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Dudáček, Oto. "Contemporary trends in transmedia storytelling. Transmedia television." Doctoral thesis, Universitat de Girona, 2019. http://hdl.handle.net/10803/670297.
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Transmedia storytelling is a process where integral elements of a fiction are systematically
broaden through a number of distribution channels in order to create a coordinated form of
entertainment. With each new medium accessible to the mass users has caused the change of
storytelling. Transmedia stories are based not on individual characters or specific plots but
rather complex fictional worlds which can sustain multiple interrelated characters and their
stories. The questions regarding future trends and future development of this field should be answered as the results of the thesis
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Cliff, Cameron R. "Transmedia storytellng strategy : how and why producers use transmedia storytelling for competitive advantage." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/103325/1/Cameron_Cliff_Thesis.pdf.
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This thesis is a cross-disciplinary study of storytelling strategy. It uses business, marketing, advertising and media and cultural studies approaches and compares big-budget storytellers, like Hollywood, with small, innovative, and independent producers. It analyses how producers in these different contexts and competitive environments use a particular strategy, transmedia storytelling, to construct innovative multiplatform projects. It develops an audience engagement framework specific to transmedia texts and criteria for assessing the competitive advantage of different transmedia strategies. In doing so it conducts three case studies of leading, successful transmedia projects; Doctor Who, Sofia’s Diary and The Lizzie Bennet Diaries.
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Hazboun, Suha. "Challenges of Transmedia Storytelling : Considerations of Creating of Transmedia Projects." Thesis, Högskolan Dalarna, Bildproduktion, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:du-15175.
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Yang, Binbin, and Miltiadis Zisiadis. "Transmedia marketing : strengthening multiplatform user participation through storytelling." Thesis, Umeå universitet, Institutionen för informatik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-90349.
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The term transmedia storytelling describes an interactive narrative that exists in multiple platforms. This phenomenon allows active audience participation as a part of the narrative creation process. Part of the prior research on transmedia focuses on how to create a transmedia narrative. However there is a dearth of literature examining the merit that transmedia narratives create in Marketing. In order to answer the research question “How can transmedia storytelling be used to create value in marketing?” we conducted a multiple case study research in which we examined four marketing campaigns to reveal the transmedia elements in them. Using the approach of qualitative content analysis we applied a structured method according which we collected and analysed the data from these campaigns. Our findings suggest that creating audience participation through transmedia storytelling in marketing campaigns for movies, products and services can be beneficial. By using different media, platforms and stimulating user participation, concepts such as brand extension and brand awareness are introduced to the audience with an alternative way. The aim of this thesis is to illustrate several ways of how transmedia can be a valuable asset to a marketing campaign through storytelling.
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Martínez, Vásquez Renato Adrián. "Storytelling Transmedia en la Publicidad Ambiental: Caso Toms." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653288.
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El siguiente ensayo tiene como propósito demostrar la influencia y efecto que puede tener una herramienta de inmersión y participación comunicativa en el consumidor, como el Storytelling Transmedia; con un discurso repetido por parte de diversas marcas, como lo es el eco-amigable. La importancia de demostrar los efectos que puede tener esta estrategia de narrativa en un discurso, que en la actualidad genera desconfianza y falta de credibilidad por parte de un consumidor comprometido y preocupado, es corroborarla como una estrategia y recurso que puede ser adoptado por las marcas para generar un vehículo para transmitir las ideas de marca y ser aceptadas de manera eficiente por el público objetivo. De igual manera, se corroboraría su extrapolación a otros ámbitos publicitarios con la finalidad de tener una conversación verídica y creíble con los usuarios.The following essay aims to demonstrate the influence and effect that a tool of immersion and communicative participation in the consumer can have, such as the Transmedia Storytelling; with a repeated speech by various brands, as is the eco-friendly trend. The importance of demonstrating the effects that this narrative strategy can have in a discourse, that currently generates distrust and lack of credibility by part of a committed and concerned consumer, is to corroborate it as a strategy and resource that can be adopted by brands to generate a vehicle to transmit brand ideas and be efficiently accepted by the target audience. Similarly, it's extrapolation to other advertising areas would be corroborated in order to have a true and credible conversation with users.
Trabajo de investigación
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Pardo, Federico. "New media and transmedia for documentary storytelling: a comprehensive approach." Thesis, Montana State University, 2011. http://etd.lib.montana.edu/etd/2011/pardo/PardoF0511.pdf.
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New media and transmedia are two phenomena that are currently changing the way in which media is produced, distributed and experienced. Although media scholars have proposed working definitions for these terms, their application for documentary storytelling is still scarce. Using the foundations offered by Henry Jenkins and Martin Lister and collaborators, I examine the consequences that new media and transmedia may have for documentary storytellers that are using them as production and distribution tools. This work is the result of a personal desire to explore new ways to document and tell stories while experimenting with different media formats and their interaction: photography, video, audio and the internet. New media and transmedia have resulted not only in new production technologies but also in a shift from passive media consumers to active media users. As a consequence, audiences now play a major role as interactive agents that are transforming the uses of media. By acknowledging the current state of how media is being produced, distributed and experienced, documentary storytellers may shed new lights when creating non-fiction media experiences.
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DIAS, MARIANA CASTRO. "TRANSMEDIA STORYTELLING: CREATING STORIES IN THE ERA OF MEDIA CONVERGENCE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=29399@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEm um mundo de excesso de informação e convergência de mídias, cada vez mais produtores de entretenimento e marcas tentam encontrar seus consumidores em uma variedade de plataformas. O conteúdo redundante não contribui em nada para a mobilização da audiência, ao passo que uma narrativa transmidiática bem construída pode instigar a circulação do espectador entre os meios a fim de saber mais sobre uma história. O objetivo da presente dissertação é pensar o ato narrativo através de várias mídias de forma integrada, de maneira a criar conteúdo complementar e relevante. Para alcançá-lo, tornou-se necessário clarificar o termo narrativa transmidiática devido a seu uso anuviado pela mídia e meio acadêmico, que muitas vezes o confundem com branding ou mídias digitais. Foram analisados elementos fundamentais para o desenvolvimento desse tipo de narrativa e realizados estudos de casos centrados nas séries da Pemberley Digital, The Lizzie Bennet Diaries e Emma Approved e nas séries sociais produzidas em uma parceria entre a Intel e a Toshiba, Inside, The Beauty Inside e The Power Inside.
As we live in a world of information overload and media convergence, more and more entertainment producers and brands try to find their consumers in every platform they can. Redundant content doesn t contribute anything to audience experience, unlike a well-built transmedia narrative that can offer interesting content that instigates gathering among media to learn more about a story. The objective of this dissertation is to think the narrative act through many platforms in an integrated way, in order to create complementary and relevant content. To achieve this, it has become necessary to clarify the term transmedia storytelling clouded due to its use by media and academy, which often confuse it with branding or digital media. Fundamental elements were analyzed for the development of this type of narrative and case studies were done, covering the Pemberley Digital series, The Lizzie Bennet Diaries and Emma Approved and the social series produced in an Intel and Toshiba partnership, Inside, The Beauty Inside and The Power Inside.
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Zuhadmono, Alvia. "Transmedia storytelling in the music industry : The case of BTS." Thesis, Jönköping University, HLK, Medie- och kommunikationsvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-54699.
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This case study research examines the impact of transmedia storytelling on the global reach of Korean-pop (K-pop) group BTS (Bangtan sonyeondan) and how narratives within the transmedia storyworld can motivate the audience to seek individual and social change. This study is inspired by the rise of BTS in the global music industry. The group came with a solid brand image, highlighting sincerity and authenticity that captivate audiences worldwide. BTS consistent messages—that intersect with sustainability issues—about the importance of loving oneself, equality, social justice, anxiety, and wellbeing are communicated through multiple platforms and travel across language and cultural barriers. To understand the context, this study uses the concepts of transmedia storytelling and audience engagement by Jenkins (2006, 2007, 2012, 2014), Gambarato (2019), Broesma (2019), and Askwith (2007), to name a few. The method used to conduct this research is the analytical and operational model of transmedia design by Gambarato et al. (2020). The findings are that transmedia storytelling —with spreadability, drillability, extractability, and immersion characteristics—is an effective communication strategy that significantly influences the global reach of the group. Further, the camaraderie between BTS and ARMY generates fan activism—an epitome of individual change due to the fondness to BTS, as the act of identification and the attitude of giving back to the intimacy that BTS members provide to the fandom.
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Merlo, Seth. "Narrative, story, intersubjectivity: Formulating a continuum for examining transmedia storytelling." Thesis, Merlo, Seth (2014) Narrative, story, intersubjectivity: Formulating a continuum for examining transmedia storytelling. PhD thesis, Murdoch University, 2014. https://researchrepository.murdoch.edu.au/id/eprint/23887/.
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This thesis begins with the premise that by challenging preconceptions about narrative and story as concepts that are in some way already determined, it becomes possible to open a space in which alternative understandings of them can be proposed. Such a space is considered necessary in order to account for the ways in which contemporary creative practices such as transmedia storytelling, in which the storytelling experience is distributed across multiple mediums and environments, may be said to require such alternatives in order to explain how they operate as fiction. Fiction, in this thesis, is considered a particular condition a work attempts to establish in which its own reality and organisation takes precedent over, or reduces, the “ultimate” reality of the real world.
It is proposed that creative practices such as transmedia storytelling are consistent with the conditions of the current historical moment, identified in this thesis as a convergence culture, or a culture which emerges at the nexus of various social, cultural, technological, political and economic forces without being reducible to any one of these. The chief characteristic of such a culture is the flow of content across its various instantiations; specifically, it is a culture in which the interlocutor, as someone engaged with the work, relates to mediums and the intentional objects held within them according to a contingent logic, which is conceptualised in this thesis as precariousness. This concept forms the basis for a model of relational aesthetics that could be located within the paradigm of convergence culture to explain how practices such as transmedia storytelling rely on the subjectivities of those engaged in them to resolve the precariousness inherent in their formation. Within this space, narrative and story are reconceptualised respectively as the formational and aesthetic planes of a fictional work, which are mediated by a process of intersubjective exchange. The aim of this thesis is therefore the formulation of a continuum of these three core concepts within the broad category of fiction which may be used to examine transmedia storytelling specifically, and fictional works in general. It is this continuum which forms the heart of the thesis, an examination of the fundamental concepts of narrative, story and intersubjectivity and their interdependence as a way to reconsider how we think about the possible richness and diversity the storytelling experience may bring.
The thesis takes up each of these concepts in turn before turning to an examination of transmedia storytelling directly. In applying the continuum to this creative practice, the model of a narrative arcology, or superstructure of possible linkages between mediums and nodes in transmedia work, is developed. Following this is a presentation of a substantial creative project which attempts to apply the theoretical concepts developed to a practical environment. The project takes the form of a conceptual document for a transmedia adaptation of William Shakespeare’s The Tempest, and is discussed from the perspective of a creator or project manager.
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Lima, Roberto Carlos Santana. "Glee: uma transmedia storytelling e a construção de identidades plurais." reponame:Repositório Institucional da UFBA, 2013. http://www.repositorio.ufba.br/ri/handle/ri/13060.
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Submitted by Roberto Lima (robertogbi@hotmail.com) on 2013-09-17T00:05:20Z
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O objetivo deste trabalho é fazer um estudo de caso do grupo de coral da série Glee na sua primeira temporada. Procura-se, através desse seriado, demonstrar como suas arrativas podem impactar para a derrubada de alguns pré-conceitos ao abordar alguns marcadores sociais como os de cor/raça, gênero, nacionalidades subalternas, deficiências, e outros, ainda considerados tabus, como a homossexualidade e a homoparentalidade. Para tanto, discutiram-se as construções identitárias e a dinamicidade da cultura e a inter-relação entre elas; o papel da mídia como meio de questionamento de tabus; a construção histórica das identidades de gênero e sexual, elencando autores, como Butler, Cunha, Furlani, Kellner, Miskolci, Weeks e outros, para sustentar nossa argumentação e colocar em evidência conceitos que abordam as diferentes culturas e demonstram os limites e possibilidades do corpo, a fim de criticar uma realidade e construir outra, fruto dos novos tempos.
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Long, Geoffrey A. "Transmedia storytelling : business, aesthetics and production at the Jim Henson Company." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39152.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2007.Includes bibliographical references (p. 177-181) and index.
Transmedia narratives use a combination of Barthesian hermeneutic codes, negative capability and migratory cues to guide audiences across multiple media platforms. This thesis examines complex narratives from comics, novels, films and video games, but draws upon the transmedia franchises built around Jim Henson's Labyrinth and The Dark Crystal to provide two primary case studies in how these techniques can be deployed with varying results. By paying close attention to staying in canon, building an open world, maintaining a consistent tone across extensions, carefully deciding when to begin building a transmedia franchise, addressing open questions while posing new ones, and looking for ways to help audiences keep track of how each extension relates to each other, transmedia storytellers can weave complex narratives that will prove rewarding to audiences, academics and producers alike.
by Geoffrey A. Long.
S.M.
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Wakefield, Jenny S. "A Phenomenology of Fostering Learning: Alternate Reality Games and Transmedia Storytelling." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849769/.
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This dissertation presents the essence of the experience of instructional designers and instructors who have used alternate reality games (ARGs) and transmedia storytelling (TS) for teaching and learning. The use of game-like narratives, such as ARGs and TS, is slowly increasing. However, we know little about the lived experiences of those who have implemented such transmedia experiences in formal or informal learning. The data consists of written transcripts from interviews with 11 co-researchers in the United States and Europe. Phenomenology was the guiding methodology. The study begins by reviewing storytelling and the use of games in learning, leading up to exploring the tradition of using ARGs and TS in learning contexts. The analysis was one of reduction leading to codes, summary stories, themes, and the essence of the experience. Co-researchers used many techniques to enlighten their learners including problem-solving, critical thinking, collaboration, encouragement, disruption, and connection-making. When successful, connection-making facilitates learner agency development by providing learners with the power to act by their own initiative. Action came through the communicated narratives and games that closely tied to real-world problems. In the context of these efforts, this study's co-researchers emerged as educational life-world learning-coaches, "sensei", who were each using strategies and techniques to move students toward meaningful real-world learning and the ability to make a difference in the world. The dissertation closes by exploring implications of this study for instructional designers and instructors interested in using alternate reality games and transmedia storytelling for teaching and learning purposes.
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Freeman, M. "Wizards, jungles & men of steel : the industrial history of transmedia storytelling." Thesis, University of Nottingham, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687390.
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Genovese, Erika <1998>. "Marvel and DC Multiverse: A Journey into Transmedia Storytelling and Media Franchises." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/22019.
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After 25 billion of dollars at the global box office and a huge impact on popular culture, Marvel Cinematic Universe, owned by the Walt Disney Company, has now reached a phase where it has 6 movies released in theatres, tv shows and a two years plan about future films. Meanwhile, the second most popular superhero’s franchise, DC Extended Universe, distributed by Warner Bros. Pictures, produced 11 movies, earned 5,8 billion of dollars worldwide and is currently developing 6 more movies to be released over the next two years. MCU is now dealing with the descendant phase of the ‘Product Life Cycle Management’; while the DCEU is facing several pitfalls and setbacks due to the unclear business vision. This reflects for both in the decision of bringing novelty to the storytelling process and enactment: ‘Multiverse’ is introduced. The main goal of this paper is to investigate the idea of multiverse from its origins to the different fields of studies and media in which it was later adjusted to. This will be conducive to better analyse its role and its working logic in the MCU and DCEU, answering research questions such as: Can the Multiverse logics be framed into the wider context of franchises and transmedia storytelling rules? Are Multiverse logics going to create a new paradigm of rules or are those already existing enough? This research addresses such issues and tries to provide a set of possible answers, with different outcomes for the two major film studios.
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Spaulding, Eric. "Transmedia Storytelling: Principles, practices, and prototypes for designing narrative experiences with the audience." Research Showcase @ CMU, 2012. http://repository.cmu.edu/theses/31.
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“The Artwork of the future...transplants the player into a dramatic space, by all means of his visual and oral faculties; making her forget the confines of reality; to live and breathe in the drama which seems to the player as life itself, and in the work where seems the wide expanse of a whole world.” | Richard Wagner, The Artwork of the Future, 1849
The Internet has changed the way we experience stories, although like any new technology, it was used to curate long before it was used to create. As entertainment industries collapse, producers both castigate the Internet as the culprit and embrace it as a panacea. For narrative designers, the Internet is a global stage where the house lights are on 24/7. It is a mediated performance that self documents and offers an endless supply of props for audiences eager to become participants in immersive experiences. Most importantly, it outlines the future for a new form of narrative art called transmedia storytelling.
For producer Turo Drakvik, “This form of storytelling is native to the Internet in the same way that the novel is native to print.” Transmedia narrative content unfolds in non-linear arcs across multiple platforms that are best situated to evidence the storyworld, and it blends media arts with performance-based arts and game systems. The role of the audience has been fundamentally changed. Rather than spectators, they are now encouraged to be invested co-creators of the experience.
My thesis focused on experiments that examine how storytellers might use the Internet and digital media platforms to create participatory storyworlds. To explore this emerging medium, I created the first transmedia comedy—a 4 week immersion called Love and Luck(y)—and documented roles, artifacts, and principles for future storytellers.
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Ataci, Tugçe. "Transmedia storytelling and participation for peacebuilding and peace education: Rwandan youth, digital inclusion, and socio-political context." Doctoral thesis, Universitat Pompeu Fabra, 2021. http://hdl.handle.net/10803/672851.
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This dissertation discusses the ways and the extent to which transmedia storytelling and transmedia participation can benefit the peacebuilding processes in post-genocide societies. Drawing on ethnographic research conducted in Kigali, Rwanda during a period of three months between February and May in 2019, this dissertation aims to shed light on the digital practices of young Rwandans. The research included both online and offline ethnography with secondary school students aged between 13 and 19 who participated in transmedia storytelling workshops where they interacted with nonfiction transmedia projects about the genocides in Rwanda, Guatemala, and Cambodia, and created content about topics they found interesting in relation to post-genocide reconciliation and peacebuilding in these societies. Focus group discussions and interviews were also used as methods to gain a deeper understanding of these teenagers’ online activities and approaches to digital technologies. The results show that although young people acquire diverse transmedia skills, their digital inclusion and transmedia participation for peacebuilding are affected by the socio-economic and political context in post-genocide Rwanda.Aquesta tesis analitza les formes i el grau en que la narrativa transmèdia i la participació transmèdia poden beneficiar els processos de construcció de pau a les societats post-genocidi. A partir de la investigació etnogràfica realitzada a Kigali, Ruanda, durant un període de tres mesos entre febrer i maig del 2019, aquesta tesis té com a objectiu aportar llum sobre les pràctiques digitals dels joves ruandesos. La investigació va incloure etnografia virtual i presencial amb estudiants d’educació secundària d’entre 13 i 19 anys que van participar en tallers de narrativa transmèdia, on van interactuar amb projectes transmèdia de no ficció sobre els genocidis a Ruanda, Guatemala i Cambodja, i van crear contingut sobre temes que van trobar interessants en relació a la reconciliació post-genocidi i a la construcció de la pau en aquestes societats. També es van utilitzar entrevistes i grups de discussió com a mètode que permeten aprofundir en la comprensió de les activitats i els enfocaments en línia d’aquestes adolescents sobre les tecnologies digitals. Els resultats mostren que, malgrat que els joves adquireixen diverses habilitats transmèdia, la seva inclusió digital i la seva participació transmèdia per a la construcció de pau es veuen afectades pel context socioeconòmic i polític de la Ruanda post-genocidi.
Esta tesis analiza las formas y el grado en que la narrativa transmedia y la participación transmedia pueden favorecer los procesos de construcción de la paz en una sociedad post-genocidio. Basándose en una investigación etnográfica realizada en Kigali, Ruanda, durante un período de tres meses entre febrero y mayo de 2019, esta tesis tiene como objetivo arrojar luz sobre las prácticas digitales de los jóvenes ruandeses. La investigación incluyó etnografía virtual y presencial con estudiantes de secundaria de entre 13 y 19 años, los cuales participaron en talleres narrativos donde interactuaron con proyectos transmedia de no ficción sobre los genocidios en Ruanda, Guatemala y Camboya; asimismo, crearon contenidos sobre temas relacionados con la reconciliación y la construcción de la paz después del genocidio en dichas sociedades. Las discusiones en grupos focales y las entrevistas también se utilizaron como método para alcanzar una comprensión profunda de las actividades en línea de estos adolescentes y su forma de abordar las tecnologías digitales. Los resultados muestran que, aunque los jóvenes adquieren diversas habilidades transmedia, su inclusión digital y su participación transmedia para la construcción de paz se ven afectadas por el contexto socioeconómico y político en la Ruanda posterior al genocidio.
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Blumenthal, Henry (Hank). "Storyscape, a new medium of media." Diss., Georgia Institute of Technology, 2016. http://hdl.handle.net/1853/54989.
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A storyscape is the new medium of storytelling. It originates in the model of transmedia storytelling defined by Henry Jenkins (2006a) in Convergence Culture and applied to The Matrix franchise. The storyscape medium is conceptualized from the author/designer perspective as four gestalts that create a whole from stand-alone parts. The four gestalts are mythopoeia, character, canon, and genre. This approach frames the authoring of this story-centric model in opposition to the design approaches of world-building or storyworlds. The four gestalts also provide an academic approach that unites theory and practice with a unified design vocabulary and an orientation toward the creation of a cultural and creative product that is defined as the storyscape medium.
Storyscapes, such as The Star Wars franchise or the Marvel Universe, consume the lion’s share of our cultural capital (Johnson 2014). Therefore, the development of a consistent vocabulary, a design approach, and an understanding of how they create meaning and define worldviews is critical to our understanding and practice of a new medium (Dena 2009). Starting with the frame of storytelling as a practice and previous aesthetic models such as The Poetics, this research charts the evolution of the storyscape medium across topics of academic transmedia approaches, principles, affordances, and the connecting or conceptualizing principles that act as gestalts.
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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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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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Sjögren, Mats. "Den avgörande föreställningen : En struktur för transmediaberättandet." Thesis, Högskolan Dalarna, Litteraturvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:du-14660.
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En transmediaberättelse kan beskrivas som ett berättande som sker över flera separata tekniska medier, där varje enskilt mediums innehåll kan stå självständigt, men i läsningen tillsammans bildar en större sammanhållen berättelse. De enskilda mediumen kan vara icke-berättande, interaktiva, uppmuntra till medskapande och vara helt valfria både vad gäller ordningen de konsumeras i och att ta del av över huvudtaget. En sådan berättelse, eller snarare berättelsekonsumtion ställer krav på en analysmodell. Uppsatsens syfte är att att beskriva användarens förhållande till berättelsebeteenden i det pågående transmediaberättandet, avseende tolkning och påverkan av produktionen. I studien genomfördes en explorativ litteraturstudie inom flera olika ämnesområden och resultatet har sammanställts i en beskrivande modell för berättelseprocessen. Modellen inkluderar en ny begreppsapparat, som inte utgår från vilken typ av produktion det handlar om. Den skildrar användarens förhållande till de berättelsestimuli som finns i olika framställningar och hur dessa genom tolkning sammanfogas till sammanhållande berättelser. Modellen berör även skapandet och medskapandet av sådana framställningar. Modellen prövas på ett exempel med samspel mellan en distinkt icke-berättande och en berättande komponent i form av en actionfigur och dess förpackningstext. Exemplet illustrerar hur actionfiguren utan att på något sätt själv vara en berättelse ändå besitter berättelsestimuli som gör att den passar in i den större transmediaberättelsen. Skaparen har planterat berättelsestimuli, men det är läsarens uppgift att knyta samman och genom sin föreställning omvandla en rad stimuli till en faktisk berättelse.
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Moreno, Quiñones Elizabeth Cristina. "Nuevas propuestas y narrativas audiovisuales: Análisis de fashion films, caso Tender Stories de Tous." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/652590.
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En este trabajo de investigación se busca investigar de qué forma se vienen planteando y desarrollando la introducción del mundo audiovisual a través de esta nueva narrativa, los fashion films, en la publicidad y la acogida que esta tiene. Para poder entender de una manera adecuada, se realizará una estrategia metodológica de enfoque cualitativo para el cual se utilizarán guías de análisis de contenido y entrevistas. También, consultará a diferentes autores que hablen acerca de este tema, así como también acerca de los conceptos que un fashion film abarca y que nos ayudarán a entender porque son una opción tan usada por distintas marcas y tan bien recibidas por el público. Asimismo, nos centraremos en un caso en específico: la campaña Tender Stories de Tous. Todo lo anterior, con la finalidad de que más audiovisuales vean en este rubro de lo audiovisual con la publicidad una oportunidad no solo una ventana para mostrar su creatividad y trabajo sino como un campo laboral en el que se pueden desenvolver.This research work seeks to investigate how they are posing and developing the introduction of the audiovisual world through this new narrative, fashion films, advertising and the reception that it has. To be able to understand in an adequate way, different authors will be consulted that speak about this topic, as well as about the concepts that a fashion film covers and that will help us to understand why they are an option so used by different brands and so well received by the public. We will also focus on a specific case: the Tous Tender Stories campaign. All of the above, with the aim that more audiovisuals see in this area of the audiovisual with advertising an opportunity not only as a window to show their creativity and work but as a work field in which they can develop.
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Jenkins, Alexandra Mary. "Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407770633.
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Bozic, Sonja. "Transmedia Storytelling Through the Lens of Independent Filmmakers: A Study of Story Structure and Audience Engagement." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou154152508641946.
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Carvalho, Miguel Nunes. "O recurso ao transmedia storytelling para promoção da imagem de uma empresa de design e criatividade." Master's thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/23403.
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Mestrado em Comunicação e MultimédiaCom um mercado cada vez mais saturado a nível de informação e publicidade, é fundamental que as empresas comecem a explorar novos e diferentes meios e métodos para atingir o seu público alvo. Nesse sentido, desenvolveu-se um estudo que teve como finalidade analisar o recurso ao Transmedia Storytelling para promover a imagem de uma empresa de design e criatividade. Numa fase inicial, foi fundamental identificar quais os elementos necessários que este tipo de estratégia deve conter. Numa fase seguinte, foi desenvolvido e lançado um protótipo de uma estratégia de Transmedia Storytelling, tendo posteriormente este sido avaliado por um grupo de pessoas com ligação à empresa e por um grupo de Peritos da área. Os dados obtidos permitiram identificar determinados elementos-chave na implementação de uma estratégia de Transmedia Storytelling, que podem ser agrupados em três áreas: Plataformas, participação e experiência. A investigação desenvolvida possibilitou aprofundar o conhecimento sobre a aplicação de estratégias de Transmedia Storytelling na promoção empresarial, tendo revelado que estas podem ser um meio interessante e inovador para realizar a promoção da imagem de uma empresa.
With an increasingly saturated market in information and advertising, it is critical that companies begin to explore new and diverse ways and methods to reach their target audience. In this sense, this study aimed to analyze the use of Transmedia Storytelling to promote the image of a design and creativity company. At an early stage, it was crucial to identify the necessary elements that this type of strategy should contain. In the following phase, a prototype of a Transmedia Storytelling strategy was developed and launched, and was later evaluated by a group of people connected to the company and by a group of professionals in the area. The data obtained allowed to identify certain key elements in the implementation of a Transmedia Storytelling strategy, that can be grouped in three areas: platforms, participation and experience. The research that was developed allowed to deepen the knowledge about the application of a Transmedia Storytelling strategy in the business promotion, having revealed that these types of strategy can be an interesting and innovative way to carry out the promotion of a company image.
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Gonçalves, Rita Maria Pinto do Souto Pinto. "Storytelling in corporate branding : application to a McDonald's Portugal Digital Platform." Master's thesis, Instituto Superior de Economia e Gestão, 2011. http://hdl.handle.net/10400.5/10202.
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Mestrado em MarketingEsta tese é uma reflexão teórica e prática sobre a presença do storytelling na comunicação corporativa, numa perspectiva que compreende a semiótica e a narratologia num contexto de comunicação estratégica de marketing. Analisamos a junção entre os conceitos de storytelling corporativo, storytelling da marca, storytelling do consumidor e storytelling digital, uma vez que todos se reúnem num diálogo da marca, entre a empresa e o consumidor. O estudo exploratório assentou na nova plataforma da McDonald's "Histórias com M" e foi conduzido de forma a aferir a presença de uma comunicação estruturada na forma de história e para ressaltar quais os pontos comuns na comunicação da marca, através da representação de arquétipos. Apuramos que o storytelling corporativo da McDonald's, relativamente à sua imagem de empregador comunica essencialmente inspiração e determinação como os elementos-chave comuns e partilhados entre os (antigos) trabalhadores.
This dissertation is a theoretical and practical reflection on the presence of Storytelling in Corporate Branding, from a perspective that includes semiotics and narratology in the context of marketing communication strategy. We analyze the merging among the concepts of organizational storytelling, branding storytelling, consumer storytelling and digital media storytelling as they all mingle into a branded dialogue between the company and the consumer. The exploratory research on McDonald's new platform "Histórias com M" was conducted in order to assess the presence of a story form structured communication and to enhance the touching points in the brand's communication, by means of archetypal representation. We found that McDonald's corporate storytelling on branding an employer image essentially communicates inspiration and determination as the key collective and shared elements between (former) workers.
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Johansson, Nellie. "Fridays For Future : En fallstudie av en social rörelses användning av digitala medier för att kommunicera klimatförändringar och transmedialt berättande." Thesis, Malmö universitet, Malmö högskola, Institutionen för datavetenskap och medieteknik (DVMT), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-41024.
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Syftet är att bidra med ökad förståelse kring hur Fridays For Future använder digitala medier samt på vilket sätt de använder det transmediala berättandet för att kommunicera klimatförändringar externt. Kvalitativa intervjuer genomfördes med Fridays For Future medlemmar och resulterade i ett material som bearbetades genom en kvalitativ innehållsanalys. Den netnografiska observationen resulterade i stor mängd data från Fridays For Future kampanjen #Withdrawthecap som bearbetades genom en kvalitativ dataanalys och med stöd av Gambaratos (2013) analytiska överväganden. Utifrån analys och diskussion av studiens resultat drogs slutsatserna att digitala medier används för mobilisering av strejker. Vidare används digitala medier för att snabbt kunna svara på politikers beslut rörande klimatfrågan. Ytterligare dras slutsatsen att transmedial mobilisering används i kommunikationen. I kampanjen #Withdrawthecap används flertalet beståndsdelar som utgör ett transmedialt berättande vilket visar på att berättandeformen används till viss del för att kommunicera klimatförändringar.How does the social movement Fridays For Future use digital media when communicating their stance on climate change? The study at hand employs qualitative interviews in order to discern how the organisation use digital media and external transmedia storytelling in their fight for climate preservation. Here, representatives of the organisation are interviewed about strategic decisions taken in regards to organisational digital media use. The collected data was categorized using qualitive content analysis. Additionally, a supplementary netnographic study is featured in which the campaign #Withdrawthecap is examined. The netnographic study resulted in a large amount of data, which was processed through a qualitive data analysis with the support of Gambarato's (2013) analytic considerations. This study unveils the prominence of transmedia mobilization. Furthermore, digital media are used to organize strikes and quickly respond to politicians' decisions regarding the climate issue. The #Withdrawthecap campaign uses most of the elements that defines transmedia storytelling which indicate that the narrative form is used to some extent to communicate climate change.
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Lynch, Daniel T. "Holding transmedia: Narrative at the intersection of print and digital creative writing." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/107048/1/Daniel_Lynch_Thesis.pdf.
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This practice-led research project explores the phenomena of narrative cohesion in developing an original transmedia novel. In doing so, transmedia storytelling is positioned as a philosophical lens that mediates the intersection of print and digital creative writing. A combination of textual analysis and media specific analysis is used to establish and articulate patterns of cohesion in an array of various transmedia and literary works. Based on this analysis, the research proposes a theoretical framework for transmedia narrative cohesion that establishes links between literary and narrative theory, media studies, and social semiotics. The framework draws from, and is applied to, the creative work Martyrs: The life and afterlife of Collin Ampersand, arguing 'the book', as a physical artefact, still plays a vital role on the continuum of narrative innovation and experimentation.
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Calhoun, Claudia. ""The Story You Are About to Hear Is True"| Dragnet, Transmedia Storytelling, and the Postwar Police Procedural." Thesis, Yale University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3582257.
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“The Story You Are About to Hear Is True”: Dragnet, Transmedia Storytelling, and the Postwar Police Procedural" places the radio, television program, and feature film, Dragnet (19491959), at the intersection of cultural history and media history during the U.S. postwar period. The program, which follows two police detectives as they investigated crime, was drawn from real cases from the Los Angeles Police Department. By bringing audiences into police work with a new seriousness, Dragnet functioned artistically and ideologically as a pedagogical site for U.S. citizens. Heavily influenced by the program's collaboration with the LAPD, Dragnet presented an ideal of civic cooperation that responded to the increased faith in professionalized knowledge and organizational competence resulting from the successes of World War II.
This dissertation argues that Dragnet's place in postwar culture cannot be understood apart from its place in media history. The source of Dragnet's pedagogical effectiveness, as well as its popularity, was an aesthetically ambitious form of realism that crossed media platforms. By breaking the hackneyed conventions of crime drama, Dragnet reinvigorated radio drama (19491957). It then carried its prestige over to television (1951-1959), where it defined the terms of one of the new medium's most stable genres, the police procedural. In 1954, it became one of the first television shows to become a feature film. In addition to its contribution to postwar culture, Dragnet's fluid movement across media fills out the history of transmedia storytelling and convergence culture, making an important intervention in media studies.
Combining archival research and close textual analysis to see the full spectrum of Dragnet's cultural influence, this project contributes to a fuller understanding of how industrial practices shape civic knowledge and definitions of citizenship, a critical concern in an increasingly mediated age.
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GOMEZ, BERTA. "A Humanistic-Geek approach to Transmedia Storytelling : Transforming Users into Heroes and Authors to build a Sustainable Universe." Thesis, Umeå universitet, Institutionen för informatik, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-81349.
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Minihan, Mikaela. "Transmedia Storytelling for the Digital Generation: A Guide for Self-Publication with the Adobe® Digital Publishing Suite." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/48.
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Despite educational reforms, the annual results from the National Assessment of Educational Progress continue to indicate that the majority of American fourth-graders struggle to master the crucial skill of reading. In the last decade, the percentage of students who read at or above a proficient level hovers around 30 percent, which draws attention to the fact that the academic institutions may not be fully to blame for the decline of reading competency (NAEP, 2011). The real reason for the incompetency could be attributed to the amount of time that children spend reading as average fourth-graders spend less than two hours a week reading (Juster, Ono, & Stafford, 2004, p. 11). This Digital Generation lives in a world full of distractions in which reading cannot compete. Although the American educational system is stressing reading instruction, children are not putting what they are learning into practice outside of school. Instead of reading, children immerse themselves into the world of interactive digital media and electronic devices. If children do not increase the time they spend reading, their proficiency will not improve. To revive reading within the Digital Generation, authors of children’s literature may need to reevaluate their role in the literacy problem because their traditional print-form content appears to be unsuccessful in reaching their young audience. To create reading material that children are eager to read, authors need to produce content in a format that will entice a response from the newest generation. One way children’s authors can accomplish this is by publishing transmedia storytelling ecosystems. By combining storytelling with digital media to meet the modern literary needs of today's children reading proficiency should begin to improve, along with a renewed interest in literature. This research provides insight into today’s “digital children” and suggests a methodology for creating transmedia literature using the Adobe® Digital Publishing Suite.
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Silva, Maria Teresa Martins. "Uma estratégia de gamification para o envolvimento do utilizador em conteúdos transmedia: Anamnesis, um estudo piloto." Master's thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/15409.
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Mestrado em Comunicação MultimédiaNos últimos anos, é cada vez mais evidente a criação e desenvolvimento de projetos transmedia através dos quais é possível a produção de narrativas mais imersivas e expansivas, a partir da concepção de diversos conteúdos para múltiplas plataformas. De forma a manter o utilizador mais envolvido em toda a narrativa podem ser incorporadas estratégias de gamification que possibilitem uma maior interação entre a audiência e os diferentes conteúdos, assim como entre os próprios utilizadores. Com o presente projeto, identificou-se, a partir de vários casos de estudo, quais foram as estratégias de gamification utilizadas em projetos relevantes e de que forma estas contribuíram para um maior envolvimento dos utilizadores nas narrativas em que estão inseridas. De seguida, foi criado um projeto transmedia, Anamnesis, no qual foram inseridas estratégias de gamification, como forma a verificar-se se estas contribuíram para uma maior envolvência dos utilizadores. Através da realização de entrevistas foi possível confirmar que os utilizadores se sentiram mais motivados e envolvidos para seguir a narrativa quando foram introduzidas estratégias de gamification no projeto. Desta forma, e tendo em conta as estratégias de gamification utilizadas, identificaram-se vantagens na sua integração em projetos transmedia.
In recent years, the creation and development of transmedia projects has become fairly evident, in which it is possible the production of more immersive and vast narratives, by the conception of many different contents for multiple platforms. As a way to make the user more involved in the whole story, it can be introduced gamification strategies, promoting a bigger interaction between the audience and the various contents, as well as between it’s users. With this project, it has been identified, through multiple case studies, which gamification strategies were used in relevant projects and in which way they contributed for a bigger participation in the narratives that these strategies are included. Then, it was created a transmedia project, Anamnesis, in which gamification strategies were implemented, as a way to verify if the aforementioned strategies contributed for a higher user’s involvement. By conducting interviews, it was confirmed that the users felt more involved with the narrative and more motivated to follow it when gamification strategies were introduced in the project. Therefore, and considering the gamification strategies that were implemented, advantages in the use of transmedia projects were identified.
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Konzal, Adalbert Woitek. "Entertainment architecture : constructing a framework for the creation of an emerging transmedia form." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/50489/1/Adalbert_Konzal_Thesis.pdf.
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This thesis investigates the radically uncertain formal, business, and industrial environment of current entertainment creators. It researches how a novel communication technology, the Internet, leads to novel entertainment forms, how these lead to novel kinds of businesses that lead to novel industries; and in what way established entertainment forms, businesses, and industries are part of that process. This last aspect is addressed by focusing on one exemplary es-tablished form: movies.
Using a transdisciplinary approach and a combination of historical analysis, industry interviews, and an innovative mode of ‘immersive’ textual analysis, a coherent and comprehensive conceptual framework for the creation of and re-search into a specific emerging entertainment form is proposed. That form, products based on it, and the conceptual framework describing it are all re-ferred to as Entertainment Architecture (‘entarch,’ for short). The thesis charac-terises this novel form as Internet-native transmedia entertainment, meaning it fully utilises the unique communicative characteristics of the Internet, and is spread across media.
The thesis isolates four constitutive elements within Entertainment Architec-ture: story, play, ‘dance,’ and ‘glue.’ That is, entarch tells a story; offers playful interaction; invites social interaction between producer and consumer, and amongst consumers (‘dance’); and all components of it can be spread across many media, but are so well interconnected and mutually dependent that they are perceived as one product instead of many (‘glue’). This sets entarch apart from current media franchises like Star Wars or Halo, which are perceived as many products spread across many media. Entarch thus embraces the commu-nicative behaviour of Internet-native consumers instead of forcing them to de-sist from it, it harnesses the strengths of various media while avoiding some of their weaknesses, and it can sustain viable businesses.
The entarch framework is an innovative contribution to scholarship that al-lows researchers to investigate this emerging entertainment form in a structured way. The thesis demonstrates this by using it to survey business models appro-priate to the entarch environment. The framework can also be used by enter-tainment creators — exemplified in the thesis by moviemakers — to delimit the room for manoeuvre available to them in a changing environment.
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Volkova, Elena. "Operation 'Homecoming': Exploring the capacity of transmedia storytelling to support integration of the female defence force personnel back in to civilian life." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/104570/9/Elena_Volkova_Thesis.pdf.
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The project 'Operation Homecoming' articulates the role creativity can play in the lives and wellbeing of the female military veterans. Research shows that military service can lead to profound changes in identity, affecting veterans' perception of themselves and their relationship to the world. Recognising the lack of knowledge about the needs of women transitioning from the military service back into civilian life the project explored the capacity of transmedia storytelling to help these veterans recognise, embrace and articulate their new identity, foster self-representation and confidence. The thesis presents the approaches and the outcomes of this innovative interdisciplinary research.
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Kanco, David. "Transmedia education on carbon capture and storage technology : The case of the CO2 degrees challenge." Thesis, Jönköping University, HLK, Medie- och kommunikationsvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-54648.
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The master’s thesis addresses the transmedia education strategies applied in the CO2 degrees challenge, a project by the Global Carbon Capture and Storage Institute (GCCSI), dedicated to educating students about the low-carbon technology carbon capture and storage (CCS). Based on the literature review, the thesis theoretically discusses the public perception of low-carbon technology and carbon capture and storage in connection to transmedia storytelling and education. The thesis is structured upon a qualitative approach and conducts a detailed study of a selected single case. In addition, expert interviews are used to support the in-depth analysis of the case study with the use of the transmedia design analytical and operational model by Gambarato et al. (2020). The analysis provides insights into how this technical process was presented to the educators and students and identifies challenges and opportunities of the transmedia education project in the realm of low-carbon technologies. The results of the study show that the CO2 degrees challenge offered a significant contribution to the knowledge dissemination about the CCS technology among students, helped them to understand current problems, and to discuss real-time solutions. The results also point to the challenge of communicating a scientific and engineering topic with the audience outside of the technological and engineering industry, the complicated structure of the project, and difficulties connected with possible financial interests of the private companies supporting and funding the educational material and the project itself.
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Penner, Tomaz Affonso. "O universo narrativo de Latitudes: um estudo de caso das estratégias de transmidiação em uma produção ficcional brasileira." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27152/tde-21032017-111021/.
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A dissertação ora apresentada teve como objetivo central identificar e sistematizar as estratégias de transmidiação desenvolvidas no âmbito da produção da obra ficcional Latitudes (2013, 2014), um projeto transmídia veiculado em três plataformas diferentes: YouTube, televisão e cinema e, respectivamente, em três formatos: websérie, série de TV e longa metragem. Trata-se de pesquisa que utiliza a técnica de estudo de caso para analisar o surgimento de obras ficcionais produzidas para distribuição em diversas plataformas O trabalho discute o surgimento de novos gêneros e formatos relacionando-os ao contexto da hipertelevisão (Scolari, 2014) e da distribuição de conteúdos em multiplataformas, que marca a experiência estética audiovisual na contemporaneidade, proporcionando novas formas de produção, consumo e fruição. Também são discutidos modelos de negócio na cultura da convergência (Jenkins, 2008), nomeadamente no YouTube - repositório para a websérie Latitudes -, a partir da distribuição e consumo cada vez mais pautados em plataformas streaming, que ganham espaço frente à grade horária tradicional televisiva, no modelo broadcast. Apoiados nos estudos de linguagem de Bakhtin (2003) e em discussões sobre gêneros feitas por Barthes (2009), Eco (1994) e Mungioli (2012), os resultados das análises sugere uma aproximação entre os gêneros ficcional e documental na versão seriada exibida na televisão. Em termos de estratégias de transmidiação desenvolvidas em Latitudes, a análise revelou que a obra incorpora modelos de distribuição e consumo que se apresentam como tendências atuais na produção audiovisual brasileira. Quanto à construção narrativa, observamos como principais resultados o uso das estratégias de propagação (Fechine, 2013) e de reassistibilidade (Mittel, 2011) para o estabelecimento da transmidiação em Latitudes. Também incorporamos às discussões a análíse de estratégias de product placement, a partir de inserções roteirizadas, como modelo de capitalização eficaz em produtos audiovisuais que contam com a internet como principal veículo de distribuição.The present study aims to identify and systematize transmediation strategies developed by the producers of the series Latitudes (2013, 2014), a project distributed in three different platforms: internet (YouTube), television and cinema (so, in three formats: webseries, TV series and film). The work discusses the emergence of new genres and formats relating them to the context of hipertelevision (Scolari, 2014) and the multi-platform content distribution, which marks the audiovisual experience in contemporary culture and ensures more autonomy and agency to the audiences (Castells, 2009). We also discuss the new business opportunities in the convergence culture (Jenkins, 2008), particularly on YouTube, which works as a repository for the webseries Latitudes, with the distribution and consumption increasingly guided by streaming platforms, that are gaining ground against the traditional television broadcast model. It was also possible to see that these new dynamics, supported by the Internet, create new production processes. Based on the Language theory of Bakhtin (2003) and reflections on genres using Barthes (2009), Eco (1994) and Mungioli (2012). Through these analyzes, we see a connection between the fictional and documentary genres in the television version of our empirical object. After these advances, we reach the stage of systematization of transmediation strategies developed in Latitudes, realizing that it incorporates different kinds of distribution and consumption that are presented as trends in the Brazilian audiovisual production. As main results, we identified propagation strategies (Fechine, 2013), and the use of rewatchability (Mittel, 2011) for the establishment of transmidiation in Latitudes. We also add to the discussion the strategy of product placement (Miller, 2014), through scripted insertions, as an effectively capitalization model for audiovisual products that rely on the internet as a primary vehicle of distribution.
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Dristig, Niclas. "Searching for milk hares : Evaluating a web-based tool for location-based storytelling within cultural heritage." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-18749.
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This report details an attempt to create an interactive Location-based storytelling-experience for mobile devices using QR-codes, and an investigation into the feasibility of such an approach. The underlying purpose of the study is to explore web-based methods of developing interactive Location-based story-telling experiences as a cost-efficient alternative to mobile app-development. A secondary goal of the study was to inform the development of a future Location-based game within a public cultural heritage project directed at children.
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Gutiérrez, Arias Brayan Alfredo. "No queremos publicidades, queremos historias. La inmersión del prosumidor en la Narrativa Transmedia: Campaña Intercambiados, Marca Perú." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653589.
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La presente investigación tiene como objetivo mostrar las oportunidades que otorgan las narrativas transmedia frente a la publicidad tradicional. Para ello, analizaremos la importancia del prosumidor en la narrativa transmedia elaborada por la Marca Perú en su campaña publicitaria Intercambiados, y nos centraremos en uno de los principios propuestos por Henry Jenkins: la “inmersión”. Esto se debe a que la publicidad tradicional es considerada como invasiva y la mayoría de los consumidores la rechaza, por lo cual la inmersión del prosumidor en la narrativa transmedia ayuda a pasar desapercibida a la publicidad dentro de una historia. En tal sentido, nuestro análisis se desarrollará a través de un enfoque de tipo cualitativo. Asimismo, el método que se utilizará es el de la teoría fundamentada, y se realizarán entrevistas semiestructuradas a jóvenes de 20 a 25 años, que residen en Lima Metropolitana y que sean seguidores del fan page de la Marca Perú.This research aims to show the opportunities that transmedia narratives offer compared to traditional advertising. During the study we will analyze the importance of the prosumer in the transmedia narrative elaborated by Marca Perú in its advertising campaign Intercambiados, and we will focus on one of the principles proposed by Henry Jenkins: “immersion”. This is because traditional advertising is considered invasive and most consumers reject it, which is why the immersion of the prosumer in the transmedia narrative helps to go unnoticed in the advertising of a story. In this sense, our analysis will be developed through a qualitative approach. Likewise, the method to be used is that of grounded theory, and semi-structured interviews will be carried out with young people between 20 and 25 years of age, who reside in Lima Metropolitana and who are followers of Marca Perú fan page.
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Crawford, Fiona. "Augmenting author-activism: An examination of how a continuing primary text and digital media inform contemporary non-fiction author-activism." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/101096/1/Fiona_Crawford_Thesis.pdf.
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Using a print magazine and associated digital media, this research focused on the intersection of existing writing practice, transmedia activism, and their interplay with old and new media. It identified and examined existing non-fiction author–activists' practices and considered innovative storytelling approaches that might enhance and extend contemporary author–activist practices to encourage social change.
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Azevedo, Maria Alexandra Gandra. "As experiências pessoais na construção de uma narrativa transmedia para exploração de cidades." Master's thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/15406.
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Mestrado em Comunicação MultimédiaA enorme quantidade de vídeos publicados na web sobre visitas individuais a cidades garante um vasto arquivo público de dados videográficos com potencial para expandir a visão desses locais. Este estudo centrou-se no pressuposto que, ao visitar uma cidade, será possível conhecê-la através de uma história fictícia, gerada em torno de experiências vivenciadas no mesmo local e registadas anteriormente em vídeos publicados em plataformas de partilha de vídeo, como o Youtube. Nesse sentido, teve como finalidade desenvolver narrativas transmedia em torno de experiências pessoais que, ao mesmo tempo, contribuíssem para o aumento do interesse por locais específicos inerentes às narrativas. Foram recolhidos vídeos em plataformas de vídeos, e estes foram integrados numa narrativa. O projeto materializou-se com a criação de uma plataforma Web e também para terminais móveis. Com 26 vídeos espalhados por Aveiro, Portugal, preparou-se a experiência transmedia que, no fim, foi avaliada por um grupo de utilizadores. Concluiu-se que o facto de ter sido explorada uma história contribuiu para um maior interesse pela cidade, e que a forma como os vídeos foram integrados na narrativa foi muito interessante e original. A narrativa destacou-se e foram evidenciadas as possibilidades que projetos futuros, cientes das necessidades expostas nesta experiência, podem ter.
The sheer amount of videos published on the web about individual visits to cities ensures a wide public archive of videographic data with the potential to expand the vision of these places. This study focused on the assumption that by visiting a city, you can get to know it through a fictional story, generated around experiences lived in the same place and previously recorded videos posted on video-sharing platforms like Youtube. In that sense, the aim was to develop transmedia narratives around personal experiences which, at the same time, contributed to increase the interest in specific locations inherent to the narratives. Videos were collected on video platforms, and these were integrated into a narrative. The project materialized with the creation of a web platform and one for mobile terminals. With 26 videos spread about Aveiro, Portugal, the transmedia experience was prepared so that, in the end, it was evaluated by a group of users. The conclusion was that the fact of having explored a story actually contributed to a greater interest in the city, and the way in which the videos were integrated into the story was very appealing and original. The story stood out and possibilities for future projects were highlighted, having in mind the needs exposed in this experience.
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Waites, Peter. "On the Boundaries of Watchmen : Paratextual Narratives across Media." Licentiate thesis, Uppsala universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-266867.
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This dissertation is an intervention into the ongoing revisions of Gerard Genette’s concept of paratexts. Increasingly used in discussions of artifacts other than the literary novels that were Genette’s object of attention, the concept of paratexts has given rise to intense debates regarding the nature and functions of paratextual elements across media. One area of contestation is the relation of paratext to narrative. While Genette’s original paradigm complicates the possibility of a narrative paratext, I show that the liminal zones usually occupied by paratexts—what I call paratextual space—are commonly used for narrative purposes, particularly as popular narratives extend across media. In this dissertation, I analyze the different embodiments of Watchmen with a focus on such a use of paratextual spaces. I argue that studies of narratives presented in these spaces—what I refer to as paratextual narratives—will not only shed light on these narrative strategies, but also give new insights into how popular narratives extend across new media platforms. My first analytical chapter concerns the material that frames the Watchmen graphic narrative, and its roots in the media specific history and paratextual phenomenon known as lettercols. I show how this paratextual space was repurposed in the creation of Watchmen to present narrative material that worked to establish and augment the history of the storyworld and the characters presented in the graphic narrative of the Watchmen comics. I argue that the functions of these materials are influenced by the tradition established by the lettercols and the paratextual spaces in which they are situated. In my second analytical chapter I turn to the Watchmen adaptation, focusing in particular on the digital narratives framing the cinematic premiere of the film. I show how the paratextual nature of these materials occluded their narrative functions, causing them to be excluded from what is regarded the adaptation of Watchmen. I argue that the materials framing the Watchmen film are paratextual narratives that should be seen as integral parts of the Watchmen adaptation. In my conclusion I address the Watchmen prequel-series Before Watchmen and raise questions regarding how paratextual narratives function for media franchising.
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Marlet, Ramon Queiroz. "Transportation em narrativas transmídia: estudo sobre os efeitos cognitivos e sociais da exposição dos fãs a um universo ficcional multiplataforma contemporâneo." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-17032017-160043/.
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A presente pesquisa possui como objetivo principal o estudo da relação existente entre fãs e narrativas transmídia a partir do mecanismo de transportation, entendido como um processo convergente no qual quase todos os sistemas e capacidades mentais dos indivíduos são direcionados aos eventos que ocorrem em uma narrativa, sendo este um constructo-chave para mudanças de crenças, atitudes e comportamentos. Para tal empreitada, utilizamos como metodologia a aplicação das escalas desenvolvidas originalmente por Green (1996) e Williams et al (2010) para narrativas escritas e audiovisuais respectivamente, as quais foram devidamente adaptadas e validadas psicometricamente para o contexto nacional. Sendo assim, efetuamos dois experimentos: no primeiro (n = 140), foi estudada a relação entre fãs e narrativas do livro de um universo ficcional transmídia, e no segundo (n = 187), foi estudada a relação entre fãs e narrativas dos filmes deste mesmo universo em questão. Como resultados, obtivemos que apesar das narrativas utilizadas como estímulo fazerem parte do mesmo universo multiplataforma, cada uma delas possui um perfil diferente de fã correspondente; já em relação aos fatores associados ao fato do indivíduo ser fã dessas narrativas, tivemos a idade, o sexo (somente no experimento 2), o \"transporte\" situacional e a compatibilidade das crenças como variáveis que aumentam a probabilidade dele se tornar um fã, o que significa que elas aumentam consideravelmente suas chances de consumir as narrativas deste universo em mais de uma plataforma de mídia, de participar de comunidades online e de realizar pelo menos uma das atividades características dos fãs - fanfiction, e-zine (fanzine), fanarts, fanvídeos, cosplay, fanhits e discussão em fóruns online -, o que sustenta a definição de fã proposta pelo presente estudo. Além disso, implicações teóricas e empíricas também são discutidas e uma série de sugestões futuras de pesquisa enfatizadas. Desse modo, concluímos que o enfoque cognitivista aqui proposto se mostra como uma alternativa interessante no estudo do fandom transmidiático contemporâneo, cujas pesquisas se concentraram, nas últimas décadas, dentro do campo de atuação dos estudos culturais.This research has as main objective the study of the relationship between fans and transmedia storytelling from the transportation construct perspective, understood as a convergent process where almost all of mental systems and capacities of individuals become focused on the events that occur in a narrative, being a key mechanism of attitude, belief and behavior change. For this venture, we use as methodology the application of the original scales developed by Green (1996) and Williams et al (2010) for written and audiovisual narratives respectively, which were duly adapted and psychometric validated to the national context. Thus, we performed two experiments: in the first (n = 140), we studied the relationship between fans and the narratives of books of a transmedia fictional universe, and in the second (n = 187), we investigated the relationship between fans and the narratives of movies of this same universe. As results, we had that although the narratives used as stimulus belong to the same fictional universe, each one has its own fan profile corresponding; in relation to factors associated with the fact that the individual be a fan of these narratives, we had age, gender (only in experiment 2), the situational transportation and story consistent beliefs as variables that increase the likelihood of this person becoming a fan, which means that they greatly increase the chances of this person consuming the narratives of this universe in more than one media platform, participate in online communities and achieve at least one of the characteristic activities of the fans - like fanfiction, e-zine (fanzine), fanarts, fanvideos, cosplay, fanhits and discussion in online forums -, which supports the fan definition proposed by this study. Furthermore, theoretical and empirical implications are also discussed and an avenue of future research suggestions emphasized. Thus, we conclude that the cognitive approach proposed here is shown as an interesting alternative in the study of contemporary transmedia fandom, whose research has focused, in recent decades, within the field of cultural studies.
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Monte, Salvador Carlos. "LAS ESTRUCTURAS COMO PROCESO. Anomalías cotidianas: guión audiovisual, cine mutante, narrativas transmedia y teoría de sistemas." Doctoral thesis, Universitat Ramon Llull, 2017. http://hdl.handle.net/10803/406081.
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Aquesta tesi doctoral explora els conceptes fonamentals utilitzats en la creació i l'anàlisi de la narració audiovisual, especialment aquells relacionats directament amb el guió.
El treball es centra en la utilització de recursos emprats en la construcció dramàtica i l'establiment de l'organització del relat, considerats tots dos conceptes com a elements creadors de sentit.
De la mateixa manera es reflexiona sobre la funció del guió dins del text cinematogràfic, posant el focus en els aspectes estructurals i els seus diversos nivells d'aplicació.
Conscient que ens trobem en un moment crucial en el desenvolupament dels mitjans de comunicació en els quals la transversalitat, la fragmentació i la connectivitat es constitueixen com a característiques bàsiques, la tesi evidencia la pobresa tant del format del guió com de l'aparell d'anàlisi utilitzats fins al moment.
Enfront d'aquesta situació, l'assaig planteja la necessitat de la creació de noves eines, metodologies i models d'acord amb els requeriments actuals, fent èmfasis en els següents punts:
- la finalització del monopoli de l'escriptura com a eina constructiva i d'anàlisi.
- l'evidència que el model dels tres actes resulta deficient per explicar el polimorfisme de la producció cinematogràfica internacional.
- el reconeixement de la pluralitat de camins vàlids per a la creació d'obres audiovisuals riques i variades, concordes amb les inquietuds del moment històric.
- la necessitat de l'aplicació de la visualització d'informació i les teories de la complexitat com a elements fonamentals per a l'articulació d'un nou discurs sobre la creació, anàlisi i crítica audiovisual.
En aquest sentit, l'estudi s'aproxima al tema per tractar-ho des d'una nova perspectiva més sistèmica, amb la intenció de crear les bases per a l'elaboració d'aquesta nova forma de creació i anàlisi del guió audiovisual i el transmèdia, en sintonia amb els temps que vivim, les eines que fem servir i les històries que necessitem.Esta tesis doctoral explora los conceptos fundamentales utilizados en la creación y el análisis de la narración audiovisual, especialmente aquellos relacionados directamente con el guión. El trabajo se centra en la utilización de recursos empleados en la construcción dramática y el establecimiento de la organización del relato, considerados ambos conceptos como elementos creadores de sentido. Del mismo modo se reflexiona sobre la función del guión dentro del texto cinematográfico, poniendo el foco en los aspectos estructurales y sus diversos niveles de aplicación. Consciente de que nos encontramos en un momento crucial en el desarrollo de los medios de comunicación en los que la transversalidad, la fragmentación y la conectividad se constituyen como características básicas, la tesis evidencia la pobreza tanto del formato del guión como del aparato de análisis utilizados hasta el momento. Frente a esa situación, el ensayo plantea la necesidad de la creación de nuevas herramientas, metodologías y modelos en consonancia con los requerimientos actuales, haciendo énfasis en los siguientes puntos: - la finalización del monopolio de la escritura como herramienta constructiva y de análisis. - la evidencia de que el modelo de los tres actos resulta deficiente para explicar el polimorfismo de la producción cinematográfica internacional. - el reconocimiento de la pluralidad de caminos válidos para la creación de obras audiovisuales ricas y variadas, acordes con las inquietudes del momento histórico. - la necesidad de la aplicación de la visualización de información y las teorías de la complejidad como elementos fundamentales para la articulación de un nuevo discurso sobre la creación, análisis y crítica audiovisual. En ese sentido, el estudio se aproxima al tema para tratarlo desde una nueva perspectiva más sistémica, con la intención de sentar las bases para la elaboración de esa nueva forma de creación y análisis del guión audiovisual y el transmedia, en sintonía con los tiempos que vivimos, las herramientas que manejamos y las historias que necesitamos.
This doctoral thesis explores the fundamental concepts used in the creation and analysis of audiovisual narrative, especially those directly related to the script. The work focuses on the use of resources employed in dramatic construction and the creation of the organization of the story, considered both concepts as meaning-making elements. In the same way, it reflects on the role of the script as part of the cinematographic text, focusing on the structural aspects and their different levels of application. Being conscious that we are at a crucial moment in the development of the media in which transversality, fragmentation and connectivity constitute their basic characteristics, the thesis shows the poverty of both the format of the script and the analytical apparatus used until now. Facing this situation, the essay shows the need for the creation of new tools, methodologies and models in line with current requirements, with emphasis on the following points: - the end of the monopoly of writing as a constructive and analytical tool. - the evidence that the three acts model is unable to explain the polymorphism of international film production. - the recognition of the plurality of valid ways to create rich and varied audiovisual works, in line with the concerns of the present historical moment. - the need for the application of information visualization and theories of complexity as fundamental elements for the articulation of a new discourse on audiovisual creation, analysis and criticism. In that sense, the study approaches the subject to treat it from a new, more systemic perspective, with the intention of laying the groundwork for the elaboration of this new form of creation and analysis of the audiovisual and the transmedia script, in tune with the times we live in, the tools we use and the stories we need.
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Lilja, William, and Julia Jönsson. "Transmedialt berättande som marknadsföringsverktyg : En studie om hur Generation Z ställer sig till marknadsföring i flera mediekanaler i olika format." Thesis, Malmö universitet, Institutionen för datavetenskap och medieteknik (DVMT), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-44714.
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Syfte – Syftet med denna uppsats är att undersöka fenomenet transmedialt berättande som marknadsföringsverktyg och hur Generation Z ställer sig till marknadsföring som kommunicerar information genom flera mediekanaler i olika format. Ur ett historiskt perspektiv används transmedialt berättande inom n jesbranschen och definieras som en interaktiv berättelse som finns på flera plattformar i olika format. Från fiktiva berättelser används fenomenet både som ett världsskapande berättande till ett användbart verktyg inom marknadsföring. För denna uppsats definieras Generation Z som personer födda mellan år 1995 och 2008. Metod – Uppsatsens unders kningsmetod är tillämpad utifrån en metodtriangulering som inkluderar en kombination av en kvantitativ metod i form av en enkät, en kvalitativ metod i form av semistrukturerade intervjuer samt en litteraturs kning. Resultat och slutsats – Resultatet från enkätundersökningen visade att Generation Z är negativt inställda till att delta i en kampanj som stäcker sig över flera medier i olika format. Detta är baserat på respondenternas medievanor som visade lågt engagemang. Resultatet från intervjuundersökningen visades ytterligare fynd som menar på att geografisk plats kan vara en bidragande faktor till målgruppens låga engagemang. Empirin från undersökningen menade även på att respondenterna och intervjuobjekten behöver ha ett personligt intresse för en produkt, tjänst, företag eller kampanj för att vilja delta eller engagera sig. Det mest signifikanta resultatet var sociala medier som visade sig vara det mest använda mediet vilket stärker tidigare forskning. De mest använda sociala medieplattformarna var Snapchat, YouTube och TikTok. Formaten som den undersökta målgruppen ställde sig mest negativt till var marknadsföring via traditionella mediekanaler, däribland TV och tryckt material. Format som målgruppen var positivt inställda till var marknadsföring ä r via influencers samt korta reklamvideor. Resultatet visade således att det är svårt att engagera Generation Z genom platsspecifikt berättande, det vill säga att närvara fysiskt där kampanjen äger rum. Däremot visade undersökningen mottaglighet för genomarbetat samt unikt innehåll, gärna igenkänningsfaktorer såsom musik.Purpose – This paper aims to examine the phenomenon transmedia storytelling as a marketing tool and how Generation Z responds to marketing that communicate information through several media channels in different formats. From a historical perspective, transmedia storytelling has mainly been used in the entertainment industry and is described as an interactive narrative that exists on multiple platforms in different formats. From fictional stories, the phenomenon is used both as a world-creating narrative and as a useful tool for marketing campaigns. For this paper, Generation Z is defined as people who are born between the years 1995 and 2008. Methodology – The thesis has been using the approach of a method triangulation that includes a combination of a quantitative method by a survey, a qualitative method by semi-structured interviews, and a literature search. Findings and conclusion – The findings from the quantitative survey showed that the demographic cohort Generation Z has a negative attitude about marketing in several media in different formats. This is based on the target group's media habits that showed low commitment. The results from the interviews showed further findings that suggest that geographical location may be a contributing factor to the target group's low commitment. Through the qualitative interviews, further findings were shown that the respondents and the interviewees need to have a personal interest in a product, service, company, or campaign in order to want to participate or get involved with it. The most significant result was social media, that showed to be the most used medium, which strengthens previous research. The most used social media platforms were Snapchat, YouTube, and TikTok. The format that the target group showed the least engagement was marketing through traditional media channels, including television and printed material. Additional receptive formats for marketing are through influencers and short commercials. Also, the result suggested that it is difficult to engage Generation Z using site-specific storytelling, i.e., to be physically present where the campaign takes place. On the other hand, the thesis showed receptivity to elaborate and unique content, preferably recognition factors such as music.
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POLETTI, LAURA. "Il transmedia storytelling come nuova strategia di Public Engagement per la valorizzazione della Terza Missione. Il caso The Shifters dell’Università degli Studi di Cagliari." Doctoral thesis, Università degli Studi di Cagliari, 2021. http://hdl.handle.net/11584/315416.
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The present thesis investigates the Third Mission phenomenon focusing specifically on the role of Public Engagement in enlarging universities’ audience and enhancing the diffusion of scientific research. The primary objective of this study is to better understand how universities can improve their Third Mission activities by implementing key public engagement strategies and using innovative communication models. More specifically, the present research aims to uncover the mechanisms underlying the use of digital media in the formulation of new science communication models within Public Engagement activities; the latter represents a challenge and an opportunity for universities from both a social and managerial perspectives.
To achieve this objective, I first employed an extensive literature review using a topic modeling approach to examine the latent structure of twenty years of literature on the Third Mission and Public Engagement. This analysis allowed identifying the most prominent research paths, evolutionary patterns, and future trends that characterize this body of research. Three core streams were outlined: digital engagement, science engagement and knowledge, and technology engagement. These streams offered the basis for a more in-depth examination of how new science communication models represent a crucial element for a comprehensive understanding of the public engagement of universities within a specific territory. In addition, I adopted a participatory observation approach using storytelling and transmedia narration techniques and examined the case of “The Shifters: The Third Mission”—a pilot project carried out by the University of Cagliari. The project offers unique real-life insights into the role of transmedia communication to foster the diffusion of scientific research by involving both experts on communication strategies and academic researchers.
The core outcome of this study, owed by the case analysis, consists of developing a conceptual framework that combines key concepts of Third Mission (public audience, research, and media), uncovering potential connections. Findings showed a positive effect of the strategic use of new social media; nevertheless, the analysis highlighted universities do not exploit their overall potentiality. Indeed, this type of organization could leverage new media tools to promote Third Mission activities using a transmedia communication model that allows reaching a large audience characterized by high heterogeneity. In so doing, the present work contributes to both Third Mission and public engagement literature by offering a novel and hybrid conceptual model that can serve as a guideline for science communication. Finally, several practical implications, limitations, and future research avenues are also presented and further discussed.
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Guerrero, Pico María del Mar. "Historias más allá de lo filmado: Fan fiction y narrativa transmedia en series de televisión." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/385849.
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Esta tesis tiene como objeto de estudio el fan fiction (historias derivadas escritas por los fans de un producto de la cultura de masas) como modalidad de expansión narrativa de universos ficcionales transmedia originados en series de televisión. Concretamente, se ofrece un acercamiento a la capacidad creativa de los fans en entornos transmedia oficiales, y al fan fiction atendiendo a su dimensión textual y práctica a partir del estudio de caso de seis ficciones locales e internacionales: Águila Roja, Game of Thrones, Infidels, Mistresses, Fringe y Lost. Para ello se desarrolla un análisis textual fundamentado en la semiótica y la narratología, bases teóricas y metodológicas que se complementan con la etnografía digital en el estudio de una comunidad online de fan fiction. La utilización de estas metodologías supone un aporte innovador a los Fan Studies y la narrativa transmedia por los escasos referentes de su aplicación integrada en ambos campos.The object of study of this dissertation is fan fiction ––derivative stories written by fans of a mass culture product— as a form of narrative expansion in television-based transmedia fictional universes. Specifically, an approach to fans’ creative capacity in official transmedia environments is offered alongside an insight to the textual and practical dimensions of fan fiction focusing on the case study of six local and international television series: Águila Roja, Game of Thrones, Infidels, Mistresses, Fringe and Lost. In order to achieve this, a textual analysis drawing on semiotics and narratology is applied. Both theoretical and methodological sources are complemented with digital ethnography techniques in the study of an online fan fiction community. The application of these methods posits an innovative contribution to Fan Studies and transmedia storytelling research due to lacking models of their joint implementation in both fields.
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Chaves, Ana Rita Rocha. "A utilização de narrativas transmedia na comunicação institucional: o caso de estudo da escola de línguas CJO Kontakt." Master's thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/23057.
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Mestrado em Comunicação MultimédiaNo âmbito do estudo foi desenvolvida uma estratégia transmediática posteriormente aplicada na escola de línguas polaca CJO Kontakt. Esperava-se que a implementação desta narrativa Transmedia em contexto de institucional gerasse mais participação e interação na relação Instituição/público. Para tal, tentou-se compreender o fenómeno Transmedia Storytelling, a sua origem, essência e aplicabilidade, assim como analisar o poder do uso de narrativas na passagem de uma mensagem. Os avanços da tecnologia permitiram aprimorar os modos de comunicação fazendo com que hoje em dia novas alternativas de disseminação da mensagem emerjam. O Transmedia surge num momento em que as audiências sofrem uma metamorfose comportamental, incitando-as a participar e interagir com a mensagem num quadro comunicacional hipermediatizado. Ao longo da presente dissertação foi explorado o comportamento da Comunicação Institucional no panorama atual, com o objetivo de testar a sua permeabilidade ao fenómeno Transmedia. Para a realização deste trabalho de investigação, foi seguida a metodologia de investigação-desenvolvimento de cariz exploratório com base em métodos de análise mistos.
In the framework of the study, a cross-media strategy was subsequently developed at the Polish Language School CJO Kontakt. It was hoped that the implementation of this Transmedia narrative in an institutional context would generate more participation and interaction in the institution / public relation. To do so, we tried to understand the Transmedia Storytelling phenomenon, its origin, essence and applicability, as well as to analyse the power of the use of narratives in the transmission of a message. Advances in technology have made it possible to improve communication modes, and nowadays new alternatives for dissemination of the message emerge. Transmedia comes at a time when audiences undergo a behavioural metamorphosis, urging them to participate and interact with the message in a hypermediatized communication framework. Throughout the present dissertation, the behaviour of the Institutional Communication in the current panorama wasexplored, in order to test its permeability to the Transmedia phenomenon. For the accomplishment of this research work a research-development methodology of exploratory nature was followed based on mixed analysis methods.
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Miyamaru, Flávio. "Transições entre mídias: arcabouço tecnológico para aplicações de mídia cruzada." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/3/3141/tde-12082010-170848/.
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O surgimento dos novos meios digitais de comunicação e a sofisticação dos dispositivos de interação permitem um novo modelo de interação, o da mídia cruzada. Um sistema de mídia cruzada é caracterizado pelo uso de múltiplos meios de comunicação de forma integrada e coordenada, e pela existência de pontes que possibilitam a navegação do usuário para os meios mais adequados para atingir seu propósito. Este trabalho tem por objetivo o estudo das transições entre mídias, investigando as tecnologias e as características da interface homem-computador. Para tanto, desenvolveu-se uma teoria da transição de mídia cruzada, especificando-se requisitos para os mecanismos de transição. A pesquisa resultou em um arcabouço tecnológico que permite a aplicação de mecanismos de transição entre computadores desktop, celulares, TV digital interativa e painéis interativos. O arcabouço foi desenvolvido e avaliado, primeiramente quanto à sua efetividade, pelo desenvolvimento de protótipos; em seguida, quanto à qualidade em uso, pelo manuseio dos protótipos em um teste com usuários. Os resultados desta dissertação foram integrados ao projeto X-Gov, financiado pela Fapesp e Microsoft Research, o qual visa o uso do conceito de mídia cruzada em serviços de governo eletrônico.The advent of new communication media and sophisticated interaction devices allows a new interaction model crossmedia which means the integrated, synergic use of multiple media. Crossmedia is also characterized by the existence of bridges that allow user navigation across media to reach the most appropriate support for the users purpose. This research focuses on these bridges, called crossmedia transitions. Transitions are investigated from the technological and interactive viewpoints. A set of requirements for crossmedia transactions was defined. Requirements were applied in the development of a framework that provided programming support for developing crossmedia applications involving desktop computers, cell phones, interactive television and interactive displays. The framework effectiveness was evaluated by developing some prototypes, which were also used in quality-in-use evaluation in a test with real users. This dissertation results were an integral part of the X-Gov project, funded by Fapesp and Microsoft Research, aiming at the use of crossmedia in e-government services.
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Alves, Silvio André Lacerda. "Possibilidades de contribuição do Design Estratégico para projetos de narrativas transmídia." Universidade do Vale do Rio dos Sinos, 2018. http://www.repositorio.jesuita.org.br/handle/UNISINOS/7152.
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Em um mundo caracterizado pela convergência, grande evolução tecnológica, fortes transformações comportamentais, crescente carga informacional em um ambiente de rede e com inúmeras possibilidades de suporte midiático, lograr êxito em entregar a mensagem desejada para o usuário e obter dele a atenção necessária se tornou uma tarefa complexa. As narrativas transmídia surgiram como uma alternativa eficiente para ajudar a mitigar ou eliminar esses obstáculos e mais, oferecem um grau maior de imersão, interação e experienciação deste usuário. Ele antes consumia narrativas e agora passa a consumir narrativas transmídia. Essa mudança demonstra um processo de evolução, uma mudança de nível, em termos de comunicação. São como alterações no território comunicacional onde o usuário representa um migrante que vai e volta entre mídias e níveis de emissão-recepção. Neste sentido, considerando o Design Estratégico a abordagem que oportuniza o diálogo entre as mais diversas disciplinas e capacitações, um propulsor de relações criativas entre técnica e arte, uma alternativa para oferecer as condições experienciais tão características das soluções de transmídia storytelling, o objetivo deste trabalho de pesquisa é justamente, através do uso do método qualitativo do estudo de casos exploratórios, investigar as possibilidades de contribuição do Design Estratégico em projetos de narrativas transmídia. Como principais resultados é importante destacar o design como mediador de projetos de concepção de estratégias transmidiáticas, assim como na identificação e solução de problemas durante o processo de projetação. Além desta discussão, apresenta-se um quadro de referência para servir de elemento em futuras reflexões e experimentações de empresas de comunicação ao conduzirem projetos comunicacionais, especialmente de narrativas transmídia.
In a world characterized by convergence, great technological evolution, strong behavioral transformations, growing informational load in a network environment and with innumerable possibilities of media support, to succeed in delivering the desired message to the user and to obtain from him the necessary attention has become one complex task. Transmedia narratives have emerged as an efficient alternative to help mitigate or eliminate such obstacles and, moreover, offer a greater degree of immersion, interaction and experience of this user. He previously consumed narratives and now begins to consume transmedia narratives. This change demonstrates a process of evolution, a change of level, in terms of communication. They are like changes in the communicational territory where the user represents a migrant that goes back and forth between media and emission-reception levels. In this sense, considering the Strategic Design the approach that facilitates the dialogue between the most diverse disciplines and capacities, a propeller of creative relations between technique and art, an alternative to offer the experiential conditions so characteristic of the solutions of transmissions storytelling, the objective of this work of research is precisely through the use of the qualitative method of the exploratory case study to investigate the possibilities of the contribution of the Strategic Design in projects of transmedia narratives. As main results, it is important to highlight the design as mediator of projects for the design of transmissive strategies, as well as in identifying and solving problems during the design process. In addition to this discussion, a frame of reference is presented to serve as an element in future reflections and experiments of communication companies in conducting communication projects, especially of transmedia narratives.
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CHACEL, Marcela Costa Da Cunha. "Narrativas transmidiáticas como ferramentas Publicitárias." Universidade Federal de Pernambuco, 2013. https://repositorio.ufpe.br/handle/123456789/15771.
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Versão final.pdf: 26890182 bytes, checksum: 3de2e3fd5b6d2e92887af2da0a4809fb (MD5)Made available in DSpace on 2016-03-08T17:05:22Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Versão final.pdf: 26890182 bytes, checksum: 3de2e3fd5b6d2e92887af2da0a4809fb (MD5) Previous issue date: 2013-02-28
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O cenário contemporâneo, convergente, tecnológico, de multiplataformas midiáticas e pluralismo de linguagens, reconfigurou paradigmas anteriores, potencializou outros, além de trazer algumas mudanças, em especial, no que diz respeito ao volume de informação, acarretando numa crise da atenção. Acrescenta-se aí o fato de que os consumidores, antes vistos como sujeitos passivos, nessa conjuntura, assumem um novo comportamento cada vez mais participativo. Diante disso, a publicidade tem encontrado significante dificuldade para atingir tais consumidores, os quais não dão tanta credibilidade aos discursos publicitários tradicionais como outrora. Por essa razão, a publicidade tem fugido da abordagem imperativa e se redesenhado de modo tal que a marca e os produtos assumem um papel secundário, buscando, no entretenimento e em fenômenos próprios do cenário atual, novas estratégias para atingir os consumidores. Dentre essas estratégias está a utilização de narrativas, sobretudo, no que se refere ao desenvolvimento de mundos ficcionais para construir a mensagem publicitária. Neste sentido, este trabalho aponta para uma nova tendência para a publicidade: as narrativas transmidiáticas (histórias contadas através de distintas plataformas de mídia com cada uma contribuindo de forma nova e pertinente para o todo), entendendo tais narrativas, suas características e estrutura e analisando como podem se configurar como ferramentas publicitárias.
The current landscape, convergent, technological, of multiple media platforms and pluralism of languages, improved old paradigms, developed others, and also, brought some changes, in particular, as regards the amount of information, causing the attention crises. Added to this is the fact that consumers, once seen as passives subjects, in this context, assume a new behavior increasingly participatory. In this circumstance, advertising has encountered significant difficulty in achieving these consumers who do not give much credibility to the speeches of traditional advertising as before. Because of that, advertising has fled the imperative approach and redesigned itself such that brand and product play a secondary role, looking for, into the entertainment and into the current landscape, new strategies to reach consumers. Among those strategies is the use os storytelling, especially, as regards the development of fiction worlds to construct the advertising message. In this sense, this work points to a new trend for advertising: transmedia storytelling (narratives told across different media platforms which each one contribute in a new and valuable way to the whole), understanding those narratives, its characteristics and structure, also analyzing how it can be configured as advertising tools.
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Mota, João Pedro de Azevedo Machado. "Geometrias da Experiência: das tessituras do conceito de Experiência e do conceito de Vivência em Walter Benjamin às investigações sobre o devir de uma nova categoria de experiência reticular possível em Narrativas Transmídia." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-17112017-110614/.
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Esta dissertação é um estudo comparativo teórico-prático que lança a hipótese de uma outra categoria de experiência reticular possível no campo contemporâneo das narrativas transmídias, embasada a partir do eixo teórico dos conceitos de \"Experiência\" (Erfahrung) e \"vivência\" (Erlebnis), inicialmente formulados pelo filósofo Walter Benjamin num contexto marcado por convulsões e transformações socioeconômicas e políticas do entreguerras no século XX. Em busca de um rigor metodológico que reflita uma tentativa de superação de um viés tão somente reificador da narrativa transmídia, conscientemente compreeendida enquanto uma mercadoria do capitalismo neoliberal reproduzida tecnicamente, em favor de uma abordagem filosófica sobre a demanda de seu caráter potencialmente colaborativo que produziria um tipo de experiência-em-rede, por nós tomada como hipótese, cujas sutilezas nos propomos investigar, procuramos situar o contexto em que os conceitos benjaminianos foram formulados, para então justificar o seu deslocamento à análise do novo contexto em que surge a transmedia storytelling. Com este arcabouço espera-se compreender como as narrativas transmídia abririam caminhos à compreensão de uma nova experiência hipoteticamente permeada pelo ciberespaço, simultaneamente relacionada ao aspecto fragmentado e individual da Erlebnis, de um lado, e relativamente compatível ao caráter de um saber compartilhado pela coletividade inerente à Erfahrung, de outro: não exclusivamente definida pelos conceitos, mas entendida dialeticamente como uma terceira categoria de experiência mediada por uma inteligência coletiva que parte da síntese de ambos. Investigamos as possibilidades de entendimento desta experiência enquanto resultante de transversalidades dialógicas entre diversos nichos de público relativos aos diferentes fragmentos narrativos que, singulares esteticamente, auto?nomos de sentido e complementares diegeticamente entre si, ao serem dispersos em múltiplos meios sob a forma de diferentes linguagens, levam em conta o caráter potencialmente colaborativo oferecido pelas redes digitais contemporâneas à interação, à participação e às trocas simbólicas: o meio virtual seria, portanto, fundamental à formulação das geometrias de uma experiência reticular compartilhada. Por fim, pelo procedimento da análise textual qualitativa-quantitativa sobre um corpus, com de potencial dialógico entre amostras de 46 unidades de fragmentos narrativos do universo Matrix (das irmãs Wachowski), sob os temas: a) potência de relação transmidiática diegética entre fragmentos e b) convite à participação colaborativa entre nichos; no estudo de caso deste cânone, surgido na virada do século XX ao XXI, buscamos indícios à confrontação da nova categoria propositiva de experiência-em-rede hipotética, ao transbordar-se no desenvolvimento prático de um vídeo enquanto ferramenta inspiradora à análise de outros universos em transmedia storytelling já existentes ou ainda por vir. Em busca de ampliar os horizontes de compreensão deste fenômeno narrativo-midiático, as análises da pesquisa não se fecham sobre seus próprios resultados, mas abrem-se para novas problematizações aos campos afins.This dissertation is a comparative theoretical-practical study that launches the hypothesis of another category of possible reticular experience in the contemporary field of transmedia storytelling, based on the theoretical axis of the concepts of \"Experience\" (Erfahrung) and \"lived experience\" (Erlebnis), initially formulated by the philosopher Walter Benjamin in a context marked by characteristic socioeconomic and political convulsions and transformations of the interwar period in the 20th century. In search of a methodological rigor that reflects an attempt to overcome a bias that is only reifying the transmedia storytelling, consciously understood as a cultural merchandise of neoliberal capitalism reproduced technically, in favor of a philosophical approach on the demand for its potentially collaborative character that would produce a type of experience-in-network, taken by us as a hypothesis, whose subtleties we propose to investigate, we try to situate the context in which the Benjaminian concepts were formulated, to justify its displacement to the analysis of the new context in which transmedia storytelling arises. With this framework we hope to understand how the transmedia storytelling would open a way to the understanding of a new experience hypothetically permeated by cyberspace, simultaneously related to the fragmented and individual aspect of Erlebnis, on the one hand, and relatively compatible to the character of a knowledge shared by the inherent collectivity of Erfahrung, on the other: not exclusively defined by those concepts, but understood dialectically as a third category of experience mediated by a collective intelligence that starts from the synthesis of both. We investigate the possibilities of understanding this experience as a result of dialogical transversalities between different niche audiences related to the different narrative fragments that, aesthetically singular, autonomous of sense and diegetically complementary to each other, being dispersed in multiple media in the form of different languages, taking into account the potentially collaborative character offered by contemporary digital networks to interaction, participation and symbolic exchanges: the virtual medium would therefore be fundamental to the formulation of the geometries of a shared reticular experience. Finally, by the procedure of qualitative-quantitative textual analysis on a corpus, with a dialogical potential between samples of 46 units of narrative fragments of the Matrix universe (of the Wachowski sisters), under the themes: a) Potential of diegetically transmedia relations between fragments; and b) Invitation for collaborative participation between niches; in the case study of this canon that emerged at the transition from 20th to the 21th century, we looked for clues to the confrontation of the new propositional category of hypothetical experience-in-network, overflowing in the practical development of a video as an inspiring tool for the analysis of other universes in transmedia storytelling already existing or yet to come. In order to broaden the understanding horizons of this media narrative phenomenon, the analysis of the research does not close on its own results, but opens up for new problematizations to the related fields.