Transmedia world-building: <i>The Shadow</i> (1931–present) and <i>Transformers</i> (1984–present)

Fast, Karin; Örnebring, Henrik

doi:10.1177/1367877915605887

Cited by 26 publications

(20 citation statements)

References 19 publications

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“…The notion of transmedia dates back to analyses of cross-promotion and narrative ‘world-building’ in popular culture franchises like Teenage Mutant Ninja Turtles (Kinder, 1991; see also Fast and Örnebring, 2017; Freeman, 2015) and has since the 1990s been used mostly to describe the proliferation of fan cultures and digital storytelling across different media (e.g. Jenkins, 2006; Scolari, 2009).…”

Section: Transmedia As a Mode Of Cultural Circulationmentioning

confidence: 99%

The transmedia tourist: A theory of how digitalization reinforces the de-differentiation of tourism and social life

Jansson

2020

Tourist Studies

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This article elaborates the post-tourist de-differentiation thesis in the light of digitalization and the coming of transmedia as the dominant mode of cultural circulation. It is argued that transmedia extends and provides new facets to the de-differentiation of tourism and social life. Based on an overview of previous research, three versions of the ‘transmedia tourist’ are theorized – the ubiquitous transmedia tourist, the decapsulated transmedia tourist and the streamable transmedia tourist – representing different trajectories of de-differentiation. The typology provides an argument for the continued relevance of the de-differentiation thesis and a research agenda for future research on tourism and digitalization.

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Section: Transmedia As a Mode Of Cultural Circulationmentioning

confidence: 99%

The transmedia tourist: A theory of how digitalization reinforces the de-differentiation of tourism and social life

Jansson

2020

Tourist Studies

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“…By convergence, he means "a situation in which multiple media systems coexist and where media content flows fluidly across them" (2006,20,322). Whereas Jenkins focuses on late-twentieth and early-twenty-first-century examples of convergence, encouraged by then-emergent technologies like the internet and mobile devices, Avi Santo (2015) as well as Kristin Fast and Henrik Örnebring (2017) have reminded us that pre-digital media convergence also supported an industrial strategy of transmedia (e.g., introduced on the radio in 1930, The Shadow brought together pulp magazines, comic strips, and film shorts).…”

Section: Approaches To Studying and Franchising Batmanmentioning

confidence: 99%

Comics and Videogames

Rauscher¹,

Stein²,

Thon³

2020

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This book offers the first comprehensive study of the many interfaces shaping the relationship between comics and videogames. It combines in-depth conceptual reflection with a rich selection of paradigmatic case studies from contemporary media culture. The editors have gathered a distinguished group of international scholars working at the interstices of comics studies and game studies to explore two interrelated areas of inquiry: The first part of the book focuses on hybrid medialities and experimental aesthetics "between" comics and videogames; the second part zooms in on how comics and videogames function as transmedia expansions within an increasingly convergent and participatory media culture. The individual chapters address synergies and intersections between comics and videogames via a diverse set of case studies ranging from independent and experimental projects via popular franchises from the corporate worlds of DC and Marvel to the more playful forms of media mix prominent in Japan. Offering an innovative intervention into a number of salient issues in current media culture, Comics and Videogames will be of interest to scholars and students of comics studies, game studies, popular culture studies, transmedia studies, and visual culture studies.

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“…Su-cede así porque, como afirma Montecarlo (2017: 70), «cuando hablamos de mundo o universo, nos referimos al contexto que enmarca la historia y en el que esta se desarrolla», ya sea a través de un único mundo único o de la relación entre varios de ellos, conformando así «universos transmediales» (Thon, 2015). Estos mundos, que han sido tratados por numerosos autores desde una perspectiva clásica (Saint-Gelais, 1999;Doležel, 1999), han sido acogidos y aprovechados por algunos de los principales teóricos del transmedia storytelling (Jenkins, 2003(Jenkins, , 2006(Jenkins, , 2013Klastrup y Tosca, 2004Ryan, 2006Ryan, , 2014, debido al potencial que estos encierran de cara a la construcción de este tipo de narrativas.…”

Section: De Relatos Y Mundos Ficcionales: Del Transmedia Storytellingunclassified

El ecosistema mediático de la ficción contemporánea:

Albaladejo-Ortega

Martínez

2019

icono14

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Los contenidos audiovisuales, antaño anclados a medios específicos desprovistos de potencialidades interactivas, se ven actualmente canalizados a través de numerosos soportes que favorecen el acceso ininterrumpido a un universo inagotable de piezas de muy distinta naturaleza. Afín a este fenómeno, la popularización de modalidades de comunicación etiquetadas como transmedia ha potenciado la consecución de experiencias que gravitan alrededor de los denominados transmedial worlds, mundos ficcionales que no solo favorecen la continuidad narrativa a través de los propios relatos, sino que, de forma simultánea, sustentan su expansión ilimitada a través de infinidad de modos. Atendiendo a esta mutación, el presente artículo se aproxima a los procesos de transmediación desde tres dimensiones distintas, por considerarlas indisociables: el storytelling, la construcción de mundos ficcionales y la aplicación del branding. Para ello, se ha realizado una profunda revisión bibliográfica que pretende acoger las diversas aproximaciones a los fenómenos que, desde que acuñase el término transmedia hasta el presente más inmediato, en que este concepto se halla integrado en infinitud de dinámicas, han configurado el panorama mediático contemporáneo. De este modo, el texto trata de dilucidar de qué manera las nuevas modalidades de producción, distribución y consumo audiovisual han dibujado un renovado ecosistema mediático en el que los medios se coordinan para cubrir las exigencias de unas audiencias que, cada vez más, desean participar de los flujos comunicativos de los que forman parte.

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Transmedia world-building: The Shadow (1931–present) and Transformers (1984–present)

Cited by 26 publications

References 19 publications

The transmedia tourist: A theory of how digitalization reinforces the de-differentiation of tourism and social life

The transmedia tourist: A theory of how digitalization reinforces the de-differentiation of tourism and social life

Comics and Videogames

El ecosistema mediático de la ficción contemporánea:

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