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Search Results: 1 - 10 of 116 matches for " transmedia storytelling "
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Signs, Systems and Complexity of Transmedia Storytelling
Renira Rampazzo Gambarato
Estudos em Comunica??o , 2012,
Abstract: This article addresses key concepts such as sign, system and complexity in order to approach transmedia storytelling and better understand its intricate nature. The theoretical framework chosen to investigate transmedia storytelling meanders is Semiotics by Charles Sanders Peirce (1839-1914) and General Systems Theory by Mario Bunge (1919-). The complexity of transmedia storytelling is not simply the one of the signs of the works included in a transmedia franchise. It also includes the complexity of the dispositions of users/consumers/players as interpreters of semiotic elements (e.g. characters, themes, environments, events and outcomes) presented by transmedia products. It extends further to the complexity of social, cultural, economical and political constructs. The German transmedia narrative The Ultimate SuperHero-Blog by Stefan Gieren and So a’s Diary, a Portuguese multiplatform production by BeActive, are presented as examples of closed and open system transmedia storytelling respectively.
Narrativas transmídia: diversidade social, discursiva e comunicacional
Porto-Renó,Denis; Versuti,Andréa Cristina; Moraes-Gon?alves,Elizabeth; Gosciola,Vicente;
Palabra Clave , 2011,
Abstract: the current communicational process experiences a revolution in both the structural fields and those of the languages. such changes are the result of communication behaviors and contributions offered to contemporary society, such as social networking and mobility. however, communication has not fully embraced these changes, despite of studies related to the transmedia storytelling. this paper is a reflective and investigative discussion about transmedia strorytelling as social language either in fiction and journalism. hopefully, this study may also provide insights to new researches regarding this subject.
In search for the lost identity: a post-modern look at Lost
Lucas Gomes Thimóteo,Níncia Cecília Ribas Borges Teixeira
Verso e Reverso , 2012,
Abstract: This study discusses the American television show Lost, in order to establish a relationship among technological advances, media and con guration of the contemporary subject, based on phenomenon of convergence as a possibility that integrates and modi es the subject. The analysis focuses on two moments. The rst characterizes its structure as a transmedia narrative, resulting in a format called convergence culture, that emerges nowadays with the mass of content and media that surround us. In the second moment, some elements are observed in the series that are correlated to themes addressed by postmodernity. Thus we intend to demonstrate how the narrative presented portrays situations of reality in ction, providing an identi cation of the post-modern subject with the show.
The Breaking Bad Constellation. Analysis of the Newly Found Complementarity between Television and Internet
Essachess : Journal for Communication Studies , 2011,
Abstract: The hypothesis developed in this paper is that television and Internet are complementary. Both media collaborate in order to propose genuine transmedia narratives. These news adaptations are not identical to movie or novel adaptations, notably because they are simultaneous, interactive and multi-genres. The analysis of Breaking Bad will be presented in the second part of this communication. In the first one, concepts of “remediation” and “convergence”, which constitute the framework of our demonstration, are clarified.
Geane Alzamora,Lorena Tárcia
Brazilian Journalism Research , 2012,
Abstract: This paper discusses the possibilities of the application in Journalism of the Transmedia Storytelling concept, proposed by Henry Jenkins (2003) for the fictional sphere. This paper first explores the definitions of Transmedia Storytelling and the conceptual differences between convergence and transmedia. It also proposes an approach to the transmedia concept in the journalistic universe, based on the perspective of knowledge produced in the transmedia dimension and on the formats’ informational specificities. The study concludes with an initial exploration of examples about emerging narratives in transmedia journalism. The examples addressed are Immersive Journalism and Newsgames, suggesting that experimentation is an outstanding aspect of transmedia storytelling.
Use of Transmedia Storytelling for Teaching Teenagers  [PDF]
Ana Cristina Munaro, Alboni Marisa Dudeque Pianovski Vieira
Creative Education (CE) , 2016, DOI: 10.4236/ce.2016.77105
Abstract: The use of stories combined with communication and information technologies can be a solution to bring together teachers and students in the processes of teaching and learning, with a view to exploring and sharing the content more effectively. In a time of convergence and unprecedented possibilities for protecting learning experiences, the use of creative and information sharing devices is part of the participatory culture, which takes into account the characteristics of the teenage audience, who do not accept one-way teaching that is closed to opportunities for improvement. The study carried out a literature review to verify the effectiveness of using transmedia storytelling in the teaching and learning process. The results showed that many of the studies carried out have been exploratory, and as such, certain mistakes can be seen in the implementation of transmedia storytelling in the classroom, including the frequent use of stories not connected to transmedia communication. The methodology has also been employed to complement teaching based on case studies and problem solving. Even so, the use of transmedia storytelling in education does engage teachers and appears to be effective for learning.
Multimedia Design and Transmedia Storytelling: Content Production for Microtrainings  [PDF]
Tércia Zavaglia Torres, Marcia Izabel Fugisawa Souza, José Ruy Porto de Carvalho, Silvio Roberto Medeiros Evangelista
Creative Education (CE) , 2015, DOI: 10.4236/ce.2015.623254
Abstract: This article presents an outline of model of the educational microcontent production for microtraining, built from the point of view that learning is a relational, intentional and experiential process, and, as such, it results from social interactions that also occur in labour spaces. The model, entitled “production cycle of pedagogical contents (microcontents)” is conceptually anchored in the theoretical precepts of transmedia storytelling and multimedia design, which in turn, are based in aspects of language, communication and cognition, bringing innovative elements capable of favouring leanings. In order to develop the model proposed and presented in the article, inherent conceptions to transmedia storytelling, multimedia design and education, are bound and articulated. Furthermore, one promotes the dialogue between non-formal education in the context of continuous formation and in the interest of technology transfer actions (TT) and of rural extension and technical assistance, for the formulation of microtraining activities via mobile devices. The essence of the model lies in the proposition of a sequence of steps that culminate in the production and organization of technological contents that incorporate pedagogical paths. Those paths serve as learnings favouring routes. It is accepted that this way of producing and organizing contents increases the chances of the subjects involved in the microtraining reflect upon and investigate their practices, abilities and experiences, thus helping them to resignify their realities and to build new rationalities to address their problems. The model “production cycle of pedagogical contents (microcontents)” was built to potentialize the chances of making microtrainings via mobile devices into massive actions that favour the TT process of Brazilian Agricultural Research Corporation (Embrapa), under a constructivist learning approach.
Transmedia storytelling in Hollywood movies in cultural convergence: On Henry Jenkins’s theory of movie communication

- , 2016, DOI: 1672-3104(2016)03-0183-07
Abstract: 摘 要: 在当代文化研究学者亨利?詹金斯看来,作为一种新型叙事模式,当代好莱坞电影艺术的跨媒体叙事是在融合文化语境中生成的意义生产与传播机制。它力图超越单一的媒体本位,将多种类型的媒体文本进行有机整合并通过协同叙事的方式建构一个宏大的故事世界。跨媒体叙事以协作著述为艺术创作基础,它促进了不同的专业艺术创作者之间以及专业艺术创作者与普通受众之间的深入对话与融合。此外,跨媒体叙事也突破了传统上专家范式的束缚,推动生成了集体智慧和参与文化,因此体现出了有关电影艺术传播的媒体范式转型和社会关系重构。
Abstract: In the view of Henry Jenkins, transmedia storytelling of contemporary Hollywood movies, as a new pattern of storytelling, refers to the mechanism of producing and exchanging meanings generated in the context of cultural convergence. Transmedia storytelling attempts to transcend the media ontology and construct a grand story world by integrating various types of media texts and through synergistic storytelling. Transmedia storytelling is based on the collaborative authorship, so it promotes deep dialogues and convergence among different artists, and between artists and audiences. Most importantly, transmedia storytelling has broken through the restraints of the traditional expert paradigm and promoted the development of collective intelligence and participatory culture, hence embodying the transformation of media paradigm and reconstruction of social relations concerning the artistic transmission of movies
Análisis de la serie “Dexter”: una aproximación a su relato en la cultura de la convergencia
Morelli, María del Rosario
La Trama de la Comunicación , 2013,
Abstract: [es] Vivimos actualmente en una cultura de la convergencia, y las series de televisión que consumimos son un espacio más donde este nuevo entorno cultural se pone de manifiesto. El entretenimiento ha tomado la forma de narraciones transmediáticas, en las que el modo de consumo mediático es tan importante como el modo de producción.El presente artículo intenta ejemplificar la situación narrativa y mediática actual con el caso de la serie Dexter. Este corpus de análisis posee, por un lado, interesantes matices en cuanto a la historia que narra. A su vez, el universo Dexter es una muestra más de la cultura de la convergencia, contando con relatos en distintos medios, y con un gran número de fans activos en el consumo y la producción de dicho mundo. En primer lugar, el trabajo describe brevemente la trama de la serie, para luego abordar las características de su relato. A continuación, se analiza su inserción en la cultura de la convergencia, indagando sobre la influencia de su narración transmediática en la historia que narra. [en] We currently live in a convergence culture, and the TV shows we consume are another space where this new cultural environment is shown. The entertainment has taken the shape of transmedia storytelling, in which the way media is consumed is as important as the way it is produced.This article attempts to exemplify the current narrative and media situation with the case of the TV show Dexter. This corpus has, on one hand, interesting characteristics in the story it narrates. In turn, the Dexter universe is another example of the convergence culture, since it has narrations in different media, and a large number of fans active in the consumption and production of that world.First, the paper describes briefly the plot of the show, to then approach the characteristics of its story. After that, it is analyzed its insertion in the convergence culture, investigating the influence of its transmedia narrative in the story it tells.
Using Triadic Semiotics in Storytelling  [PDF]
Chien-Wen Lin, Ta-Long Lin
Art and Design Review (ADR) , 2014, DOI: 10.4236/adr.2014.24010
Abstract: Researchers of this study have been making animation-related production and teaching for more than twenty years. Telling Stories with Pictures is a very common method for language and design teaching. And “idea pitching” is just like Telling Stories with Pictures; it is a significant process in developing a story for professional animation companies. This study focused on using Peirce’s Triadic Semiotics (icon-index-symbol semiotic triangle) with Story Cubes (Story Dices) in storytel-ling. By laboratory observation method, a team of students carried out the experiment contrast. After the introduction of Triadic Semiotics, testees would make stories having some associations and implications; therefore, there would be more possibilities and more imaginations in the story arrangement and structure. It is expected that the study results may provide effective recommen-dations for the production education of animation. In other design fields or knowledge management, more dynamic thinking methodology may be figured out accordingly as well.
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