Star Wars and the History of Transmedia Storytelling

Abstract

Star Wars has reached more than three generations of casual and hardcore fans alike, and as a result many of the producers of franchised Star Wars texts (films, television, comics, novels, games, and more) over the past four decades have been fans-turned-creators. Yet despite its dominant cultural and industrial positions, Star Wars has rarely been the topic of sustained critical work. Star Wars and the History of Transmedia Storytelling offers a corrective to this oversight by curating essays from a wide range of interdisciplinary scholars in order to bring Star Wars and its transmedia narratives more fully into the fold of media and cultural studies. The collection places Star Wars at the center of those studies’ projects by examining video games, novels and novelizations, comics, advertising practices, television shows, franchising models, aesthetic and economic decisions, fandom and cultural responses, and other aspects of Star Wars and its world-building in their multiple contexts of production, distribution, and reception. In emphasizing that Star Wars is both a media franchise and a transmedia storyworld, Star Wars and the History of Transmedia Storytelling demonstrates the ways in which transmedia storytelling and the industrial logic of media franchising have developed in concert over the past four decades, as multinational corporations have become the central means for subsidizing, profiting from, and selling modes of immersive storyworlds to global audiences. By taking this dual approach, the book focuses on the interconnected nature of corporate production, fan consumption, and transmedia world-building. As such, this collection grapples with the historical, cultural, aesthetic, and political-economic implications of the relationship between media franchising and transmedia storytelling as they are seen at work in the world’s most profitable transmedia franchise.

Transmedya hikâyeciliği kapsamında buz devri (the ice age) evreninin incelenmesi

“…Transmedya hikâyeciliğine yönelik Türkçe literatür incelendiğinde; Akgül ve Toprak (2021) çalışmalarında transmedya hikâyeciliğinde Türk yapımı "Eltilerin Savaşı" (2020) sinema filmini ele aldığı, Zengin (2020) çalışmasında "Leyle ile Mecnun"u (TV Dizisi, 2011-2014) ele aldığı, Çalık ve Nizam (2020) çalışmalarında "Turkcell Emocanlar" kampanyasını inceledikleri, Şahin ve Kara (2020) çalışmalarında "Garanti BBVA" markasını ele aldıkları, Oktan (2018) çalışmasında "Madagaskar" (2005) sinema film serilerini ele aldığı, Tombul (2018) çalışmasında "Simpsonlar" çizgi filmimi ele aldığı, Dönmez ve Güler (2016) çalışmalarında "Doritos Akademi" örneğini ele aldıkları görülmektedir. Yabancı literatür incelendiğinde ise transmedya hikâyeciliğinin filmler (Star Wars - Guynes & Hassler-Forest, 2017;Doctor Who -Hills, 2016;Harry Potter -Brummitt, 2016) video ve bilgisayar oyunları (Assassin's Creed -Veugen, 2016; Pokemon Go -Nedelcheva, 2016) gibi çalışma alanlarına yoğunlaştığı görülmektedir. Transmedya hikâyeciliğinin pazarlama iletişimi genelinde sosyal medya (Akdoğan, 2021), kurumsal sosyal sorumluluk (Coombs, 2019), marka sadakati (Gümüş, 2018), dijital reklamlar (Koçyiğit, 2018), destinasyon pazarlaması (Tuncer, 2018), kurumsal iletişim (Sánchez, 2014), halkla ilişkiler (Sutherland ve Barker, 2014) gibi alanlarda da kullanılabildiği yapılan araştırmalarda görülmektedir.…”