Transmedial Storytelling

By following the sectional structure of this volume, these afterthoughts explore a multitude of venues for approaching aesthetics as a means to study the dynamics of religious narratives and their reception. They not only elaborate on the theoretical and methodological potential of the aesthetics of religion for the study of narrative cultures in diverse religious contexts, but also explore the main insights of this volume’s contributions by applying it to a case study. The afterthoughts follow the sectional structure of this volume and engage in methodological and theoretical reflections on issues central to the aesthetics of religion. To demonstrate how the theoretical and methodological approach as proposed in this volume could be put into practice and work within the context of a single case study, these afterthoughts illustrate how the aesthetics approach can be used to elucidate less obvious forms of narrative cultures and the different aesthetic means of their transmission within different religious and cultural contexts. By presenting a case study in which different narrative cultures are intertwined through lines of socially and culturally interconnected storyworlds, the most significant insights of these afterthoughts outline the potential framework for future analysis that emerges through the assemblage of the individual contributions. With the aim to highlight unrecognized connections and expand on the aesthetic junctures of sensation and imagination, a nuanced consideration of all dimensions and aspects promises to exemplify the theoretical and methodological relevance of the aesthetic frame and narrative focus as integral to the makeup of this volume and the study of religion as a whole.

The research illustrates multiple experiences and strategies adopted in museums and in the world of cultural heritage in the field of digital storytelling to guide the future design of narrative digital solutions. Its aim is to provide as complete a picture as possible of the different solutions set in this specific sector of the field of cultural communication, their uses, and the accessibility of culture. It identifies and analyzes 14 types of digital storytelling: oral, written, video, visual, animated, interactive, Immersive, Social Media Storytelling, Participative, Generative, Geo–Storytelling, Multimedia Mobile Storytelling, Crossmedia and Transmedial storytelling. Finally, a new vision of the museum is proposed in which, beginning with the antiquarian and nineteenth–century vision of museum collections, develops into what should be defined as a connected museum or museum of connected narration.

Los mitos y figuras creados en la literatura han sufrido, desde el s. XX y aún en el XXI, trasvases a otros soportes de ficción como son el cine, la televisión, el cómic y los videojuegos. Este fenómeno, que recibe ‒entre otros‒ el nombre de transmedialidad, no es un mero cambio de formato, ya que los personajes y obras tomados por los nuevos medios se ven, en la mayoría de las ocasiones, modificados por las características propias e idiosincrásicas de cada código.

Esto le ocurrió a una figura romántica: el pirata. Nacido como símbolo de libertad, rebeldía y masculinidad, el bucanero ha llegado hasta nuestros días como figura de ficción; sin embargo, ha sufrido notables y significativos cambios en su concepción debidos no tanto a las nuevas aportaciones de autores literarios, sino a los múltiples trasvases a estos nuevos y modernos medios.

Este trabajo trata de recoger la evolución del pirata de ficción desde el Romanticismo, tomando como referencia primera La isla del tesoro de Robert Louis Stevenson y, como última, la saga cinematográfica Piratas del Caribe. Se centra sobre todo en el pirata desde su concepción decimonónica, poniendo de manifiesto que, aún en la actualidad, el bucanero sigue siendo un estereotipo romántico y, más aún, se ha creado a su alrededor un cliché folclórico del que es difícil desprenderse como receptores.

This chapter examines reboot efforts within the Alien franchise during the 2010s within the conceptual frame of “transmedia franchising.” Looking particularly at Prometheus and Alien: Covenant, as well as several video games, it analyses how various promotional materials and narrative devices have taken variable approaches toward rebooting this franchise, including retconning and legacy rebooting. The chapter asserts that the Alien universe ‘has not necessarily followed a systematic, planned path,’ and accordingly shows how the franchise’s IP holder (first 20th Century-Fox, now Disney) devised variable ways to appeal to potential audiences.

Dentro del panorama transmedia televisivo español reciente, destaca la experiencia llevada a cabo por la serie 'Víctor Ros' (TVE). El objetivo de este artículo es centrarse en el empleo del perfil personal en Twitter del detective protagonista como vehículo de expansión transmediática de su universo ficcional. Desde esta perspectiva se han analizado más de mil seiscientos tuits generados, de los cuales cerca de quinientos se corresponden con el relato transmedia previo a la emisión de la serie. Los resultados ponen sobre la mesa el uso dado al perfil del protagonista de una ficción como vía para la narración transmedia en primera persona, así como para interactuar con sus seguidores.

Masters of the World. On the Origins of Jewish Conspiracy Theories

Conspiracy theories about the Jews endlessly flourish around us. Usually, they have been studied in connection with the notorious Protocols of the Elders of Zion, a forged document of the beginning of 20th century. Interpreted as a myth or a paranoid style of thought, denunciation of world Jews conspiracy has been considered as an inve- terate, quite a-historical inclination to misinterpret reality. As a result, little attention has been paid to the origins of the hoax and to his context of appearance. This essay wants to scrutinise the conditions of emergency of the world Jewish conspiracy as a technique to perturb public opinion. It does so in retracing the context of the invention of world conspiracy theory about the Jews in 19th century from a varied complex of hybridization, both cultural and technical. From myth to denunciation, this paper aims to enlighten the transmedia process that produces conspiracy theory, an un- tangled history of mass journalism, plagiarism from fiction to non-fiction products, transmigration of iconographic items as well as textual evidences. Following this approach, the creators of Jews conspiracy theory as well as their modus operandi are debunked and the identity of the author of the «Rabbi’s Speech» at the cemetery of Prague – a forged document and main source of the Protocols – is detected.

This edited volume examines the historical, political, cultural, and aesthetic implications of re-visiting Restoration Spain (1874-1931) in television costume dramas produced since 2000. Contributors analyze, from different theoretical approaches and disciplinary perspectives, the appeal that the late nineteenth and early twentieth centuries hold for twenty-first-century Spanish audiences, as well as for international viewers who consume these programs through new media platforms. Themes and issues explored include: the production of televisual heritage, representations of period technologies, evolving constructions of gender, hybridization of television genres, and television as historian. Expanding the scope of inquiry in Spanish media studies, this collection seeks to bring Spain into wider discussions of media and historical representation and visual and material culture in Europe, the Americas, and beyond.

Since its launch in late 2015, the Norwegian webseries Skam (Shame), produced by public broadcaster NRK, has become one of the most notable successes in Norwegian television history, both in terms of ratings and critical acclaim. A high-school webseries about teenagers, mostly girls, coming of age in the Norwegian capital of Oslo, the series not only depicts young people in their everyday digital-media use, but also reaches its audience through these same media and in a variety of formats extending far beyond video clips. Its success, we argue, is significantly tied to its multimedial form and distribution. We unpack the show's sociocultural potential by analysing its various outputs (video clips, screen grabs of the characters' messenger chats and updates from their Instagram accounts), as well as the audience's/users' responses to these in the form of comments to the webpage. We argue that the show functions as a " transitional object " (Winnicott) for its teen audiences, providing them with a " potential space " (also Winnicott) in which they can learn how to cope with the challenges of a media-saturated society.

The application of new media to 21st-century novels is the trigger of emerging narrative genres, which revolutionize the narrative panorama and leave space for innovative conceptual approaches. The influence of popular new media creates original circumstances for the development of new kinds of interaction between the storytelling and the reader/spectator, accentuating the rising need for social, multimedia engagements. The newest concepts and approaches of the emerging, wide fields of transmediality and intermediality in transmedial narratives are objects of the handbook ‘Fictions of the Internet’. From Intermediality to Transmedia Storytelling in 21st-Century Novels (2018) by Anna Weigel-Heller.

Reviving the Star Wars film franchise, after Disney acquired Lucasfilm, meant kick-starting a new trilogy that worked as a link between the old films and a new phase. The result was "The Force Awakens", a sequel to a 30-year-old trilogy, whose characteristics are not those of a conventional sequel because it exhibits a very strong connection to the original Star Wars film, "Star Wars: Episode IV – A New Hope" (1977). This essay navigates through the ways that allow for repetition, continuity, and change to be intertwined within "The Force Awakens", as the film fluctuates between designations and does not allow for easy labeling.

El trabajo presenta la experiencia de una narrativa transmedia en sexto año de una escuela secundaria de Argentina. La propuesta consistió en abordar la vida de Sócrates como puntapié para problematizar la idea de justicia que se debate en el Critón y establecer un vínculo con la actualidad, es decir, las actividades nos permitieron pensar un Sócrates actual a partir de algunas preguntas disparadoras: ¿qué asuntos le preocuparían? ¿con quienes debatiría? ¿cuál sería su perfil en las redes sociales? Las reflexiones alcanzadas posibilitaron a los estudiantes producir contenidos en diferentes formatos de comunicación para la construcción de una narrativa transmedia. En esta ponencia analizamos el uso de medios digitales como estrategia de enseñanza y aprendizaje, favoreciendo el intercambio con la comunidad, y el diálogo de la institución escuela con los saberes de los estudiantes, propios de la cultura digital.

Beau Constantia Wine Estate is a 22-hectare boutique wine farm situated within the Constantia Valley Wine Route. The two labels of wine sold on the farm, their entry level Pas de Nom range and their premium Beau Constantia range are gaining increased market share every year as the farm continues to establish itself as a new brand on the wine scene since the farm opened to the public four years ago. This paper explores how narrative, established through packaging, brand equity building and transmedia branding has formed a platform for consumers to connect with the brand through the story formed by seamless collaboration of these elements.

El taller, de formato cuatrimestral, se encuentra dirigido a los estudiantes de los años finales de la Licenciatura en Comunicación Social de la Universidad Nacional de Moreno. Su planteo teórico y práctico consiste en proporcionar las herramientas imprescindibles para que los estudiantes puedan  diseñar, planificar y ejecutar campañas destinadas a la difusión científica de un problema determinado con anterioridad, y que puedan a la vez elaborar guiones para el desarrollo de las mismas. A lo largo de la cursada, deberán  investigar en términos teórico/prácticos acerca de las diversas temáticas a abordar y proponer transposiciones en función de diferentes públicos implicados. El empleo de distintos tipos de recursos digitales para la producción de textos científicos, ocupará un lugar central en el marco de esta asignatura. En este sentido proporcionaremos los conceptos y herramientas indispensables para que los estudiantes puedan analizar, comprender y desarrollar prototipos y guiones de proyectos transmedia de no ficción, y de documentales científicos lineales e interactivos.

Les supports transmedia constituent désormais un véritable enjeu pour les producteurs et diffuseurs de séries télévisées françaises. Il s’agit, en effet, de conquérir et de fidéliser un public dans un contexte de plus en plus concurrentiel. Cependant, ces dispositifs ne remplissent pas uniquement une fonction promotionnelle, ils permettent également un prolongement fictionnel pour le public, et participent du rôle de “fiction sociale”, remplie par ces productions culturelles. Cet article se propose donc, par le biais de l’étude de deux supports transmédia, “L’Oeil de Ninon” et “Inside Engrenage”, respectivement dérivés de Plus belle la vie et Engrenages, de mettre en perspective les différents enjeux qui innervent ces dispositifs et constituent ces séries et leurs dérivés en opérateurs de visibilité dans l’arène publique.

En hommage aux femmes déguisées en hommes pour accéder à la parole sur la place publique, sur les lieux  où les « halqa» sont l’unique  apanage des hommes
En hommage, aussi, aux hommes déguisés en femmes pour remplacer les femmes absentes(ifiées) de l’espace publique des « halqa »
FATIMA- ZAHRA SALIH

Cet article propose une réflexion sur le potentiel narratif des images. Un aperçu des définitions de la narration, confrontant leurs particularités apporte les dernières tendances de la narratologie post-classique. La question de la narrativisation des images est abordée à partir de quelques exemples artistiques, qui représentent différents différents rapports à la dimension temporelle du récit. En prenant en considération les notions de séquence, d'intrigue et de configuration, une typologie des procédés de narrativisation de l'image fixe est développée.

Although it does not look or at first seem like what proponents of virtual worlds have been waiting for, Minecraft is the breakthrough success for virtual worlds.  In thinking through how what has emerged through the Minecraft phenomenon has redefined what a virtual world is, this presentation explores three interrelated questions: What does it mean to consider Minecraft as a virtual world?  Why has it succeeded as the breakthrough virtual world? How does transmedial experience factor into Minecraft as a virtual world?

O presente estudo busca a possibilidade da aplicação de conceitos de transmídia storytelling em eventos. Por meio de uma pesquisa exploratória bibliográfica, aprofunda o estudo sobre esse conceito compreendendo todas as etapas de seu
processo de construção e aplicação em um caso real para, em seguida, compará-las com a visão estratégica de eventos: desde o papel da marca, passando por sua relação com o consumidor e aprofundando em comunicação de marketing e seus processos. Posteriormente há uma visão do papel estratégico de evento, contextualizados no panorama da companhias. Como resultado foi possível comprovar a aplicabilidade desse conceito por meio de três formas diferentes: Visualizando o evento como uma plataforma da franquia transmídia, agrupando eventos para formar essa franquia e encara o evento como um ambiente de plataformas, abrigando dentro de si a franquia transmídia.

Los medios de comunicación han recorrido un largo camino en la Red desde que Internet se convirtió en una realidad cotidiana, aunque las consecuencias no han sido las mismas que para otros sectores. Internet ofreció a la prensa un lugar para distribuir su trabajo de forma ilimitada: multiplicaba el público, rompía barreras físicas y temporales, permitía posibilidades inimaginables hasta entonces y ofrecía el marco para rentabilizar los productos, aunque la gestión inicial de esas opciones hizo que perdiera muchas posibilidades debido a la necesidad de preservar los modelos que habían funcionado tradicionalmente. Ahora que se ha demostrado que Internet llegó para quedarse, los medios luchan por encontrar un modelo que permita sumarse a la Red sin destruir lo tradicional. Palabras como “convergencia”, “multimedia” o “transmedia” describen posibilidades que tiene ante sí la prensa, y que determinarán el rumbo que deberá tomar para mantenerse en el lugar que siempre ha ocupado.

The article takes a closer look at web series which not only are distributed exclusively via world wide web (usually YouTube and Vimeo) but for which the hypertextuality, modularity or transmediality stand for their essential qualities. I have divided web series into three categories: 1) very cheap, short series and series of a few episodes amateurish in form ; 2) semi-professional series of a longer length, sometimes genre-oriented; 3) professional “extensions” (spin-off’s) of traditional TV series, 4) branded series considered to represent narrative commercials
of minor and major brands.
The author analyses the form and content of the above regarding both fictional and documentary works; elaborates on one of the most complex examples (“H+. The Digital Series” by Warner Bros.) and finishes with opportunities and disadvantages of such a film form.

La fantastica vita della plastica è una tesi pensata concettualmente con la logica del transmedia. È incentrata su un progetto a sua volta transmediale dedicato alla gestione della plastica in chiave di economia verde.
L’idea nasce dalla considerazione che la plastica è diventata la principale accusata dell’inquinamento ambientale e costiero. Osannata negli anni a ridosso della sua scoperta, ha subìto un ribaltamento: da rimedio a tutti i mali è diventata il male senza rimedio.
La tesi dimostra che entrambi i concetti sono errati e anche per la plastica esiste una “terza via”; consiste nell’uso più consapevole di questo materiale nato con un fine ecologico per evitare il depauperamento delle risorse naturali. Il consumismo e la logica dell’usa e getta hanno deformato l’impiego della plastica, creando le catastrofi ambientali che sono sotto gli occhi di tutti.
Pensare di eliminare tutta la plastica presente nella vita quotidiana di ognuno di noi è impossibile e diventerebbe forse ancora più dannoso per l’ambiente. La plastica deve continuare ad essere il rimedio a molti mali (non tutti), proprio per evitare lo sfruttamento sconsiderato delle materie; nello stesso tempo deve essere modificato il comportamento che porta la plastica ad essere fra i peggiori nemici del pianeta.
La fantastica vita della plastica, titolo della tesi, ha un significato duplice: l’aggettivo fantastica è da intendersi nel senso di “fuori dal normale”, fuori dall’ordinario; anche l’aggettivo straordinario è da intendersi nel senso di immaginifico, di qualcosa legato alla fantasia, all’invenzione. Ed infatti c’è ancora tanto da inventare e da ingegnare affinché la plastica possa diventare tutta riciclabile o, in alternativa, biodegradabile.
La soluzione facile e nota nella teoria è molto meno facile nella pratica. Andare verso la gestione corretta di questo materiale sintetico non è facile, ma è possibile. Tutto gioca sulla cultura la cui divulgazione attiene alla sfera della comunicazione in tutte le forme e con tutti i mezzi a disposizione. In un contesto di audience diffuse e di una pluralità in continua crescita di canali mediatici, è necessario adottare una strategia comunicativa che coinvolga quanti più pubblici possibile. In questo contesto storico, il transmedia è l’impostazione narrativa che meglio di ogni altra consente di raggiungere questo risultato.
L’ultimo capitolo della tesi entra nel vivo della questione: prendendo spunto da un progetto destinato alle scuole, “Humans save the sea”, che prevedeva già una partecipazione dal basso, quella degli studenti, è stato costruito un progetto transmediale contenente più elementi narrativi fra cui uno slogan, un documentario, una web serie, un Arg e un teaser in formato audiovisivo. Si tratta di strumenti differenti e indipendenti, ma che vanno a comporre un universo narrativo che possa coinvolgere altre audience, oltre a quelle studentesche.
Solo arrivando a sensibilizzare il numero più alto sia di individui singoli, sia realtà strutturate come le istituzioni, le industrie e il terziario si può sperare di arrivare a quel punto di equilibrio tanto agognato che riesce a far convivere il progresso con l’ambiente, senza che l’uno danneggi l’altro.

This article explores two stories told during the production of the transmedia documentary project <em>Big Stories, Small Towns: Bongkud-Namaus</em> in the Dusun villages of Bongkud and Namaus in Sabah, Malaysia. Both stories relate to hungry and sacred entities – an atomised, monstrous moon-eating spirit called the Tarob, and a sacred oath bound in blood, which eats anyone who breaks it. The article will introduce the<em> Big Stories, Small Towns</em> project, the process that underpins this project and the site of production in Sabah of one iteration of the <em>Big Stories, Small </em><em>Towns</em>, before analysing heterotopic conceptions associated with aspects of folklore in the Southeast Asian region. Providing a theoretical framework that reflects upon a key text by Evans (1953) – an early translator of Dusun folklore for Western audiences – aspects of Dusun culture will be explored that illuminate details of the two case study...

(pp. 17-24)  Although paving the continuity road towards 'The Avengers', 'Captain America: The First Avenger' is as interesting for the ways in which it differs from the previous four Marvel Cinematic Universe (MCU) films as for its similarities and connections with them. Fittingly, at the heart of the film is the notion of mould-breaking, as the emergence of Captain America (Chris Evans) simultaneously heralds a new beginning for U.S. efforts in the Second World War, and the disappearance of a promised future army of Super-Soldiers with the death of scientist Abraham Erskine (Stanley Tucci) at Nazi hands. In Marvel comics, the status of Cap as a one-off is regularly foregrounded in the dynamic of his relations with other heroes; respecting this singularity, Cap's origin as an instrument to fight a specific war is developed by director and screenwriters in a way that accounts for the existential loneliness, as well as the matchless virtues of heart and courage, of the character.

A pandemia do Coronavírus, que assolou o planeta no ano de 2020, foi transformadora. Nosso cotidiano não é mais o mesmo, e nem voltará a ser. As características de rotinas profissionais, educacionais e culturais certamente deixarão alguns traços, mesmo quando a humanidade estiver imunizada e a circulação de pessoas voltar a ser uma realidade. Nesse cenário de mudanças, o ecossistema midiático acaba por testemunhar novas combinações, onde atores sociais aprendem a conviver de outras formas com os meios e as tecnologias.

É importante perceber, também, que as mudanças sofridas pela humanidade fizeram com que testemunhássemos processos importantes de ressignificação. Nesse ambiente transformador, enfrentamos forças contrárias (a da informação e a da alienação), onde interesses econômicos, em diversos casos, colocaram em risco a própria vida humana. Debater sobre essa temática tornou-se ainda mais importante.

Preocupados com essa reviravolta, popularmente conhecida como novo normal, realizamos o 4º Congresso Internacional Media Ecology and Image Studies – MEISTUDIES, que teve como tema “Desafios e reflexões sobre o ecossistema midiático pós pandemia”. O evento também foi marcado pela realização paralela do V Seminário Internacional Red ITC, que traz o tema “Formación de competencias y virtualización en la docencia e investigación en comunicación“. Em sua quarta edição, novamente realizada totalmente virtual, o MEISTUDIES reuniu participantes de 11 países. A partir do evento, organizou-se uma série de obras acadêmicas com textos apresentados e reavaliados para compor os livros.

Stranger Things es una serie de televisión web que ha expandido su narrativa a través de diversos me-dios y formatos. El objetivo de este artículo es analizar la expansión del relato desde la perspectiva de los siete principios de las narrativas transmedia creado por Hen-ry Jenkins, por medio de la documentación e indaga-ción de dichas ramificaciones. Palabras-clave: Stranger Things, narrativas transmedia, ex-pansión del relato, integración mediática, Henry Jenkins. A B S T R A C T Stranger Things is a web television series that has expanded its narrative through various media and formats. The aim of this article is to analyze the expansion of the story from the perspective of Henry Jenkins' seven principles of transmedia storytelling, through the documentation and study of these ramifications. Videopresentación 96 Narrativa, ética y estética de la serialidad televisiva

Universidad de Granada ORCID iD: mariodelatorre@ugr.es RESUMEN: Este trabajo parte de la concepción de la narrativa transmedia por parte de Henry Jenkins como el arte de making worlds, de construir mundos de ficción, para extender los fun-damentos teóricos de esta definición al género documental. Si Bill Nichols indica que este género de no ficción tiene per se un gran poder persuasivo-por la naturaleza icónica de sus imáge-nes y sonidos y por el efecto psicológico de verosimilitud que suscita en el público-, aquí defendemos que este carácter se potencia por medio de la narrativa transmedia. La inmersión, la extrabilidad y la performatividad de este tipo de narrativa lleva a la participación activa del usuario en el mundo transmedia, que coincide con su propio mundo, el real. Por esa razón nu-merosos proyectos activistas han visto en el documental trans-media una oportunidad tanto para el ejercicio del pensamiento crítico como para el cambio social. ABSTRACT: This article discusses Henry Jenkin's concept of transmedia as the art of making worlds, in reference to the building of fictional worlds, to theoretically expand on this definition for the documentary genre. If Bill Nichols stated that non-fiction genre has a great persuasive power-because of the indexical nature of its images and sounds, and the psychological effect of verosimility created in the audience-we defend the idea that this character is increased through the transmedia storytelling. The immersion, extrability and performativity of this kind of narrative form lead to an active user role in the transmedia world, that coincides with his own world, the real one. That is why numerous activist projects have used the transmedia documentary as an opportunity for critical thinking and social change.

The chapter Escape from Linearity. Towards Word-centered Model of Transmedial Narratives provides a critical analysis of the recent theories of transmedia storytelling, using tools provided by transmedial narratology (sensu Jan-Noël Thon) and author’s own contribution to world-building studies. Highly critical of Henry Jenkin’s linear model of transmedia storytelling for its reliance on canonicity and unjustified fan enthusiasm towards neoliberal means of economic control over the expansion of creative content across media, the author seeks better description of contemporary transmedial world-building in Marie-Laure Ryan’s and Lisbeth Klastrup’s approaches, rooting them in Heideggerian phenomenology of dwelling. Having established a theoretical framework allowing to link such concepts as Klastrup’s worldness, Heideggerian wordliness of the world, Saint-Gelais’ xenoencyclopaedia, and Thon’s transmedial world-building, the analysis proceeds towards exemplifying its nexus points in on-going world-building project of StarCitizen, as well as a number of promotional campaigns for popular TV shows (House of Cards), movies (The Hunger Games: Mockingjay), and video games (Deus Ex: Human Revolution).

"Mintha mindent megírt volna a szerző a digitális médiáról és az azzal érkezett új társadalomról. Ahogy látom, mindent meg is írt, vagy ha nem, én nem jöttem rá, mi az. Hihetetlenül szórakoztató, nagyon jól demonstráló, érdekes példákkal alátámasztott magyarázatok, amiket élmény olvasni. Intellektuálisan izgató könyv!" Heal Edina igazgató, Google Magyarország

"A kötet alapmű a digitális trendek áttekintéséhez és megértéséhez. Egyszerre ad muníciót több szakmának - az IT-tól a marketingig, az üzleti döntéshozástól a felsőoktatás-kutatásig és a művészetig. A szerző átfogó nemzetközi tapasztalatát kamatoztatja példáival és illusztrációival. Az olvasó végül egy hosszabb távon érvényes kötet birtokosa lehet a gyorsan változó trendek világában." Akadémiai Kiadó