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Journal articles on the topic 'Transmedia storytelling'
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Rosendo Sánchez, Nieves. "Mundos transmediales: revisión conceptual y perspectivas teóricas del arte de crear mundos." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 14, no. 1 (January 1, 2016): 49–70. http://dx.doi.org/10.7195/ri14.v14i1.930.
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El concepto de transmedia storytelling introducido por Henry Jenkins (2003, 2006) ha sido ampliamente desarrollado académicamente en los últimos años, popularizándose y redefiniéndose con el tiempo. Dentro de la propia definición del transmedia storytelling se observa la centralidad del concepto de mundo, que desde una perspectiva teórica y crítica ha sido menos desarrollado que la relación entre la narrativa y los medios presentes en las narrativas transmediales. El presente trabajo recoge y sistematiza una selección bibliográfica de los principales autores que han definido la naturaleza, límites y transferibilidad de los llamados mundos transmediales, estableciendo conclusiones relativas a la necesidad de observar el citado fenómeno de las narrativas transmediales, sus elementos constituyentes y los procesos en los que éstos se ven envueltos, con la finalidad de elaborar unos criterios previos para su análisis y consideración como pieza fundamental de este fenómeno. The concept of transmedia storytelling introduced by Henry Jenkins (2003, 2006) has been widely developed in the academic field, getting popular and being redefined with time. In transmedia storytelling’s definition we can observe the focus on the concept of world, which from a theoretical and critical perspective did not had the development that the relationship among narrative and media had. This work gathers and analyzes a selection of references from the main authors that have defined the nature, limits and transferability of the so called transmedial worlds, proposing conclusions related to the need to observe the phenomenon of transmedia narratives, its founding elements and the processes related to them, with the aim to elaborate a catalogue of criteria for the analysis and consideration of key element of transmedia storytelling.
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Satyagraha, Aditya, and Gideon Frederick K H. "STUDI PENERAPAN TRANSMEDIA STORYTELLING PADA IP KARAKTER DARTH VADER." Ultimart: Jurnal Komunikasi Visual 13, no. 1 (June 15, 2020): 75–83. http://dx.doi.org/10.31937/ultimart.v13i1.1556.
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Transmedia narrative dan unsur-unsurnya telah berkembang dengan cepat saat ini. Salah satu elemen transmedia yang berkembang adalah karakter fiksi. Makalah ini bertujuan untuk membuktikan bagaimana karakter ini dapat dilihat dari model pembentukan transmedia narrative. Penulis akan menganalisis perluasan karakter fiksi dari elemen world-building transmedia menjadi karakter transmedial melalui prinsip-prinsip hyperdiegesis dan narative braide. Dan salah satu karakter fiksi yang akan diangkat menjadi studi kasusnya adalah Darth Vader dari semesta Star Wars. Penulis akan membedah karakter ini dan menjelaskan perannya di berbagai platform media sebagai bagian dari dunia transmedia. Makalah ini juga akan menunjukkan bagaimana dinamisnya pengembangan karakter dalam transmedia storytelling, dan pengembangan karakter dapat menjadi elemen dalam dunia cerita transmedia, world-building juga dapat menjadi elemen karakter itu sendiri, atau bahkan berkembang dari unsur-unsur world-building dengan menciptakan dunianya sendiri serta melengkapi dunia dari jagat raya cerita utamanya.
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Ryan, Marie-Laure. "Narratologia transmedia e transmedia storytelling." Mediapolis – Revista de Comunicação, Jornalismo e Espaço Público, no. 6 (March 5, 2018): 9–25. http://dx.doi.org/10.14195/2183-6019_6_1.
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O termo transmedia storytelling tornou-se viral na área dos media studies. Mas, em que medida é que este termo define um fenómeno verdadeiramente novo e diferente dos conceitos já conhecidos de adaptação e transficcionalidade? O que significa realmente contar uma história através de diferentes media e em que condições isto é uma mais-valia? Neste artigo, serão avaliados vários tipos de projetos que se podem considerar de transmedia storytelling, embora não se enquadrem necessariamente no paradigma transmedia da ‘Costa Oeste’ dos Estados Unidos (i.e. Hollywood), bem como analisados três tipos de discurso associados a este fenómeno – o discurso da indústria, o discurso dos fãs e o discurso académico –, esperando poder diferenciar este último dos outros dois e, assim, definir alguns dos seus objetivos.
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Aziz, Jamaluddin, Normah Mustaffa, and Norhayati Hamzah. "Proposing Transmedia Storytelling for Malaysian Film Industry: Thematic Considerations." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 4 (December 30, 2021): 56–69. http://dx.doi.org/10.17576/jkmjc-2021-3704-04.
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Media convergence is ultimately the result of the disruption in media technology, creating a new episteme that foregrounds the diverse and interlinked way a story travels across platforms. One crucial development of media convergence is transmedia. While media scholars argue that media convergence has resulted in ontological uncertainties, it ironically entrenches some recognisable functions of the traditional media. This enables traditional communication functions like storytelling to be incorporated within media convergence. Storytelling, as communication functions, has continued to challenge the spatial and temporal metaphors of messages, allowing cultural symbols to transcend traditionally held boundaries in communication. Indeed, much has been written about transmedia storytelling, less however, has linked transmedia storytelling with the Malaysian film industry. The main aim of this paper is to thematically review past studies on transmedia storytelling in order to propose the idea that transmedia storytelling can help the Malaysian film industry as it is a new form of communication that the industry needs in increasing production, creating and determining local and global consumption of Malaysian stories. The review of past studies on transmedia storytelling reveals five salient themes: 1) Transmedia and engagement; 2) Liberatory potential; 3) Hybridisation of producer and user; 4) Uniqueness of media genre, and 5) Media literacy. The themes found are used to problematise transmedia storytelling and the Malaysian Film industry; this leads to the proposal of how transmedia storytelling can help the Malaysian film industry prosper while contributing to the understanding of transmedia storytelling and its benefit for the Malaysian film industry. Keywords: Transmedia storytelling, Malaysian film industry, media convergence, digital technologies, themes.
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Bourdaa, Mélanie. "Le transmedia storytelling." Terminal, no. 112 (January 1, 2013): 7–10. http://dx.doi.org/10.4000/terminal.447.
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Coombs, Timothy. "Transmedia storytelling: a potentially vital resource for CSR communication." Corporate Communications: An International Journal 24, no. 2 (April 1, 2019): 351–67. http://dx.doi.org/10.1108/ccij-11-2017-0114.
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Purpose The focus of this paper is on developing a rationale for the use of transmedia storytelling in corporate social responsibility (CSR) communication. Transmedia storytelling involves telling stories across multiple platforms by multiple people that are still united by a central theme. The purpose of this paper is to develop a rationale for the application of transmedia storytelling for CSR communication and illustrate how Procter & Gamble’s “Thank You Mom” campaign demonstrates how transmedia storytelling can be found in the current CSR communication. Design/methodology/approach The first part of the story is theoretical development. The idea of transmedia storytelling is developed then translated into how it can be used in CSR communication. The key ideas are that the engagement with messages created by transmedia storytelling is the idea for capturing emotions in CSR messages and avoiding the backlash created by some CSR messages, such as advertising. Transmedia storytelling provides a lens for understanding and guiding the use of various social media channels in the distribution of CSR communication. A case study is they conducted to illustrate how P&G used transmedia storytelling in its “Thank You Mom” campaign. Qualitative content analysis is used to identify the plot lines in the stories and the overall storyworld that is being developed thereby illustrating how the concepts for transmedia storytelling can be applied to the case. Findings The results illustrate how transmedia storytelling can be applied to CSR communication and the potential benefits of this application. The primary yields are theory development for CSR communication and the insights from the case study. Originality/value The extant literature on strategic communication in general and CSR communication specially have shown only a passing interest in transmedia storytelling. This paper provides a very detailed rationale for applying transmedia storytelling to CSR communication and illustrates the utility of this approach with a case study. A detailed application of transmedia storytelling to CSR communication is new and can help advance both theory and practice.
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Guadaña, Roma Marian F. "Transmedia Storytelling towards an Expanded Teaching of Reading in Distance Learning." Studies in Humanities and Education 2, no. 2 (December 18, 2021): 47–56. http://dx.doi.org/10.48185/she.v2i2.407.
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This study is focused on looking into the acceptance level of the teachers relative to transmedia storytelling, views on the modification of reading tasks and activities through transmedia storytelling, and integration of transmedia storytelling in reading tasks and activities. This study focuses and limits only in describing the acceptance level of language teachers as to transmedia storytelling and on knowing the teachers’ thoughts on modification of reading tasks and activities. The study used descriptive research design wherein the data were analyzed through a modified questionnaire on the level of acceptance and thematic analysis wherein responses were analyzed using open-ended questionnaire for thoughts and views on transmedia storytelling modifications and integration. The results of the study show a positive acceptance of transmedia storytelling among teachers. Furthermore, it was emphasized that transmedia storytelling is a beneficial and educational strategy for teaching reading and integration should be done through adapting and designing various media platforms. This action research presented a new reading strategy for language teachers that can be used in distance learning aimed for a contextualized and expanded teaching and learning of reading through a matrix that include selected and applicable reading texts in Grades 7-10 with transmedia storytelling media platforms.
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Arijit, Arijit goswami, and Bhavna Prajapati Bhavna. "A Study on Acceptance Level of Management Faculty Members towards Transmedia Story Telling." International Journal of Marketing & Human Resource Research 3, no. 3 (July 28, 2022): 168–74. http://dx.doi.org/10.47747/ijmhrr.v3i3.709.
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This study is focused on looking into the acceptance level of the teachers relative to transmedia storytelling, views on the modification of reading tasks and activities through transmedia storytelling, and integration of transmedia storytelling in reading tasks and activities. This study focuses and limits only in describing the acceptance level of management faculty members as to transmedia storytelling and on knowing the teachers’ thoughts on modification of reading tasks and activities. The study used descriptive research design wherein the data were analyzed through a modified questionnaire on the level of acceptance. The results of the study show a positive acceptance of transmedia storytelling among management faculty members. Furthermore, it was emphasized that transmedia storytelling is a beneficial and educational strategy for teaching reading and integration should be done through adapting and designing various media platforms. This action research presented a new reading strategy for management teachers that can be used in teaching learning aimed for a contextualized and expanded teaching and learning of reading through a matrix that include selected and applicable reading texts with transmedia storytelling media platforms.
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Veugen, Connie. "Assassin's Creed and Transmedia Storytelling." International Journal of Gaming and Computer-Mediated Simulations 8, no. 2 (April 2016): 1–19. http://dx.doi.org/10.4018/ijgcms.2016040101.
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Although, the term itself was coined more than ten years ago by Henry Jenkins, transmedia storytelling still needs to be researched as the terminology has proven to be multi-interpretable. Transmedia storytelling involving computer games is even less-well researched. This article will look into both issues. First it will take a critical look at transmedia storytelling to show the difference between it and other terms such as convergence, cross-media storytelling and radical intertextuality. Next, the article will look at the role of games in transmedia storytelling, focusing on the Assassin's Creed Desmond Saga to determine if games can be used as a narrative element in transmedia storytelling or if games are only a more active way to take part in the storyworld.
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Andelina, Ika Resmika, and Rike Soewandi. "ANALISIS STORYTELLING BERBASIS TRANSMEDIA PADA IP KARAKTER HYPNOSIS MIC." Jurnal Dimensi DKV Seni Rupa dan Desain 6, no. 2 (October 12, 2021): 143–60. http://dx.doi.org/10.25105/jdd.v6i2.10653.
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Abstract Transmedia Storytelling Analysis on Hypnosis Mic Character IP. Transmedia storytelling is a strategy that is often used in entertainment media to implement an intellectual property (IP). This technique is a way of conveying and telling a narrative across multiple media platforms. The use of the transmedia strategy has a big influence on an IP, one of which is Hypnosis Mic (Hypmic). Hypmic is a collaborative project between hip-hop musicians and seiyuu in the form of a music video with 2D characters. IP Hypmic has many media platforms for storytelling. With the comparative qualitative method, analysis of the story and character samples in the media will be carried out using the hyperdiegesis approach, narrative fabric, and memory. Then make comparisons to find out the differences in them and how the transmedia storytelling technique of each media affects the core story. It is hoped that this research can become a reference material for developing aspects of design strategies and stories on transmedia storytelling that affect the creation of IP, so that content creators can create IPs that have attractiveness in attracting audience.Keywords: transmedia storytelling, intellectual property, character design Abstrak Analisis Storytelling Berbasis Transmedia pada IP Karakter Hypnosis Mic. Transmedia storytelling adalah sebuah strategi yang kerap dipakai dalam media entertainment untuk menjalankan sebuah intellectual property (IP). Teknik ini merupakan cara untuk menyampaikan dan menceritakan sebuah narasi melalui banyak platform media. Penggunaan strategi transmedia memiliki pengaruh besar pada sebuah IP, salah satunya adalah Hypnosis Mic (Hypmic). Hypmic adalah sebuah projek kolaborasi antara pemusik hip-hop dengan seiyuu dalam bentuk video musik dengan karakter 2D. IP Hypmic memiliki banyak platform media untuk bercerita. Dengan metode kualitatif komparasi, akan dilakukan analisis cerita dan sampel karakter pada media-medianya menggunakan pendekatan hyperdiegesis, jalinan naratif, dan memori. Lalu melakukan perbandingan untuk mengetahui perbedaan yang terdapat di dalamnya dan bagaimana teknik transmedia storytelling tiap media berpengaruh pada inti cerita. Hasil penelitian ini dapat menjadi bahan acuan untuk mengembangkan aspek-aspek strategi desain dan cerita pada transmedia storytelling yang memengaruhi penciptaan IP, agar content creator dapat menciptakan IP yang memiliki daya tarik dalam memikat penonton.Kata kunci: transmedia storytelling, intellectual property, desain karakter
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McGrath, John. "Laurie Anderson’s Transmedia Storytelling." Journal of Popular Music Studies 33, no. 4 (December 1, 2021): 50–55. http://dx.doi.org/10.1525/jpms.2021.33.4.50.
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Dudacek, Oto. "Transmedia Storytelling in Education." Procedia - Social and Behavioral Sciences 197 (July 2015): 694–96. http://dx.doi.org/10.1016/j.sbspro.2015.07.062.
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Roxo, Filipa. "Transmedia Storytelling as a Potential Employer Branding Strategy." U.Porto Journal of Engineering 6, no. 1 (April 29, 2020): 66–77. http://dx.doi.org/10.24840/2183-6493_006.001_0007.
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This article analyses talent attraction and recruitment processes considering the theory of convergence culture and its concepts of participatory culture, collective intelligence and transmedia storytelling. The aim is to understand the potential of transmedia storytelling in the recruitment process, in line with the technological and social changes of the world. A more detailed example of a Heineken campaign using transmedia storytelling is described, exploring how it could be seen as a way of attracting candidates and promoting the image of the company as an employer. We conclude that transmedia storytelling allows organizations to get closer to their target audiences by employing a synergetic process susceptible to influence the image of organizations and the way candidates interact and share information about organizations, choosing their level of involvement.
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Colón Zayas, Eliseo R. "Transmedia narratives and binging experiences: Ricardo Piglia’s Los casos del comisario Croce as a theoretical project." MATRIZes 14, no. 1 (May 10, 2020): 41–57. http://dx.doi.org/10.11606/issn.1982-8160.v14i1p41-57.
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From a narratological perspective the paper argues that Ricardo Piglia’s posthumous book Los casos del comisario Croce offers readers a theoretical project on transmedia narratives and storytelling. The reading of Los casos del comisario Croce as a transmedial narrative centers in two aspects: 1) Piglia’s use of a text written by Marx on productivity and the professions as threshold for his transmedial narration; 2) binging engagement from the transmedial logic used for characterizations and the transmedial whodunit structure logic.
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Nikolić, Sanela, and Biljana Leković. "There is no end to storytelling: Transmedia storytelling in the digital mediation of music." Zbornik Akademije umetnosti, no. 11 (2023): 202–21. http://dx.doi.org/10.5937/zbaku2311202n.
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The term transmedia storytelling refers to diverse processes of creating and distributing stories through available and current media technology to reach a wider or clearly defined audience. In contemporary culture, transmedia storytelling plays an increasingly functional role in the expansively oriented mediation of artistic practices. Nearly every art institution engages with its audience through social networks, and internet presentation and communication have become essential for artists' public presence. In the context of convergence culture, transmedia music is presented in the public space by creating accompanying digital texts enabling diverse interactions and experiences with the audience. Transmedia storytelling is highly relevant to the sphere of music, as this innovative concept can practically be implemented to highlight the uniqueness of a musical piece, product, or practice using 'storytelling' techniques across various media channels, aiming for enhanced promotion in the media space and cultural market. This paper will provide a thorough presentation of the concept of transmedia storytelling, its features and mechanisms, and will also illustrate the potential of this practice in the context of digitally mediated music using concrete examples.
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Han, Feifei. "The impact of the book publishing transmedia storytelling model on business performance: the moderating role of the innovation environment." Journal of Organizational Change Management 37, no. 8 (February 6, 2024): 1–17. http://dx.doi.org/10.1108/jocm-07-2023-0289.
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PurposeIn order to better optimize the internal management system of book publishing and to cope with the changes in the external market environment, the purpose of this paper is to carry out cross-border publishing with the help of a transmedia storytelling model to realize the transformation and upgrading of the industry. Focusing on the relationship between the book publishing transmedia storytelling model and business performance, the moderating effect of the innovation environment on different variables is assessed.Design/methodology/approachThis paper proposes several feasible hypotheses based on existing research. The research data came from 365 managers of Chinese book publishing organizations, and the scale was validated by Cronbach’s a, composite reliability (CR) and average variance extracted (AVE). Reliability and validity were verified, and correlation and regression analyses were used to test the impact of the book publishing transmedia storytelling model on business performance and to analyze the moderating role of the innovation environment.FindingsThe results show that the book publishing transmedia storytelling model (content production, technology integration, organizational innovation, marketing integration) helps to improve business performance (market performance, financial performance), and the innovation environment has a positive moderating effect on the relationship between the book publishing transmedia storytelling model and business performance, which provides a guarantee for the transformation and upgrading of book publishing. The market information reflected in the innovation environment has a certain role in promoting the innovation and business performance of the book publishing transmedia storytelling model.Research limitations/implicationsThe empirical evidence provides a theoretical link between the book publishing transmedia storytelling model and business performance, but there are still some shortcomings, and more factors, such as equity structure, government subsidies and research and development investment, should be included in future research. In addition, the scope of the research should be broadened on this basis to make the results of the data analysis more objective.Practical implicationsThis paper introduces the transmedia storytelling model and deeply analyzes the relationship between the book publishing transmedia storytelling model and business performance, which is of great practical significance for optimizing the application and service quality of book publishing, prolonging the industrial chain, enhancing the interaction and participation of users and perfecting the business management system of the book publishing industry.Originality/valueThe application and research of the book publishing transmedia storytelling model are imperfect. Therefore, this paper not only helps to promote the innovation of book publishing organizational structure and improve the management system of business performance, but also may help to improve the innovation environment of book publishing enterprises and promote the diversification of industrial structure.
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Scolari, A. Carlos. "Transmedia branding: Brands, narrative worlds, and the mcwhopper peace agreement." Semiotica 2018, no. 224 (September 25, 2018): 1–17. http://dx.doi.org/10.1515/sem-2016-0216.
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Abstract In recent years there has been much discussion about the links between brands and storytelling. This article briefly describes transmedia storytelling, reflects on some exemplary works to understand its cultural dynamics, and then focuses on one particular aspect: the development of transmedia strategies in branding. This article delves into that area where branding melts and recombines with storytelling, keeping an eye on transmedia worlds throughout. After presenting a semio-narratological analytical model the article applies the categories to Burger King’s successful and internationally recognized McWhopper campaign (Campaign, Brief. 2015. Y&R’s Burger King “McWhopper” campaign: How a big idea from little New Zealand went global (interview to Tom Paine). Campaign Brief December 31. http://www.campaignbrief.com/ (accessed 16 October 2016)). The analysis spans from the construction of McWhopper’s storytelling to the positioning of competitors in this particular transmedia narrative world. The article concludes with a series of reflections and recommendations for applying semio-narratologic categories to transmedia branding analysis and design.
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Scolari, Carlos A. "Lostology: Transmedia storytelling and expansion/compression strategies." Semiotica 2013, no. 195 (June 6, 2013): 45–68. http://dx.doi.org/10.1515/sem-2013-0038.
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Abstract The objective of this article is to analyze Lost from the perspective of transmedia storytelling and to propose a taxonomy of transmedia expansion/compression strategies. In the first section, the article presents the basic components of transmedia storytelling from a theoretical point of view that combines narratology and semiotics. After describing the most important components of Lost's transmedia fictional universe in the second section, the article presents a general description and taxonomy of expansion/compression narrative strategies based on traditional rhetorical categories. The article also analyzes “compressed texts” – like recapitulations – and their role inside the expansive strategies.
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Milovidov, Stanislav V. "Participatory Capability of Transmedia Storytelling." Observatory of Culture, no. 4 (October 28, 2015): 40–45. http://dx.doi.org/10.25281/2072-3156-2015-0-4-40-45.
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The article analyzes some modern media communications and practice of user interaction where the “participatory discourse” appears, when the viewers can influence the process of creation of new films, series, and network projects. The users appropriate and transform different elements of the media content and collectively take part in creation of the “participatory discourse” as a form of social-productive relations which generate a special type of culture. This type bases on the concepts of “participatory culture” and “collective intelligence”.
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Weedon, Alexis, and Julia Knight. "Media literacy and transmedia storytelling." Convergence: The International Journal of Research into New Media Technologies 21, no. 4 (September 29, 2015): 405–7. http://dx.doi.org/10.1177/1354856515601656.
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Javanshir, Ryan, Beth Carroll, and David Millard. "Structural patterns for transmedia storytelling." PLOS ONE 15, no. 1 (January 31, 2020): e0225910. http://dx.doi.org/10.1371/journal.pone.0225910.
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Kalogeras, Stavroula. "Storytelling." International Journal of Information and Communication Technology Education 9, no. 4 (October 2013): 113–22. http://dx.doi.org/10.4018/ijicte.2013100108.
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In the era of e-learning, student-centered approaches and constructivists learning environments are critical success factors. The inherent interactivity of the Internet and the emotional engagement of story can lead to transformative learning experiences in media rich environments. This paper focuses on Web-Based Transmedia Storytelling Edutainment as critical-creative pedagogy in higher e-education.
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Rodrigues, Patricia, and José Bidarra. "Transmedia Storytelling as an Educational Strategy." International Journal of Creative Interfaces and Computer Graphics 7, no. 2 (July 2016): 56–67. http://dx.doi.org/10.4018/ijcicg.2016070105.
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This paper proposes the use of transmedia storytelling in an educational context. Transmedia stories are perceived as opportunities to create a new learning scenario that allows for the development of innovative student-centred educational practices, and the implementation of collaborative strategies that ultimately meet the 21st-century students' needs. Through the discussion of a transmedia learning project targeted to English as Second Language students, this paper attempts to provide insight on how learning activities and strategies can be embedded in the digital narrative and experience layers of a storyworld.
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Sánchez-Mesa, Domingo, and Jan Baetens. "La literatura en expansión. Intermedialidad y transmedialidad en el cruce entre la Literatura Comparada, los Estudios Culturales y los New Media Studies." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 27 (January 3, 2017): 6. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2017271536.
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Este artículo, que los autores entienden como un «position paper», apunta a dos cuestiones fundamentalmente. Por un lado, trata de ofrecer una revisión crítica, tanto desde el punto de vista terminológico como teórico, de los cambios que ha experimentado el campo de la literatura comparada desde la emergencia de la cultura visual dentro del estudio de la literatura, a partir de la aparición institucional de los estudios sobre «palabra e imagen» en los años 80 y de las tendencias actuales de atención a los textos y productos digitales y transmediales. Por otro lado, centrándonos en el éxito reciente de la noción de transmedia storytelling (relato transmedial), el artículo elabora una distinción conceptual entre narrativa («narrative») y relato (storytelling) al tiempo que discute, de un modo algo más general el lugar de la literatura en el dominio de la escritura digital contemporánea. This article, which the authors see as a position paper, addresses a twofold issue. On the one hand, it tries to offer an overview, terminological as well as theoretical, of the changes that have modified the field of comparative literature since the emergence of visual culture within the study of literature, from the institutional appearance of word and image studies in the 1980s till the actual tendencies toward digital and transmedial studies. On the other hand, focusing on the current success of the notion of transmedia storytelling, it elaborates on the conceptual distinction between narrative and storytelling, while also discussing in a more general mode the place of literature in contemporary digital writing.
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Rampazzo Gambarato, Renira. "Transmedia Project Design: Theoretical and Analytical Considerations." Baltic Screen Media Review 1, no. 1 (October 1, 2013): 80–100. http://dx.doi.org/10.1515/bsmr-2015-0006.
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Abstract Theoretical and analytical considerations around the development of transmedia projects are evolving, but are still widely open, probably because transmedia storytelling is a relatively new subject that does not yet have its own specific methods and methodology of analysis. Moreover, transmedia projects are complex phenomena involving multiple dimensions, such as narrative, cultural context, marketing, business models, and legal framework. Currently, the usual approach gives place to methodologically separate analytical perspectives related to some of these dimensions. This article first discusses the elusive concept of transmedia storytelling and later presents analytical considerations outlining relevant aspects that can contribute to perceive the process of developing transmedia projects. The significance of these discussions is to address essential features of the design process behind transmedia projects and contribute to support the analytic needs of transmedia designers and the applied research in the interest of the media industry.
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Gambarato, Renira Rampazzo, and Geane Carvalho Alzamora. "Transmedia Storytelling Initiatives in Brazilian Media." MedienJournal 36, no. 4 (March 24, 2017): 51–62. http://dx.doi.org/10.24989/medienjournal.v36i4.137.
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This paper is presented in order to understand the evolution of media dynamics in Brazil and investigate its perspectives for the future. Brazil, among the BRICS states (Brazil, Russia, India, China and South Africa), will be our focus. From a mono-mediatic paradigm to a convergent one, Brazil is developing new practices in fictional and non-fictional media. Our hypothesis is that the transmedia storytelling strategy is both the reality – although still timid – and the most probable future scenario for media development in Brazil. We can assert that transmedia storytelling is a tendency. Therefore, we will explore examples of transmedia storytelling initiatives in Brazilian media mainly related to journalism, entertainment, branding and advertisement.
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Gambarato, Renira Rampazzo, and Geane Carvalho Alzamora. "Transmedia Storytelling Initiatives in Brazilian Media." MedienJournal 36, no. 4 (March 24, 2017): 51. http://dx.doi.org/10.24989/mj.v36i4.137.
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This paper is presented in order to understand the evolution of media dynamics in Brazil and investigate its perspectives for the future. Brazil, among the BRICS states (Brazil, Russia, India, China and South Africa), will be our focus. From a mono-mediatic paradigm to a convergent one, Brazil is developing new practices in fictional and non-fictional media. Our hypothesis is that the transmedia storytelling strategy is both the reality – although still timid – and the most probable future scenario for media development in Brazil. We can assert that transmedia storytelling is a tendency. Therefore, we will explore examples of transmedia storytelling initiatives in Brazilian media mainly related to journalism, entertainment, branding and advertisement.
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Hernández Ruiz, Javier. "Diseñando una recepción participativa para universos transmedia: roles y desafíos." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 28 (August 1, 2017): 21. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2017282055.
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Desde una perspectiva que complementa la experiencia como creador de su autor y las aproximaciones académicas, desde una metodología conscientemente interdisciplinar, este artículo explora la problemática que se deriva a la hora de acometer un diseño de producción de un universo transmedia. Se parte del estudio del caso Plot 28 (2013), narrativa transmedia cocreada por el autor del artículo, para ir radiografiando los distintos pasos de ese diseño de potenciales audiencias –parte fundamental del diseño de producción en la lógica transmedial-: destinatarios, público objetivo, perfil, intereses y motivaciones de los usuarios, evolución del consumidor al prosumidor, exigencias de la cultura participativa, los Contenidos Generados por Usuarios (CGU), creación de comunidades de fans a partir de narrativas participativas y su proyección en las redes sociales. Amparándose en las aportaciones de la mercadotecnia, cruzándolas con la narratología, los estudios inermediales y de los new media, así como los estudios de recepción, se buscan unos parámetros que definan las problemáticas y el modus operandi con vistas a lanzar un producto basado en el transmedia storytelling. Combining the experience as a transmedia author and the academic approach, from an interdisciplinar methodology, this article explores the challenges about a transmedia production design. From the case study of Plot 28 (2013), a Spanish transmedia storytelling created by the author of this text, it will be the excuse of mapping the different steps in order to reach the potential audiences; this is a relevant part of transmedia production design that has an impact on several items: target, profiles, interests, motivation of users, evolution from consumer to prosumer, challenges of participative culture, Users Generated Contents, fandom and the use of social networks… Sharing the advances of marketing, mixing with narratology, studies in intermediality, recepcion and new media studies, this text is looking for some parameters to define which is the modus operandi to put on the market a transmedia product.
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Coombs, W. Timothy, and Sherry J. Holladay. "Innovation in public relations theory and practice." Journal of Communication Management 22, no. 4 (November 5, 2018): 382–96. http://dx.doi.org/10.1108/jcom-12-2017-0145.
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Purpose The purpose of this paper is to craft a new perspective on how we can view public relations that reflects important trends emerging in the field including digital media, storytelling, engagement and co-creation of meaning. Transmedia storytelling (an idea with some ties to public relations) and narrative transportation theory are synthesized to form the transmedia narrative transportation (TNT) approach to public relations. The paper details the development of the TNT approach and how it can be applied to public relations initiatives. Design/methodology/approach The approach is a literature review to inform the creation of the TNT approach. A case study is used to illustrate the TNT approach. Findings An innovative approach to conceptualizing and creating public relations initiatives is developed, explained and illustrated. Research limitations/implications The paper examines only one case to illustrate the TNT approach. Practical implications The TNT approach develops a new perspective for public relations for developing and executing public relations initiatives. Transmedia storytelling has already been connected to the practice and TNT builds a more comprehensive approach for understanding its value to public relations. Originality/value There has been a limited application of transmedia storytelling to public relations. This paper synthesizes transmedia storytelling with narrative transportation theory to develop a theory-driven, new approach for public relations thinking. The TNT approach is a unique fusion of ideas that can bring an innovative approach to the practice of public relations that captures four emerging trends that are shaping the practice.
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Fast, Karin, and Henrik Örnebring. "Transmedia world-building: The Shadow (1931–present) and Transformers (1984–present)." International Journal of Cultural Studies 20, no. 6 (September 15, 2015): 636–52. http://dx.doi.org/10.1177/1367877915605887.
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The study of transmedia storytelling has in recent years turned towards a more historicized understanding of its object of study, and also shifted to a wider perspective on narrative and narrative elements, focusing more on the transmediality of story-worlds and world-building rather than just narratives (‘plots’) in the stricter sense. This article combines these interrelated perspectival shifts in an analysis of story-worlds/world-building in two transmedia franchises: The Shadow (1931–present) and Transformers (1984–present), with a focus on the mechanics and processes of world-building in relation to transmedial change (i.e. how world elements are transformed over time as well as when story-worlds move across media platforms).
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Ecenbarger, Charlie. "Comic Books, Video Games, and Transmedia Storytelling." International Journal of Gaming and Computer-Mediated Simulations 8, no. 2 (April 2016): 34–42. http://dx.doi.org/10.4018/ijgcms.2016040103.
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This article illuminates the transmedia storytelling techniques in The Walking Dead comic book and video game. Telltale Games' The Walking Dead localizes itself within the comic book world of The Walking Dead by acting as a transmedia storytelling device and using intertextuality comics to assist game players with meaning-making. By participating in the game, Telltale rewards players with additional information about The Walking Dead universe, as well as creating a contingent but separate narrative that expands upon the existing Walking Dead world. This exploration of The Walking Dead offers insights into the specific methods that are being employed by creators to further engage the audience in the transmedia storyworld.
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Mittell, Jason. "Playing for Plot in the Lost and Portal Franchises." Eludamos: Journal for Computer Game Culture 6, no. 1 (May 25, 2012): 5–13. http://dx.doi.org/10.7557/23.6134.
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The rising prominence of transmedia storytelling in the digital era has helped to spur the intertwining of narrative and ludic media. In this presentation, I will discuss the way that gameplay and storytelling co-mingle in two very different franchises with both cult and mainstream appeal: the television series Lost and the game series Portal. While each privileges the typical form of their medium, with Lost emphasizing plot and Portal foregrounding play, looking at the cultural practices of each franchise’s “forensic fans” highlights how ludic and narrative pleasures are embedded within both media and their transmedia extensions. Contrasting the appeals encouraged by their transmedia extensions and the innovative practices embraced by fans highlights how both gameplay and storytelling can work together and potentially come into conflict within contemporary media environments.
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Ryu, SunJung. "A Study on Transmedia Storytelling Using the Character of ‘Puss in Boots." Academic Association of Global Cultural Contents 57 (November 30, 2023): 39–60. http://dx.doi.org/10.32611/jgcc.2023.11.57.39.
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In the era of digital convergence, transmedia storytelling, which expands narratives by intertwining and combining multiple media, is creating a new paradigm for narrative creation. Puss in Boots, who appeared as a supporting role in <Shrek2>, is a character derived from Charles Perrault's The Master Cat or Puss in Boots, and has gained significant popularity among the public. Due to its popularity, Puss in Boots became the main character in <Puss in Boots1>, a spin-off of <Shrek2>. Subsequently, as <Puss in Boots1> achieved success, various transmedia content featuring Puss in Boots as the main character was produced across different media platforms, including mobile games, theatrical animations, OTT animations and interactive animation.
This article aims to provide a detailed examination of the requirements and characteristics of transmedia storytelling. It also analyzes various instances of transmedia content utilizing the character of Puss in Boots. To scrutinize the transformation of characters' roles and the expansion of narrative structures, which are essential aspects of transmedia storytelling, we apply the 'actantial model' developed by A.J. Greimas to each content. Through this analysis, we can explore how the character of Puss in Boots serves as a pivotal link between transmedia contents and functions as a narrative mechanism. It becomes evident that discovering archetypal and fantasy characters, adapting their roles and personalities, and strategically reintroducing secondary characters while setting up foreshadowing are crucial elements in successful transmedia storytelling. Furthermore, it is essential to create an “integral” story universe that considers various types of connections between content, such as sequels, prequels, spin-offs, and reboots. This should be done while leveraging diversified media platforms that engage users in immersion and participation.
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Nieracka, Agnieszka. "Wędrując z TARDIS przez „rozrywkowe supersystemy” albo jak niebieska budka policyjna ratuje (?) badaczy z opresji." Literatura i Kultura Popularna 25 (July 28, 2020): 97–108. http://dx.doi.org/10.19195/0867-7441.25.6.
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Contemporary reflection upon the category of entertainment supersystem proposed by Marsha Kinder can be combined with the concept of transmedia storytelling (Henry Jenkins) applied in numerous academic publications in various contexts and understandings. The subject of the author’s reflection is the functioning of the BBC TV series, Doctor Who, and its media extensions. This BBC TV series is considered to be the most complex model example of transmedia storytelling. Both the classic series (1963–1989) and the 2005 Doctor Who reboot make researchers conduct a textual an-alysis which is inextricably linked to the research on television production practices. The new series of Doctor Who’s adventures can be best described by the culture of convergence and its practices. While tracing the development of the brand, its historic and contemporary contexts inscribed in British cultural studies, as well as relations of the anchor product with the categories of transmed-iality and remediation — the author concludes that nowadays studying supersystems requires the application of much more complex research tools.
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Kannik Haastrup, Helle. "Den tværmediale serialitet." Passage - Tidsskrift for litteratur og kritik 33, no. 79 (July 1, 2018): 103–15. http://dx.doi.org/10.7146/pas.v33i79.127531.
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This study investigates how serial storytelling in fiction film and television drama are connected through transmedia relations with a focus on aesthetics and the analysis of narrative, character and title sequences and how they are establishing seriality. The analysis is concerned with two main tendencies apparent in contemporary media culture representing different forms of transmedia seriality: ‘multi-protagonist transmedia storytelling’ as it unfolds in the Marvel fictional universe between the film series and the tv-series and ‘the mind game serial drama’ in the tv-series Westworld with connections to the official website and social media.
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Lee, Sang-Min. "Concept and Properties of Transmedia Storytelling." Journal of the Korea Contents Association 9, no. 12 (December 28, 2009): 193–200. http://dx.doi.org/10.5392/jkca.2009.9.12.193.
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Jeon, Gyongran, and Jung Hoon Lee. "Study on the Documentary Transmedia Storytelling." Journal of Image and Cultural Contents 25 (February 28, 2022): 59–84. http://dx.doi.org/10.24174/jicc.2022.02.25.59.
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Bilici, İbrahim E. "Transmedia Storytelling and Transforming Human Imagination." AJIT-e Online Academic Journal of Information Technology 7, no. 23 (May 15, 2016): 31–40. http://dx.doi.org/10.5824/1309-1581.2016.2.003.x.
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Hernández Ruíz, Javier. "The Challenges of Transmedia Storytelling in Plot 28 (2013). Characteristics of Transmedia Storytelling: a Personal Approach." Studia Universitatis Babeș-Bolyai Ephemerides 63, no. 1 (June 20, 2018): 87–93. http://dx.doi.org/10.24193/subbeph.2018.1.05.
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Ruiz Martínez, José Manuel. "Hannibal Lecter como ejemplo de personaje transmedia: un estudio de caso." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 28 (August 1, 2017): 42–59. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2017282056.
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Desde su aparición como personaje secundario, Hannibal Lecter ha protagonizado una saga de novelas, varias películas y una serie de televisión, y su figura ha crecido hasta convertirse en la de uno de los personajes más icónicos, incluso míticos, de las últimas décadas en el imaginario colectivo. En este artículo discutiremos si el mundo ficcional de Hannibal Lecter puede considerarse una narración transmedia o no. Esto nos permitirá observar los límites y complejidades del transmedia storytelling y su relación con otras prácticas como la adaptación. Asimismo, plantearemos la importancia del transmedia fundamentado en personajes, y el uso de los paratextos para dar consistencia y coherencia a un mundo de ficción. From his first apparition as a secondary character, Hannibal Lecter has starring a novel saga, several films, and a TV series, and his figure has been growing to become one of the most iconic, (even mythical) and recognizable figures of last decades. In this article, we discuss whether the fictional world of Hannibal Lecter can be considered transmedia or not. This will enable us to glimpse at the limits and complexities of the transmedia storytelling, and its relations to other media practices such as adaptation. We also show the importance of character-based transmedia storytelling, and the use of paratexts in order to put together and give consistency to a fictional world.
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Genovesi, Matteo. "Choices and Consequences: The Role of Players in The Walking Dead: A Telltale Game Series." Open Cultural Studies 1, no. 1 (December 20, 2017): 350–58. http://dx.doi.org/10.1515/culture-2017-0032.
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Abstract One of the most important features in a transmedia structure, as Max Giovagnoli argues in his book Transmedia: Storytelling e Comunicazione [Transmedia: Storytelling and Communication], is the development of the user’s decision-making power, defined by the author as “choice excitement.” In this, every choice of the user should have a consequence in the fictional universe of a specific franchise. Consequently, a narrative universe that wants to emphasize choice excitement and the active role of people can focus on video games, where the interactive approach is prominent. This essay will discuss a specific video game, based on the famous franchise of The Walking Dead. This brand, which appears in comic books, novels, TV series, Web episodes and video games, is analysable not only as an exemplary case of transmedia storytelling, where every ramification of the franchise published in different media is both autonomous and synergistic with the others, but also by focusing on the choice excitement of users in the first season of the video game The Walking Dead: A Telltale Game Series.
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Bárcenas López, Josefina, Enrique Ruíz-Velasco Sánchez, José Antonio Domínguez Hernández, Alejandra Alvarado Zink, Sergio Padilla Olvera, and José Santos Tolosa Sánchez. "Narrativa digital transmedia: una estrategia didáctica para el aprendizaje experimental / Transmedia Storytelling: a didactic strategy for experimental learning." Revista Internacional de Educación y Aprendizaje 6, no. 3 (December 10, 2018): 77–93. http://dx.doi.org/10.37467/gka-revedu.v6.1598.
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ABSTRACTThis article presents a methodology for the development of Transmedia Storytelling, designed with the collaboration of professors of subjects of Biology, Chemistry and Physics, and which is proposed as a didactic strategy to support the experimental learning of upper secondary students. The use of Transmedia Storytelling in education, in the last years, presents itself as an opportunity to transform the didactic act, however this is underused by teachers as a didactic strategy, maybe, because they are not familiarized with the Transmedia Storytelling and/or the difficulty of not having a methodology for its design and didactic implementation.RESUMENEn este trabajo se presenta una metodología para el desarrollo de Narrativas Digitales Transmedia, diseñada con la colaboración de profesores de asignaturas de Biología, Química y Física, y que se propone como una estrategia didáctica para apoyar el aprendizaje experimental de los estudiantes de educación media superior. El uso de la narrativa digital transmedia en la educación, en los últimos años se presenta como una oportunidad para transformar el acto didáctico, sin embargo ésta es poco aprovechada por los profesores como una estrategia didáctica, tal vez debido a que no están familiarizados con la Narrativa Digital y/o por la dificultad de no contar con una metodología para su diseño e implementación didáctica
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Lee, Jin. "A Study on Transmedia Storytelling of Web Dramas." Korean Society of Culture and Convergence 44, no. 7 (July 31, 2022): 109–20. http://dx.doi.org/10.33645/cnc.2022.7.44.7.109.
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The purpose of this study is to understand the aspects of transmedia storytelling that encompass the formal and content characteristics of media appearing in web dramas. Focusing on the web drama of Playlist, a representative web drama production company, a transmedia approach to web dramas were attempted as a hybrid content with both the web and drama characteristics. The expansion leading to OSTs and goods in terms of media form expands the scope of web drama text by allowing users to synesthetically appeal web dramas. In addition, a multi-layered pattern that encompasses expansion, modification, and change appears through close connection with web content that shares the web ecosystem. In terms of the content of the media, the construction of the transmedia storyworld, a key methodology of transmedia storytelling, is revealed. Plyverse’s fictional space gives an syntagmatic context to the storyworld through the social daily space, and based on this, the character functions as a persona representing the social space. The paradigmatic connection centered on the rituals of social space provides the probability of expansion and intersection where new characters can naturally appear
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Plotnikova, Maria. "Convergent tendencies in political media discourse of postmodern era: manipulative potential of transmedia storytelling." SHS Web of Conferences 128 (2021): 01034. http://dx.doi.org/10.1051/shsconf/202112801034.
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The article deals with the fundamental problem of manipulating public consciousness to achieve certain political goals using new media technologies. The transformation of the modern media landscape associated with the rapid development of digital technologies leads to significant transformations in the social field. The active process of media convergence taking place in digital media space has determined the formation of one of the most relevant tools for the synergy of different polycode texts – transmedia storytelling, which consists in the nonlinear distribution of the global story across different media platforms in parts that do not repeat but complement each other. The product of transmedia storytelling is converged polycode texts based, as a rule, on several digital and traditional platforms, characterized by transmediality, which is most consistent with the mental characteristics of contemporary information consumers, and, in this regard, has significant influencing potential. Within the framework of this study transmedia storytelling is viewed as an effective political technology with a high manipulative potential. Transmedia storytelling allows you to create the most targeted political content, since the main concept of the broadcast message is transmitted through different media platforms and various linguistic and extralinguistic means, integrating reality and virtual reality, generating certain meanings, and broadcasting the necessary convincing attitudes within a given subject area. At the same time, the technology can be used both in a positive (promotional) and a negative (discrediting) political contexts.
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Lyu, Shuhang. "An Analysis of Transmedia Storytelling of Chinese Animated Films Based on the Perspective of Media Mix." Communications in Humanities Research 13, no. 1 (November 20, 2023): 270–75. http://dx.doi.org/10.54254/2753-7064/13/20230354.
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In recent years, Chinas animation industry has drawn on the experience of some developed countries in the process of development. For example, Japan has already formed an animation industry and disseminates its works through various media through transmedia storytelling to obtain better communication effects. There are still some problems with transmedia storytelling and media mix in Chinese animation. This study uses a content analysis and ethnographic approach to compare Chinese and Japanese animation movies in terms of the number of transmedia and the effect of transmedia communication. In order to analyze the problems of Chinese animated films in transmedia communication, as a further extension of transmedia theory in animation, this paper summarises the problems of Chinese animated films in transmedia communication based on previous theories of transmedia communication as well as research on Chinese animation, and suggests that Chinese animated films should perhaps learn from Japanese animation films to increase their interaction with other media, and to become part of the media mix of Chinese animation. According to statistics, it was found that the number of Chinese animated films spread transmedia in 2019 was much lower than that of Japanese animation films, which means that if Chinese animated films are seen as part of a media mix , there are still have problems with Chinese animated films. Improving the linkage of animation films with other media to increase the number and effectiveness of their transmedia dissemination may be the solution.
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MILOVIDOV, STANISLAV V. "TRANSMEDIA STORYTELLING AS A WAY TO TURN FAN PRACTICES INTO A CULTURAL INDUSTRY." ART AND SCIENCE OF TELEVISION 17, no. 1 (2021): 29–47. http://dx.doi.org/10.30628/1994-9529-2021-17.1-29-47.
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There are numerous empirical sociological researches of transmedia storytelling media consumption. However, they mainly record either the practices of media consumption of specific media formats included in the structure of a transmedia project or the producers’ ways for constructing a narrative that creates transitions between media platforms. Often, researchers pay little attention to the circumstances of users’ interaction with the fictional world and their social relationships that form around a transmedia project. This study consists of a series of in-depth interviews and observations on the media consumption practices of users and fans of the fictional world which has formed around a series of fantasy works under the general name The Witcher. This transmedia project is interesting because, unlike specially created transmedia franchises with the expansion structures carefully planned by media companies, it forms itself spontaneously, as a result of the activities of different institutions and user participation, does not have a single development strategy, and is shaped by “grass-root” practices. The observation of media consumption practices of transmedia storytelling allows us to conceptualize construction’s НАУКА ТЕЛЕВИДЕНИЯ № 17.1, 2021 31 THE ART AND SCIENCE OF TELEVISION peculiarities, such as narrative structures. Based on this data, it is possible to construct a network of interactions formed by the user migration between media platforms and compare such practices with the audience’s everyday practices. Since modern people form their understanding of the world based on their own experience and by using mediatized communication, transmedia storytelling represents a special kind of virtual reality or its particular case, which can be supplemented with the help of VR-technologies.
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Żaglewski, Tomasz. "Superhero as transmedium. The stylistic and narrative strategies of remediation in Batman: The Telltale Series." Tekstualia 3, no. 58 (October 15, 2019): 93–110. http://dx.doi.org/10.5604/01.3001.0013.6425.
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The article analyzes the video game Batman: The Telltale Series and its „paratexts” such as comics through the lens of remediation as a basic tool of constructing a transmedia environment. Superheroes depend, to a great extent, on their „transmedia” superpowers as they constantly oscillate between various media iterations and theirs stylistic/narrative features. Superheroes should not be perceived as comic books-based inventions, but rather as entities organically connected with both transmedia visual styles and transmedia modes of storytelling.
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Hartmann Rasmussen, Ida Malene, and Bjarki Valtysson. "At føle meget : Affektive relationer i SKAM fanfællesskaber." Nordisk Tidsskrift for Informationsvidenskab og Kulturformidling 6, no. 2 (November 28, 2017): 99–104. http://dx.doi.org/10.7146/ntik.v6i2.99092.
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This article investigates SKAM’s transmedia storytelling with specific focus on the affective relations between fans on the SKAM blog (http://skam.p3.no). Empirically, the article is based on data extracted from a focus group conducted with SKAM-fans and a qualitative content analysis of the communication found in the commentary section on the blog. Results indicate that SKAM’s strategic use of transmedia storytelling is experienced by fans as authentic, and contributes to the emergence of affective online publics, where emotions and feelings run high.
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Munaro, Ana Cristina, and Alboni Marisa Dudeque Pianovski Vieira. "Use of Transmedia Storytelling for Teaching Teenagers." Creative Education 07, no. 07 (2016): 1007–17. http://dx.doi.org/10.4236/ce.2016.77105.
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MILOVIDOV, STANISLAV V. "PROCEDURAL RHETORIC METHOD FOR TRANSMEDIA STORYTELLING ANALYSIS." Art and Science of Television 15.3 (2019): 147–68. http://dx.doi.org/10.30628/1994-9529-2019-15.3-147-168.
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