Pasaialdea irudikatzen, estudio de caso: museo, narración transmedia y pedagogía pública en la cultura de la participación

401 p.

Del cómic a la narración transmedia en la formación universitaria. Mapa transmedia de Los Vengadores

Dentro de las nuevas perspectivas educativas, el multimedia y la hipertextualidad son elementos imprescindibles en la formación del alumnado universitario que debe navegar en Internet de una manera efectiva. Entre los múltiples conceptos, el de la narración transmedia (Henry Jenkins 2003; Carlos Scolari 2013) ha asumido una especial relevancia, ya que supone la construcción de un objeto artístico y comercial a través de múltiples medios, digitales y tradicionales, con especial relevancia para distintas áreas de conocimiento. Con el reciente éxito de las adaptaciones cinematográficas del Universo Marvel, el cómic ha resurgido como un elemento vertebrador de muchas de estas obras transmedia. La relación entre texto e imagen, intrínseca en la concepción de la narración gráfica, hace que en los principales ejemplos transmedia se utilice el cómic como un elemento más. Esta investigación es una propuesta para explicar las características principales de la narración transmedia al alumnado universitario a través de los múltiples elementos que nos ofrece la saga de Los Vengadores. Cómic, cine, series, dibujos animados, videojuegos, fanfiction y publicidad son elementos que integran este complejo universo y aportan nuevos significados a la narración, ofreciéndonos nuevas estrategias metodológicas en la difusión del conocimiento.

Cuando el miedo invade la ficción. Análisis de Perdidos (Lost) y de otros quality dramas de la era Post 11S.

521 p.

El relato por otros medios: ¿un giro transmediático?

La reflexión en torno a las narraciones transmediáticas ha sido muy intensa en los últimos diez años. En este artículo intentamos desbrozar el concepto, dar cuenta de su especificidad y mostrar algunos ejemplos clásicos y otros más recientes. También apuntaremos algunas dificultades y retos que plantea a los estudios no sólo narratológicos, sino también en los márgenes entre estos y otros dominios tanto semióticos como de los Media Studies: las dimensiones y los límites de una “historia” de la narración transmedia, las explicaciones económicas de su pujanza actual, el afán de construcción de universos narrativos complejos y la inmersión en ellos de los fans, el papel crucial de la serialidad, la dimensión promocional y más en general paratextual de las narraciones trasmediáticas y finalmente la extensión del fenómeno más allá del dominio de la ficción. El “giro narrativo” descrito en las ciencias sociales y en muchos discursos públicos hace ya unas décadas debería complementarse ahora con un “giro transmediático”, funcional al primero y a la manera de su brazo secular (tecnológico y económico).

Cuando el miedo invade la ficción. Análisis de Perdidos (Lost, ABC, 2004-2010) y de otros Quality Dramas de la era Post 11S.

521 p.

Contenidos transmedia de las teleseries españolas: clasificación, análisis y panorama en 2013

En este artículo analizamos los contenidos transmedia que tienen como “nave nodriza” las series programadas por las cadenas de televisión tanto nacionales (La 1, Antena 3, Telecinco) como autonómicas (TV3, ETB, TVG, Canal Sur) con producción propia y de estreno en 2013. Son en total 33 títulos, entre los que se encuentran Aída, Frágiles, La que se avecina (Telecinco); El barco, Bandolera, Amar es para siempre, El tiempo entre costuras (Antena 3); Cuéntame, Gran Reserva, Isabel, Águila Roja (La 1), La riera, Polseres vermelles (TV3); DHB, Goenkale (ETB); Matalobos, Padre Casares (TVG) y Arrayán y Flamán (Canal Sur). Hacemos un repaso de los sites de las series, donde se concentran los contenidos transmedia, y proponemos una clasificación de la gran variedad de formatos encontrados, recurriendo a las distintas categorías de touchpoints que permiten el contacto del receptor con la narración televisiva fuera de la pequeña pantalla. Los resultados apuntan a una presencia abrumadora de los contenidos reenvasados o adaptados al nuevo medio o plataforma y a una escasa todavía expansión transmedial con contenidos inéditos, diferenciados por medio y narrativamente relevantes.

Entertainment architecture : constructing a framework for the creation of an emerging transmedia form

This thesis investigates the radically uncertain formal, business, and industrial environment of current entertainment creators. It researches how a novel communication technology, the Internet, leads to novel entertainment forms, how these lead to novel kinds of businesses that lead to novel industries; and in what way established entertainment forms, businesses, and industries are part of that process. This last aspect is addressed by focusing on one exemplary es-tablished form: movies. Using a transdisciplinary approach and a combination of historical analysis, industry interviews, and an innovative mode of ‘immersive’ textual analysis, a coherent and comprehensive conceptual framework for the creation of and re-search into a specific emerging entertainment form is proposed. That form, products based on it, and the conceptual framework describing it are all re-ferred to as Entertainment Architecture (‘entarch,’ for short). The thesis charac-terises this novel form as Internet-native transmedia entertainment, meaning it fully utilises the unique communicative characteristics of the Internet, and is spread across media. The thesis isolates four constitutive elements within Entertainment Architec-ture: story, play, ‘dance,’ and ‘glue.’ That is, entarch tells a story; offers playful interaction; invites social interaction between producer and consumer, and amongst consumers (‘dance’); and all components of it can be spread across many media, but are so well interconnected and mutually dependent that they are perceived as one product instead of many (‘glue’). This sets entarch apart from current media franchises like Star Wars or Halo, which are perceived as many products spread across many media. Entarch thus embraces the commu-nicative behaviour of Internet-native consumers instead of forcing them to de-sist from it, it harnesses the strengths of various media while avoiding some of their weaknesses, and it can sustain viable businesses. The entarch framework is an innovative contribution to scholarship that al-lows researchers to investigate this emerging entertainment form in a structured way. The thesis demonstrates this by using it to survey business models appro-priate to the entarch environment. The framework can also be used by enter-tainment creators — exemplified in the thesis by moviemakers — to delimit the room for manoeuvre available to them in a changing environment.

The committee on public information : a transmedia war propaganda campaign

This thesis develops an understanding of how propaganda entered the realm of journalism and popular culture in the United States during World War I through an examination of materials created by the Committee on Public Information (CPI). The CPI was a US governmental propaganda organisation created during World War I to persuade the nation to mobilise for war. Three of its divisions were chosen for this study: the Division of News (DoN), the Division of Four Minute Men (FMM) and the Division of Pictorial Publicity (DPP). Chapter 1 provides a general context for the thesis, outlines the research questions and details previous research on the CPI. Chapter 2 outlines the methods of analysis for interpreting the case study chapters and provides contextual information. The case studies are presented in Chapters 3, 4 and 5. These chapters are structured in the order of context, medium and content, and contain historical contextual information about each particular division, medialogical aspects of its propagated form and thematic groupings created from close reading of CPI materials. A semiotic analysis in the Peircian tradition is also performed on visual forms of propaganda in Chapter 5. Chapter 6 discusses how the expectations of persuasion, truth and amusement relate to each other when mediated in culture, using Lotman’s concept of the semiosphere. This further develops an understanding of propaganda as a cultural system in relation to other cultural systems – in this case, journalism and popular culture. Chapter 7 provides conclusions about the study, outlines relative strengths and weaknesses regarding the selection and deployment of methods, makes recommendations for future research, and summarises the key contributions of the thesis.

The Committee on Public Information : a transmedia war propaganda campaign

This article summarises a PhD dissertation of the same name. It develops an understanding of how propaganda entered journalism and popular culture in the United States during World War I through an examination of materials created by the Committee on Public Information (CPI). Three CPI divisions were studied: The Division of News, the Four Minute Men, and the Division of Pictorial Publicity. The methodology of archival contextualisation was created, bringing together the methods of close reading, discourse-historical contextualisation, and Piercian semiotics. A summary of relevant literature is interspersed with thematic historical developments that impacted the relationship between propaganda, journalism and popular culture. This review outlines a gap in knowledge about the archival materials as well as the relationship between propaganda, journalism and popular culture from this period. A discussion about how the expectations of persuasion, truth and amusement relate to each other when mediated in culture, using Lotman’s concept of the semiosphere further develops an understanding of propaganda as a cultural system in relation to other cultural systems – in this case, journalism and popular culture. Findings from the study include that the CPI created a transmedia war propaganda campaign, which enabled propaganda to successfully draw entertainment value from popular culture and credibility from journalism in order to influence public opinion.

Entertainment architecture : constructing a framework for the creation of an emerging transmedia form

The topic of this research is a novel entertainment form currently emerging from the youngest human communication technology, the Internet. This form, products based on it, and the conceptual framework describing it are all referred to as Entertainment Architecture (‘entarch,’ for short). Entarch is classified as Internet-native transmedia entertainment — it fully utilises the unique communicative characteristics of the Internet and is not based on just one medium. A number of entarch examples are explored through ‘immersive’ textual analysis — a new mode of textual analysis required for research into this kind of entertainment. As a secondary priority, entarch is related to the movie — which is chosen as an exemplary existing entertainment form finding itself in a radically uncertain formal, business, and industrial environment, and accordingly is struggling financially. Throughout, formal, business, and industrial consequences of the emergence of Entertainment Architecture are explored. This research is an example of applied cultural science, as it treats culture as a source of innovation and a complex dynamic system with technological as well as human characteristics. It analyses the dynamics of cultural change in the context of business development, consumer experience, and economic evolution — with an intrinsically transdisciplinary methodology.

Total Dik - Transmedia Concept development

Total Dik! is a collaborative project between the Queensland University of Technology (QUT) and Queensland Theatre Company (QTC). Total Dik! explores transmedia storytelling in live performance from concept development to delivery and builds on works, By the Way, Meet Vera Stark, (Forrester2012), Hotel Modern’s Kamp (2005) and God’s Beard (2012) that use visual art, puppetry, music and film. The project’s first iteration enabled an interrogation of the integration of media-rich elements with live performers in a theatrical environment. Performative transmedia storytelling draws on the tenets of convergent media theory developed by Jenkins (2007, 2012), Dena (2010) and Philips (2012). This exploratory work, juxtaposing transmedia storytelling techniques with live performance, draws on Samuel Becket’s challenges to theatre orthodoxy, and touches on Brechtian notions of alienation through ‘sleight-of-hand’ or processual unpacking and deconstruction during performance. Total Dik! blends a convergence of technologies, models, green screen capture, and live dimensions of performance in one narrative allowing the work’s creators to test new combinations of transmedia storytelling techniques on a traditional performance platform.

Amplified activism : transmedia storytelling and social change

The avenues through which communities and community organisations raise awareness about the issues they face and how they agitate for change have developed rapidly in the past ten years; and digital technology has provided community activists with the means to quickly create and widely disseminate stories. Perhaps the most influential and wide reaching of recent innovations in storytelling has been transmedia storytelling. This article explores a new breed of projects that utilise recognisable conventions of transmedia storytelling and borrow elements from other forms of storytelling that predate transmedia, such as digital storytelling and documentary film making. In addition to being hybrid in form these projects are independent and solely focused on raising awareness about particular social issues or telling the stories of marginalized groups, who otherwise do not have a voice in the public sphere.

The business case for transmedia

For transmedia to be acknowledged as worthy of investment by the business world, and even by those considering a career in development of transmedia creative products, there first needs to be established a business case for the concept. This chapter seeks to inform transmedia advocates about the concept of value and the ROI of transmedia more generally. While it is by no means a template or formula for measurement of value, it is a reminder to transmedia professionals and theorists, that intangible benefits are neither valueless nor unquantifiable. The chapter is divided into four sections: 1. Definitions of transmedia – concept and scope of transmedia, expressed in a manner that is intelligible for a business audience. 2. Value and cost – discussion of the terms from an economic perspective. 3. Audience interaction and collaborative content development – discussion of how feedback and engagement systems of transmedia have facilitated rich experiences which offer more than mere content and audience reach outputs. 4. ROI metrics for transmedia – measurable criteria for articulation of value to business investors.

Transmedia Practice : A Collective Approach

This volume introduces a collective approach that positions transmedia as a dynamic phenomenon which undergoes constant innovation as it absorbs current trends and advances in its constituent disciplines. The first section, 'Sustaining Future Practices', explores emerging models for defining stakeholder needs, understanding resource requirements and measuring the value and success of transmedia productions. The focus then shifts to 'Intersecting Contexts of Transmedia Practices', which uses the juxtaposition of a diverse collection of case studies to transcend not only the debates about how to define transmedia, but also the professional and disciplinary boundaries that impose artificial constraints upon the way transmedia projects are approached and understood. This inter-disciplinary dialogue aims to promote an ongoing conversation on the challenges and opportunities associated with sustaining this vital creative industry.

Transmedia Storytelling: From Interviewing to Multi-Platform

There is nothing new under the sun – so the saying goes, and in a digital age of recording oral histories, this holds true. Despite advances and innovations across the board in information and communication technology in the field of oral history it is essentially only the devices we record on that have changed. However, what has emerged is a plethora of ways that oral history interviews can be used to produce multimedia, or transmedia storytelling outputs- for exhibitions in public institutions, schools and by communities to engage interested groups, and in families and by individuals wanting to play with new ways of telling their family stories and histories. In 2010, QUT’s Creative Industries introduced a postgraduate unit called Transmedia Storytelling: From Interviewing to Multi-Platform, which was the first postgraduate course of its kind in Australia. Based in a Creative Writing discipline, but open to all coursework Masters, PhD, Research Masters and Doctorate of Creative Industries students, this unit introduces students to the theory and practice of semi-structured interviewing techniques, oral history conventions and applications, and the art of storytelling across various platforms.