Entertainment Architecture: Constructing a framework for the creation of an emerging transmedia form

Abstract

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

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“…The new backdrop has favored the emergence of a new form of storytelling, the so-called transmedia storytelling (TS). This concept and its implementation have generated particular interest among audiovisual media professionals and researchers (Konzal, 2011). Scientists have not reached an agreement about the definition of the new term, but some definitions and approaches have attempted to establish its most important features: TS is a particular narrative structure that expands through both different languages (verbal, iconic, etc.)…”

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“…Es en este contexto en el que optimizan sus posibilidades las narrativas transmedia, que han generado un abundante interés entre profesionales e investigadores del mundo audiovisual (Konzal, 2011). No existe una definición única entre la comunidad científica acerca del nuevo concepto, y ha dado lugar a intentos de definiciones y a acercamientos sobre sus características más relevantes: "Es una estructura narrativa diferenciada que se expande a través de diferentes lenguajes (verbal, icónico, etc.)…”

“…Hasta ahora el estudio de las narrativas transmedia se ha hecho sobre los universos ficcionales (Jenkins, 2006;Dena, 2010;Konzal, 2011;Belsunces, 2011;Scolari, 2013b;Velikovsky, 2012;Jenkins, 2010;Costa-Sánchez, 2014a). Sin embargo, su estudio y posible aplicación a la narración de universos de no ficción ha recibido una atención más reducida y reciente, limitada casi en exclusiva al ámbito del documental (Pardo, 2011;Roos, 2012; O'Flynn, 2012; Scott-Stevenson, 2012; Gifreu-Castells, 2014).…”