Transmedia Story Research Articles

The production of girls’ love narrative in Couple of Mirrors (2021) through transmedia storytelling in contemporary China

ABSTRACT There has been a relative dearth of scholarly discussions surrounding the production of girls’ love (GL) narratives in mainland China since the 2010s. This article offers an illustrative case study of a successful GL multimedia storyworld, Couple of Mirrors (CM), which unfolds across a webtoon, a novel, and a web series. First, this article scrutinizes the multilevel state regulation on queer content creation in different media formats. Second, we draw on Henry Jenkins’ canonical conceptualisation of “transmedia storytelling” to delineate the ways that the production of CM differs from the mainstream BL transmedia stories. Through a textual and paratextual analysis of official producers’ and fans’ participation, we argue that CM’s transmedia storytelling creates explicit GL elements through negotiation between market preferences, heteropatriarchal ideologies, and governmental censorship. In doing so, we show that CM represents a successful non-heteronormative cultural commodity within the mainland Chinese media market.

Роль литературного текста в трансмедийном повествовании: роман «Небесный Стокгольм» в системе авторских проектов О. Нестерова

Transmedia narrative has been a widely known and used narrative practice since the second decade of the 21st century. Its existence is conditioned by the peculiarities of the multimedia environment and convergence processes. The article is devoted to a comprehensive analysis of two transmedia projects: Heavenly Stockholm and From the Life of the Planets created and produced by Oleg Nesterov. The projects are dedicated to the Soviet era of thaw, in both of them we note reflection on the problem of unrealized future. In total, the projects involve seven media channels. They are positioned by the author as independent, but our analysis has shown that the projects are connected with each other by the commonality of the idea, the author’s tone of expression, and are permeated with mutual allusions. The projects share the same ethics, unfold in the same time period, and their narratives are also connected and complementary. The example of the Heavenly Stockholm project shows in detail how different media participate in the formation of a unified and programmed experience of a transmedia story. Each of the involved media channels, having a high degree of independence, complements and expands the common space of meanings. The article pays special attention to the role of the literary text. The analysis has shown that the novel Heavenly Stockholm is not only a structuring medium for the project of the same name but also contains allusions to another project – From the Life of the Planets. All this allows us to perceive the two seemingly different projects as a single transmedia narrative, which took the author more than ten years to create. The result of the analysis is the construction of a schematic architecture of the project, indicating the logic of movement through various media platforms.

Disney's Non-Screen Character and Transmedia Story World Building

Disney's Non-Screen Character and Transmedia Story World Building

Artificial Intelligence in Video Games

Review Article| March 17 2023 Artificial Intelligence in Video Games Patrick Jagoda Patrick Jagoda Patrick Jagoda is a professor of cinema and media studies, English, and obstetrics and gynecology at the University of Chicago. He is executive editor of Critical Inquiry and director of the Weston Game Lab. His books include Network Aesthetics, Experimental Games, and Transmedia Stories. Patrick was the recipient of a Guggenheim Fellowship in 2020. Search for other works by this author on: This Site Google American Literature 10575246. https://doi.org/10.1215/00029831-10575246 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Patrick Jagoda; Artificial Intelligence in Video Games. American Literature 2023; 10575246. doi: https://doi.org/10.1215/00029831-10575246 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsAmerican Literature Search Advanced Search The text of this article is only available as a PDF. Copyright © 2023 by Duke University Press2023 Article PDF first page preview Close Modal You do not currently have access to this content.

Adapting a Narrative Curriculum to a Remote Format in the Context of Socially Distanced Middle School Education Resulting from COVID-19

This paper describes the development of two versions of an NGSS-aligned principles of engineering design unit for use in middle schools. By employing a narrative framework that can help students to connect more deeply with the human contexts and consequences of the engineering design process, our goal was to enhance students’ cognitive and emotional engagement in the learning of engineering design concepts. We first detail the design of an initial version of the unit, titled The Survivorama, which used narrative to enrich a primarily traditional, in-person teaching approach. We then describe the adapted version of the unit, titled the Molasses Disaster, and the modifications we made to the stories and transmedia story elements that facilitated the creation of a fully remote version of the unit. To investigate questions related to the effectiveness of the remote curriculum in sustaining student engagement in the remote context, we carried out a mixed-methods study that looked at (1) teachers’ characterizations of the effect of the curriculum on student engagement and (2) student learning outcomes as measured by performance assessment tasks. Qualitative analysis of teacher interviews supported the notion that teachers found both versions of the curriculum to be highly engaging for their students, though with some important caveats regarding younger students and students who were less literate. Quantitative analysis comparing 2019 and 2020 student response data for students in the 2019 nontreatment, 2019 treatment, and 2020 treatment groups found statistically significant differences in the pattern of responses for both problem-solving and conceptual drawing performance assessment tasks. The pattern of responses supported the inference that student engagement was similar for students in both the 2019 in-person context and the 2020 remote context, and that both differed significantly from the 2019 nontreatment group.

Nieokiełznane opowieści-kłącza. Mo Dao Zu Shi i Chen Qing Ling jako przykład transmedialności na gruncie chińskim

Despite the academic efforts in making it more known and familiar, Chinese cinema is still sometimes considered to a certain degree as „an outlandish”. Is it the case? I decided to examine it on the example of work, which was divided with time into separate pieces, and then underwent the process of transmedia storytelling – a form of media narration forgotten after Matrix by Wachowski’s siblings. As a primary role in my reflection serves The Untamed – 50-episodes Chinese historical drama (guzhuang) shared via Tencent platform in 2019. At this point the series is rather known, but at the same time it stays away from mainstream – located slightly at the edge of global awareness, somewhere between popular and niche culture. Thanks to transformation into transmedia story, and also being entangled in the Internet second circuit, the original plot, depicted by the series, received recognition and opened itself for the farther interpretations and metamorphosis.

Narratives of Enfoldment: Multi-linear and Parafictional Storytelling in Media Art

Narratives have been witnessing a state of enfoldment within the virtual world(s) since the proliferation of transmedia story worlds and new media art works. The aesthetics of enfoldment are discussed by Laura U. Marks within different trends in media art. She follows a genealogy of media art that has its roots in premodern Islamic concepts. Enfoldment is therefore situated as the broad framework of this paper’s discussion. Since the prevalence of the concept of transmedia storytelling, coined by Henry Jenkins in 2007, different franchises (be it in entertainment and others) have adopted certain narrative tropes to create a transmedia presence or universe. One of these tropes is the usage of multi-linear storytelling. Multi-linearity is one of the forms narrative storytelling that liberates a story from its temporal structure, making the consumption of narrative open to the end user. Parafiction, on the other hand, denotes instances when the lines between fact and fiction become blurry creating contemporary artworks where story worlds are essential for the dissemination of the works themselves. According to Lambert-beaty (2009) “the slew of recent writings trying to describe or explain this condition ranges from philosophical explorations of ‘the ethics of the lie’, to moralist warnings about our entry into ‘the post-truth era’” (Lambert-beatty, 2009). The following article aims at disseminating past scholarship on multi-linear and parafictional storytelling in trans and new media art in an attempt at shaping the theoretical framework of my doctoral thesis project; a podcast series intended for online dissemination that features conversations between a fictional character and non-fictional historical figures.

Montagem audiovisual transmidiática: uma reflexão sobre a montagem e o processo de criação da série The Walking Dead

With the purpose of reflecting on contemporary audiovisual production, this article will analyze the narrative strategies of a transmedia object from the point of view of editing theory. As a hypothesis, the article starts from the possibility that combinations of images and sounds from different media can build new meanings for the viewer. The transmedia story in question will be the tv series The Walking Dead (2010), by Frank Darabont and Robert Kirkman. The zombie tv series is a complex narrative universe that is distributed on television, in episodes on the web, in comics, in video games and in movies. The research aims to identify how editing can maintain continuity, a fundamental concept in cinematographic language, in the contents of The Walking Dead dispersed on multiplatforms and what new meanings arise when images and sounds of the transmedia content of The Walking Dead are juxtaposed. As a reference for analysis, we use the concepts of the research line “Creation processes in Communication and Culture” led by Cecilia Almeida Salles. The concepts of montage and the role of the editor are highlighted as fundamental elements for the elaboration of the fictional universe and the aesthetics of the zombie series and thus seen as part of the complex creation network of the transmedia system of The Walking Dead. In this way, this research proposes an update of editing theories with the inclusion of transmedia storytelling as a driver of new relations between image and sound. In this way, the article proposes an update of the editing theories with the inclusion of Transmedia storytelling as a driver for new audiovisual relations

A Study on Acceptance Level of Management Faculty Members towards Transmedia Story Telling

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.

Transmedia storytelling, diegetic paratexts, and the limits of real time

The category of ‘transmedia story’ is generally assumed to be static. That is, once a multi-platform story world has been classified as transmedia, it is assumed that this classification applies on an ongoing basis. However, these classifications may in fact need to be revisited, particularly when a story is told in ‘real time’ across social platforms that privilege immediacy. In this paper, we examine the relationship between diegetic social media paratexts and the core text they connect to, using the example of in online transmedia story The Lizzie Bennet Diaries. We argue that once the narrative has concluded, the transmedia status of the story becomes problematic, given the effort required to stitch together the different transmedial components. Utilising qualitative and quantitative content analysis, the show is analysed to determine the relationship between the different elements of the text as presented on YouTube and Twitter. The diegetic paratexts distributed through social media site Twitter contribute to the narrative by expanding upon the events of the core text conveyed on YouTube, and providing context – but never resolution – to the plot. The Twitter paratexts are inherently dependent on the core text but are also directional in that audience members must move from one platform to another in order to engage with the full story. Additionally, the temporal model of release for the core text changes the impact of the diegetic paratexts, while limiting the longevity of the transmedia aspects to the text as a result of dispersed narrative and dependency created by the relationship between textual elements. This analysis helps to extend understandings of transmedia storytelling as we propose the concept of ‘transmedia artefacts’, a category for narratives that transform once they are no longer able to be engaged with as live online objects.

Transmedia story Itaewon Class (JTBC, 2020) between SVOD platform Netflix and webtoon platform Tapas Media

La plataforma SVOD Netflix acercó a la audiencia española a un abundante catálogo de títulos surcoreanos. Esta producción audiovisual de Hallyuwood forma parte de un fenómeno más amplio, la nueva ola surcoreana o hallyu, integrado también por el desarrollo particular de la industria del cómic en Corea del sur en webtoons que cuenta con sus propias plataformas de distribución transnacional de contenidos. Este artículo aborda el estudio de caso de la serie televisiva Itaewon Class (JTBC, Netflix, 2020) dirigida por Kim Sung Yoon a partir del webtoon homónimo distribuido por Tapas Media con la colaboración de su webtoonist, Kwan-Jin. El artículo contextualiza la evolución de la tira cómica al webtoon y su empleo como fuente de transmedia storytelling en la literatura existente. Ese contexto precede un análisis de contenido, intertexto y de los personajes transmedia principales según el modelo propuesto para identificar los cambios en sus identidades existenciales y ficcionales consecuencia de su transformación táctica de OSMU a transmedia storytelling.

Laurie Anderson’s Transmedia Storytelling

Laurie Anderson’s Transmedia Storytelling

Leveraging Transmedia storytelling to engage tourists in the understanding of the destination\u2019s local heritage

Transmedia Stories are becoming an increasingly important technique for the tourism industry. They are successful tools to engage, inspire and gather audiences online and offline. In this article, we describe the design, implementation and evaluation of Fragments of Laura, a bespoke Transmedia Storytelling (TS) experience designed to involve visitors in developing knowledge and awareness about the cultural and natural heritage of Madeira Island. Fragments of Laura (FoL) is composed of two interconnected components: a Location-Aware Multimedia Story, and a Hypermedia Platform populated with locally collected testimonies and interviews. Results from the extensive evaluation of Fragments of Laura, highlights the potential of interactive multimedia, TS in particular, in engaging tourists with the destination values and community. Our contribution is twofold, on one hand we extend on the state of the art of multimedia interactive storytelling, with the description of the Fragments of Laura TS artifact. On the other hand, results from FoL evaluation highlight how the artifact impacts on the tourism experience its implications for the design of future tourism driven TS experiences.

Participant Engagement in a Transmedia Storytelling Web-Based App Intervention for Mental Health of Latina Women: Qualitative Analysis

BackgroundStigma, fear, and lack of knowledge regarding treatment options or where to get help create delays for Latina women in accessing needed mental health help. Story-based media interventions hold appeal for Latina women. Thus, we drew upon the Social Cognitive Theory by Bandura to create an evidence-based, transmedia storytelling web-based app for mental health called Catalina: Confronting My Emotions to connect Latina women to a curated set of mental health resources. Understanding how Latina women perceive various aspects of the web-based app will help design future expansions.ObjectiveA previously published analysis led to the development of a category on how participants related to the lead character (Catalina) in the story line of the web-based app as a real person. However, the purpose of this analysis was to gain an understanding of participants’ experiences with the extension of the dramatic story line of the web-based app beyond Catalina to a Latina nurse-therapist character named Veronica, who was featured prominently in the app’s interactive content and bonus videos.MethodsQualitative analyses were conducted with interview data from a community-based sample of 28 English-speaking Latina women aged between 21 and 50 years who scored above the threshold for anxiety (Generalized Anxiety Disorder-7) and/or depression (Patient Health Questionnaire-9) but were not suicidal at screening. Data were collected 72 hours after participants engaged with our transmedia storytelling web-based app for mental health. Grounded theory methodology guided the analysis and interpretation of data that had been collected telephonically, recorded, and transcribed with identifiers removed. Analyses included initial and focused coding using process codes (gerund form of verbs in codes focused on action), informed by symbolic interactionism, and the development of categories with properties through constant comparison, memo writing, and the use of charts and diagrams.ResultsOur participants experienced a multiphase process that was most heavily related to Veronica, the Latina nurse-therapist character in our web-based app, who led them through a process to a place of action. We conceptualized this process as moving from passive viewer to active participant of a transmedia storytelling web-based app intervention. Overall, 3 new conceptual categories provided insight into women’s experiences, including encountering a trustworthy nurse-therapist character, taking in messages that dispel old beliefs, and preparing when and how to take action. Each category has nuanced properties that reflect participants’ experiences.ConclusionsActive engagement with our web-based app led our sample to successfully transition from the viewpoint of the observer to the viewpoint of the experiencer, moving from a passive position of watching to active engagement that involved imagining, thinking, reflecting, and acting. Careful development of dramatic material for health-related web-based apps using transmedia story extension and bonus videos needs to be based on input from the target group from the start of development through evaluation and testing.

#Renziscappa: The Transmedia Story of a Hashtag between Online and Offline Activism

This paper analyzes how the hashtag #Renziscappa was used to create a link between online and offline forms of political activism. Launched in November 2014 by the Italian collective Wu Ming, #Renziscappa aimed to encourage the reporting online of any form of offline protest against the Italian Prime Minister Matteo Renzi. The implementation of #Renziscappa by Wu Ming and their followers sought to counter mainstream representations of Renzi’s purported consensus, and to catalyze and organize the offline protests. Conversely, offline participation linked the hashtag to impact-making political actions. However, the uncontrolled proliferation of #Renziscappa and its appropriation by the Movimento 5 Stelle made the online campaign increasingly lose its connection with the offline protests. By contrast, the concerted transmedia diffusion of #Renziscappa through Wu Ming’s blog Giap and interactive maps preserved this connection. In particular, the maps contextualized #Renziscappa in the genealogical evolution, geo-temporal settings, and socio-political composition of the offline movement. The network of these transmedia extensions constituted a narrative alternative to the mainstream that made users perceive the collective dimension of the movement in a national perspective and fostered the formation of a political subjectivity.

Cine y youtubers: nuevas audiencias, nuevas experiencias

Los nuevos medios digitales han logrado, junto a la democratización del consumo audiovisual, la democratización de la producción cinematográfica. En consecuencia, surgen pequeñas ficciones generadas en Internet, que se van presentando en festivales cinematográficos, cuentan con muchos seguidores y, por ello, con una enorme visibilidad. Se puede afirmar que la modernidad líquida, predicada por el sociólogo Bauman, ha alcanzado al medio cinematográfico. Nos proponemos estudiar la convergencia de las nuevas formas de producir contenidos (youtubers), con la industria cinematográfica, y analizar este fenómeno emergente en su contexto, como espejo de una sociedad posmoderna. Los youtubers famosos llaman la atención de los productores y, a la vez, se implican en la producción cinematográfica y dejan ver una revolución de los parámetros tradicionales del cine: lo trasladan hacia un nuevo terreno, con espectadores hiperactivos que demandan relatos transmedia y experiencias inmersivas. Esta investigación presenta una aproximación científico-humanista de corte reflexivo al tema de estudio. Emplea una metodología cualitativa, de carácter exploratorio descriptivo, que define nuevos formatos de creación de contenido audiovisual, la convergencia entre cine y YouTube, y localiza las incursiones de youtubers del ámbito hispano en la industria cinematográfica. Esta exploración dibuja el marco para comprender un fenómeno no desdeñable y cuyos métodos y narrativas evidencian una futura relevancia en la producción de ficciones.

W uniwersum „nie ma”. Transmedialne „prawdy” Mariusza Szczygła wobec przemian poetyki reportażu literackiego


 
 
 The paper concerns the documentary project focused on the books Projekt: prawda [Project: Truth] and Nie ma [Not There] by Mariusz Szczygieł. The publications are discussed in terms of the characteristics of a transmedia story in which the original books develop through a narrative connection to a complex of complementary press, internet, stage and audio sources. The author provides an overview of the main components of Szczygieł’s project and an analysis of the interaction programmed between them. She subsequently refers this to the assumptions of what is referred to as transmedia genology in order to show the changes in the poetics of Polish literary reportage under the influence of media digitisation and convergence.
 
 

STUDI PENERAPAN TRANSMEDIA STORYTELLING PADA IP KARAKTER DARTH VADER

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.

Transmedia storytelling as a synergy of genres, digital content and multimedia platforms

The article focuses on the key points in the development of the phenomenon of transmedia storytelling in modern media space, formulates the prerequisites for the emergence of the latest information transfer technologies in journalism, and reveals the features of the functioning of transmedia stories in domestic media. In particular, genre forms and varieties of digital content have been identified that prevail in the creation of the Ukrainian cross-media product. It is their diffusion that makes it possible to distinguish transmedia storytelling as a unique media formation, which arises in this case due to the synergistic effect obtained by combining cross-media components. The article also shows the level of interest in the above-mentioned questions of domestic and foreign researchers.

Structural patterns for transmedia storytelling.

Transmedia storytelling involves telling a story using multiple distinct media. The remit of stories that fall under this broad definition is vast, consequently causing theorists to examine different phenomena using tools that are not suitable for all forms of transmedia storytelling. The lack of critical tools means we are unable to describe, compare and analyse different experiences using common language. In this paper, we present our model that can be used to identify the fundamental structural features of a variety of transmedia storytelling forms. We illustrate its usage with twenty case studies and discuss how three groups of patterns emerge which can be identifiable in all transmedia stories. These patterns can be used to extend transmedia language and help form taxonomies, by identifying common patterns and their usages amongst various forms of transmedia stories.