Seriality and Transmediality in the Fan Multiverse: Flexible and Multiple Narrative Structures in Fan Fiction, Art, and Vids

Kustritz, Anne

doi:10.4000/tvseries.331

Cited by 12 publications

(4 citation statements)

References 7 publications

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“…Exemplified by properties like Lost and The Matrix, top-down transmedia storytelling relies on a strong central author (or proxy-author) who designs the entire storyworld to ensure the coherency of the overall narrative across media, and takes advantage of the unique storytelling affordances of each medium. Top-down transmedia properties may invite audience participation, including the creation of user generated content like fan fiction, art, and video, but they also must retain firm boundaries between legitimate story extensions authorized by the creator, and illegitimate, unauthorized extensions (Kustritz, 2014(Kustritz, , 2017.…”

Section: Representing Diversity From the Top Downmentioning

confidence: 99%

Transmediating difference: Fictional filter bubbles and transmedia storytelling

Kustritz

2021

Convergence

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Transmedia storyworlds often stem from a blockbuster “anchor property” that connects numerous extensions in multiple media forms. Consequently, transmedia can potentially diversify the media industry’s narratives since each medium may follow a different character whose perspective reinterprets the storyworld’s central themes and events. However, this article argues that a narrative strategy has emerged for “transmediating difference,” wherein politically contested storylines, LGBTQ characters, and the perspectives of women and people of color are sectioned off in low-budget transmedia extensions while blockbuster narratives remain primarily the domain of straight, able-bodied, white male protagonists. This story structure reveals the resiliency of industry assumptions about marketability while also isolating the experience of transmedia audiences, allowing companies to profit from inclusive and sanitized versions of the same narrative world. Like algorithmic “filter bubbles,” transmediating difference undermines cultural pluralism, and ushers in a paradoxical new form of invisibility despite increasingly diverse representation.

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Section: Representing Diversity From the Top Downmentioning

confidence: 99%

Transmediating difference: Fictional filter bubbles and transmedia storytelling

Kustritz

2021

Convergence

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“…And who decides what "really" happened? (Kustritz 2014) Increasing dependence on (fan) participation obviously challenges traditional notions of authorship, and one may wonder whether there are forms which challenge and indeed worry the entertainment industry focused on keeping control of its market position. In light of this, it is interesting to observe that franchises attempt to retain traditional markers of authority such as authorship.…”

Section: What Is New and Different About Transmedia Storytelling?mentioning

confidence: 99%

Storytelling and Mainstream Television Today – A Dialogue

Ellis¹,

Oever²

2018

Stories

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The original aim of the Key Debates series was to revisit the concepts, and indeed controversies, that have shaped the field of film studies. Our intention was twofold: to clarify what was initially at stake in the founding texts, and to shed light on lines of transmission and reinterpretation in what remains a hybrid field of study, which has "appropriated" and thus modified much of what it uses. The six volumes published to date take different approaches to this central mission, reviewing how early film theory adopted and developed literary theories of "strangeness" (ostrannennie); shifting concepts of subjectivity engendered by film; the variety of ways in which film audiences have been conceived; the persistence of debate around film as a technology; the newly energized debate regarding feminist approaches to film and television; and an up-to-date discussion of display technologies and screen use in the digital era.We are delighted to announce that the coeditor of the volume on Screens, José Moure, has become a Key Debates series editor from Volume 7 onward. When we launched this book series in 2010, after a phase of preparation which began in 2006, we felt that as scholarship in the history of film theory developed, there was a need to revisit many long-standing assumptions, particularly in light of the changes in media devices and viewing practices. Further volumes are now in preparation, as we recognize that pervasive digital media have not made the concepts and debates to which film initially gave rise, redundant. On the contrary, there seems to be a greater need than ever to clarify and refocus fundamental issues, such as stories and storytelling in the present volume, in the context of our contemporary media environment.

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“…Henry Jenkins and Carlos Scolari extend a similar argument to all sorts of transmedia storytelling, which forms an increasingly central part of the modern media industry [59][60][61][62]. Because media corporations more and more often disperse story elements across a variety of media, and a variety of media spaces, while inviting fans to participate and add to the story themselves, transmedia storytelling undermines clear distinctions between legitimate and illegitimate authors, or between a canon or core narrative and peripheral fan works [63,64]. Judith Fathallah documents Game of Thrones' transmedia deployment of its narrative elements, including explicit calls for fan-created transmedia extensions despite the author's stated disapproval of fan works, a move which thus destabilizes the author's intentions as the chief determinant of narrative cohesion [65].…”

Section: Feminists Fans and Dreams Of A Transmedia Utopiamentioning

confidence: 99%

“They All Lived Happily Ever After. Obviously.”: Realism and Utopia in Game of Thrones-Based Alternate Universe Fairy Tale Fan Fiction

Kustritz

2016

Humanities

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102

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Fan fiction alternate universe stories (AUs) that combine Game of Thrones characters and settings with fairy tale elements construct a dialogue between realism and wonder. Realism performs a number of functions in various genres, but becomes a particularly tricky concept to tie down in fantasy. Deployments of realism in "quality TV" series like Game of Thrones often reinforce social stigmatization of feminine genres like the romance, melodrama, and fairy tale. The happily-ever-after ending receives significant feminist criticism partly because it falls within a larger framework of utopian politics and poetics, which are frequently accused of essentialism and authoritarianism. However, because fan fiction cultures place all stories in dialogue with numerous other equally plausible versions, the fairy tale happy ending can serve unexpected purposes. By examining several case studies in fairy tale AU fan fiction based on Game of Thrones characters, situations, and settings, this paper demonstrates the genre's ability to construct surprising critiques of real social and historical situations through strategic deployment of impossible wishes made manifest through the magic of fan creativity.

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Seriality and Transmediality in the Fan Multiverse: Flexible and Multiple Narrative Structures in Fan Fiction, Art, and Vids

Abstract: Écho et reprise dans les séries télévisées (III) : de la métafiction à la transmédialité

Cited by 12 publications

References 7 publications

Transmediating difference: Fictional filter bubbles and transmedia storytelling

Transmediating difference: Fictional filter bubbles and transmedia storytelling

Storytelling and Mainstream Television Today – A Dialogue

“They All Lived Happily Ever After. Obviously.”: Realism and Utopia in Game of Thrones-Based Alternate Universe Fairy Tale Fan Fiction

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