Franchise: Charting a Commercial Phenomenon Through Cult DVD and Blu-ray Releases." In Cult Media, 11–29. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63679-5_2.

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Schmitz, Rahel Sixta. "4. The Moral Dimension of the Supernatural Media Virus in the Ring Franchise." In The Supernatural Media Virus, 155–204. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839455593-007.

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Shin, Hyunju, Alyssa Yoon, and Sohyang Yoon. "Protecting the Franchise Brand in the Age of Social Media." In Let’s Get Engaged! Crossing the Threshold of Marketing’s Engagement Era, 571–72. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-11815-4_174.

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Pearson, Roberta. "‘I Hear of Sherlock Everywhere’?: The Holmes Franchise at the Centre and the Margins." In Media, Margins and Popular Culture, 188–201. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137512819_13.

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Herbert, Daniel. "Evil Spawn or Good Business? New Line Cinema, Critters, and Film Franchising at the Margins." In The Franchise Era, 52–74. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474419222.003.0003.

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Daniel Herbert presents a historical examination of New Line Cinema’s Critters (1986-Present) franchise. The essay looks at the role that home video early on played in the development of media franchises and also explains the centrality of Critters and other franchises to the development of New Line itself. The essay provides an example of franchise management from the industry’s margins.
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Ruh, Brian. "Ghostly Boundaries: Transnational Tensions and Adapting Animation in the Ghost In The Shell Franchise." In The Franchise Era, 141–57. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474419222.003.0007.

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Brian Ruh’s essay analyzes the representational politics in the Japanese-originated Ghost in the Shell franchise (1989-Present). Media franchises continue to struggle with representation, both in front of the camera (e.g., the marginalization of LGBTQ characters in franchise films) and behind it (e.g., a lack of female directors on franchise projects). As Ruh explains, Rupert Sanders’s 2017 American, live-action Ghost in the Shell adaptation sparked a controversy in representation after casting Scarlett Johansson in the lead role of Motoko Kusanagi.
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Fleury, James, Bryan Hikari Hartzheim, and Stephen Mamber. "Introduction: The Franchise Era." In The Franchise Era, 1–28. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474419222.003.0001.

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The introduction chapter provides an overview of the key elements of media franchises in the context of ongoing digital technology developments. In particular, the chapter explains the history of media franchising and how technologies like video games and streaming video have encouraged a shift from multimedia to transmedia franchise management. A summary of significant shifts in contemporary media franchising follows, including a lack of mid-budget projects in favor of blockbusters, the replacement of stars with characters, experiments with cinematic universes instead of just one-off “tentpoles,” the role of television within franchise management, the pursuit of global audiences, and the entrance of Silicon Valley technology companies into Hollywood. The chapter concludes with a summary of the main ideas of each essay within the edited collection.
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Conference papers on the topic "Media franchises"

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Muda, Suhaini. "Customer Satisfaction Towards Communication Skills Of The Franchise Restaurant Frontliners." In 7th International Conference on Communication and Media. European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.06.02.30.

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Halim, Erwin, Yohannes Kurniawan, and Hendry Hartono. "Business intelligence modeling for increasing company value and competitive advantage in franchise restaurant business in Indonesia." In IntelSys 2013 International Conference on Advances in Intelligent Systems in Bioinformatics, Chem-Informatics, Business Intelligence, Social Media and Cybernetics. Southampton, UK: WIT Press, 2014. http://dx.doi.org/10.2495/intelsys130051.

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