Transmedia

This article focuses on Pili, a popular Taiwanese transmedia puppetry that features martial arts-based narratives and fight sequences through CGI (computer-generated image) animation, and examines relations mediated between puppetry, camera, and animation. Pili productions use the traditional performing art of puppetry and add novel elements-combining craft techniques with filming technologies-to create a new transmedia genre. This new genre is not easily classified based on traditional puppetry forms, such as the conventional ideas of a puppet show, "puppet animation," or digital puppetry, as it is something in-between. Through exploring unfolding relations between puppeteering and filming, puppetry and animation, and old and new media forms, this study explicates how the transformation of traditional puppetry responds to the affordances of new media. Animation, camera movements, and digital editing collectively expand the possibilities of traditional puppetry craft and performance. The new form of puppetry rearranges disciplines, genres, and aesthetics. This analysis sheds light on Pili puppetry through animation and transmedia thinking to contextualize how animation's life-giving potential transgresses screen and genre categories.

Die enge Verbindung von Spielen und Lernen geht evolutionsgeschichtlich der Ausbildung menschlichen Lebens voraus. Mit der Digitalisierung erreicht sie nun ganz neue Qualitäten: Computerspiele treten in Konkurrenz zu den älteren narrativ-audiovisuellen Medien wie Theater, Film und Fernsehen; Touch- und Gestensteuerung leiten zudem eine Verkörperlichung interaktiver Spiel- und damit Lernerfahrungen ein.
Der Band verfolgt die Frage, wie und warum wir mit digitalen Medien und insbesondere mit Serious Games und Exergames lernen. Zu den internationalen Beiträgern aus Theorie und Praxis gehören u.a. Ian Bogost, Linda Breitlauch, Chris Crawford, Simon Egenfeldt-Nielsen, Henry Jenkins, Jörg Müller-Lietzkow, Rolf F. Nohr und Isabel Zorn.
473 Seiten. Das pdf enthält Inhalt und Vorwort.
Der Band ist bei transcript im Druck wie als pdf-E-Book erschienen.
Mehr Informationen und Leseproben finden sich auf www.bildundbit.com.

Measuring user experience in board games is broadly unexplored with research mainly focused on digital games. This paper assesses the suitability of using a questionnaire, developed for digital games, for use on board games - thus providing a common measure of user experience between board and digital games. The study involved play testing a themed board game with undergraduate computing students and alumni, measuring user experience via the Games Experience Questionnaire whilst testing for reliability and validity. Findings obtained high scores in both criteria, suggesting that the GEQ is a suitable tool to measure user experience in board games and thus a valid candidate for comparing game design across varied game media such as digital and board games.

Temel olarak 4 arkadaş ve 1 köpeğin gizem dolu maceralarını konu alan çizgi film artan iletişim olanaklarıyla birlikte çeşitlenen medya ortamlarına da ayak uydurabilmiş, farklı kanallar aracılığıyla takipçilerine ulaşmıştır. Gelinen noktada Scooby-Doo’nun yalnızca bir çizgifilm serisi olmanın ötesine geçip pek çok sektöre varlık gösteren bir markaya dönüştüğü görülmektedir. Bu durumun ortaya çıkmasındaki en önemli etken, hiç şüphesiz Scooby-doo’nun eğlenceli karakterleri yanında ayrıca geniş bir yaş skalasına hitap edebilecek ölçüde zengin bir mizah anlayışına sahip olmasıdır.

Digital transformations are also at work in education and the whole academic system is in a debate continues on the possible ramifications of this expansion. This work argues that an understanding of new media integration to higher education has to go beyond gadget-centered thinking and should be imagined through three prominent concepts, Transmedia, Convergence and Gamification, that appeared to understand the emergence and rise of internet communications. Theoretical discussion of these concepts in the context of higher education are further put to test with cases from several courses held in Istanbul Bilgi University and it is seen that these are interrelated and overlapping conceptualizations. It is demonstrated that new media integration does not automatically change teaching process for better. This process has to be actively re-worked, that in turn changes existing boundaries of actors in terms of workloads but also work definitions.
Keywords: New Media, Higher Education, Turkey, Transmedia, Convergence, Gamification

Los mitos y figuras creados en la literatura han sufrido, desde el s. XX y aún en el XXI, trasvases a otros soportes de ficción como son el cine, la televisión, el cómic y los videojuegos. Este fenómeno, que recibe ‒entre otros‒ el nombre de transmedialidad, no es un mero cambio de formato, ya que los personajes y obras tomados por los nuevos medios se ven, en la mayoría de las ocasiones, modificados por las características propias e idiosincrásicas de cada código.

Esto le ocurrió a una figura romántica: el pirata. Nacido como símbolo de libertad, rebeldía y masculinidad, el bucanero ha llegado hasta nuestros días como figura de ficción; sin embargo, ha sufrido notables y significativos cambios en su concepción debidos no tanto a las nuevas aportaciones de autores literarios, sino a los múltiples trasvases a estos nuevos y modernos medios.

Este trabajo trata de recoger la evolución del pirata de ficción desde el Romanticismo, tomando como referencia primera La isla del tesoro de Robert Louis Stevenson y, como última, la saga cinematográfica Piratas del Caribe. Se centra sobre todo en el pirata desde su concepción decimonónica, poniendo de manifiesto que, aún en la actualidad, el bucanero sigue siendo un estereotipo romántico y, más aún, se ha creado a su alrededor un cliché folclórico del que es difícil desprenderse como receptores.

Performance and digitality constitute an onto-historical apparatus or dispositif reshaping cultures globally, yet our engagement with these performative circuits remains out-of-sync and ineffective, especially at the levels of knowledge and power, thought and action. Within higher education, modern disciplinary methods, arborescent institutional structures, and logocentric literacies inhibit the critico-creative syntheses needed to engage and resist neoliberal modes of performativity. In contemporary societies of control, universities around the world face daunting economic and political pressures to transform and innovate, while tradi- tional forms of academic research and education struggle to contend with young people’s attachments to mobile technologies, social media, and consumer-driven design practices. StudioLab is a critical design pedagogy that seeks to democratize emerging forms and processes of digitality by supplementing seminar-based critical thinking with studio-based design thinking and lab-based tactical media-making. In StudioLab, students roleplay as critical design teams to research and create conceptually-rich projects that address contemporary social challenges through a variety of media forms and events. Critical design teams combine cultural, organizational, and technological performances and learn ways to introduce values of cultural efficacy into structures dominated by organizational efficiency and technological effectiveness, thereby generating creative and potentially transformative micro-transvaluations in themselves and others. This performative matrix of valorizations helps to situate StudioLab’s practices of democratizing digitality and suggests new figurations of thought and action, new experiential architectures.

In this chapter, Graves considers the lasting cultural influence of Joss Whedon’s Buffy the Vampire Slayer (WB, 1997-2001; UPN, 2001-03) through the lens of textual genealogy, tracing contemporary intertextual and metatextual references to the show that situate Buffy as an enduring parent text. In particular, the chapter focuses on the close genealogical ties between Buffy and the long-running Supernatural (WB 2005-06; CW 2006-present), which strongly features not only a generic debt and a narrative structure that is directly influenced by Buffy, but also contains both a deep intertext with and myriad references to Buffy. Additionally, an exploration of Supernatural’s extra- and paradiegetic expansions clearly situates Supernatural as a direct paratextual and transmedial analogue to Whedon’s show, further illustrating Buffy’s lasting significance.

Keywords: paratext, metatext, intertext, Buffy the Vampire Slayer, Supernatural, transmedia, Joss Whedon, fandom, narrative structure, crossover, WB, Eric Kripke

En la actualidad, las narrativas transmedia trastocan la forma en la que se interpretan los contenidos audiovisuales, posibilitando nuevas formas de interacción y consumo. Un ejemplo es la presencia de los universos cinematográficos expandidos, que han transformado en materia comunicacional y creativa los procesos de recepción fílmica. Dentro de lo fantástico, el cine de terror tiene relevancia al presentar una narrativa transmedia vigente y paradigmática: el universo cinematográfico de The Conjuring, que propone una serie de estrategias basadas en la cultura participativa y el conocimiento colectivo que potencian la experiencia transmediática. El artículo trata de detallar las estrategias transmediáticas de dicho universo que replantean la manera en la que se consume e interactúa con la producción fílmica, posibilitando nuevas experiencias de participación e interpretación dentro del cine de terror desde diversos lenguajes, medios y soportes.

Dentro del panorama transmedia televisivo español reciente, destaca la experiencia llevada a cabo por la serie 'Víctor Ros' (TVE). El objetivo de este artículo es centrarse en el empleo del perfil personal en Twitter del detective protagonista como vehículo de expansión transmediática de su universo ficcional. Desde esta perspectiva se han analizado más de mil seiscientos tuits generados, de los cuales cerca de quinientos se corresponden con el relato transmedia previo a la emisión de la serie. Los resultados ponen sobre la mesa el uso dado al perfil del protagonista de una ficción como vía para la narración transmedia en primera persona, así como para interactuar con sus seguidores.

Partiendo de la conocida analogía propuesta por Henry Jenkins de comparar las estrategias narrativas transmedia con la matriz de pixels de una imagen digital, se propone ampliar esa idea de forma pormenorizada equiparando los principales factores de creación de dichas imágenes: resolución, exploración, profundidad de color, compresión, códec, etc. con la producción de 􏰄􏰆􏰌􏰅􏰈􏰌􏰄􏰒􏰂􏰈􏰆􏰉􏰁􏰈􏰅􏰅􏰈􏰌􏰂􏰃􏰈􏰆􏰉􏰌􏰅􏰈􏰁􏰆􏰑􏰄􏰇􏰂􏰈􏰉􏰋􏰓􏰆􏰄􏰅􏰃􏰈􏰁􏰇􏰋􏰉􏰎􏰔􏰑􏰋􏰉􏰐􏰈􏰆􏰉􏰕􏰅􏰂􏰑􏰄􏰅􏰈􏰆􏰉􏰆􏰋􏰁􏰉􏰎􏰈􏰕􏰈􏰎􏰄􏰆􏰉􏰇􏰄􏰉􏰇􏰄􏰍􏰁􏰂􏰅􏰉􏰐􏰋􏰆􏰉􏰎􏰋􏰑- portamientos de dichas acciones de comunicación.
Esta analogía va a ser utilizada para exponer un posible modelo de interpretación y análisis consistente en la aplicación polietápica de una tabla desarrollada en función de la extrapolación de los conceptos de imagen digital al ámbito investigado, el fenómeno transmedia storytelling.

La sociedad actual y la cultura contemporánea están caracterizadas, sin duda, por la capacidad «multimediática» de sus producciones artísticas. Las relaciones entre los diversos medios en los que el arte cobra cuerpo-literatura, cine, teatro, televisión, cómic, videojuego, Internet…-son evidentemente innegables. No obstante, cuando se trata de establecer un acercamiento académico a todos esos puntos de encuentro de los di-versos medios, surgen los problemas. Cuestiones terminológicas, de categorización o incluso de abordaje desde la estética acuden a los estudiosos que, desde que comenzaron a plantearse el fenómeno de la «intermedialidad», no han logrado un consenso estable que permita al investigador novel acercarse al objeto de estudio con precisión. En este contexto surge Adaptación 2.0. Estudios comparados sobre intermedialidad.

Dramaturgy of Form examines verse in twenty-first-century theatre practice across different languages, cultures, and media. Through interdisciplinary engagement, Kasia Lech offers a new method for verse analysis in the performance context.
The book traces the dramaturgical operation of verse in new writings, musicals, devised performances, multilingual dramas, Hip Hop theatre, films, digital projects, and gig theatre, as well as translations and adaptations of classics and new theatre forms created by Irish, Spanish, Nigerian, Polish, American, Canadian, Australian, British, Russian, and multinational artists. Their verse dramaturgies explore timely issues such as global identities, agency and precarity, global and local politics, and generational and class stories. The development of dramaturgy is discussed with the focus turning to the new stylized approach to theatre, whose arrival Hans-Thies Lehmann foretold in his Postdramatic Theatre, documenting a turning point for contemporary Western theatre.
Serving theatre-makers, scholars, and students working with classical and contemporary verse and poetry in performance contexts; practitioners and academics of aural and oral dramaturgies; voice and verse-speaking coaches; and actors seeking the creative opportunities that verse offers, Dramaturgy of Form reveals verse as a tool for innovation and transformation that is at the forefront of contemporary practices and experiences.
https://www.routledge.com/Dramaturgy-of-Form-Performing-Verse-in-Contemporary-Theatre/Lech/p/book/9780367201937

The animated music videos of Radiohead, Chris Hopewell and Gastón Viñas are entwined by intertextual threads that refer to each other in a reciprocal and generative way. As a graphic artist and applied fan of the band Radiohead, Viñas has borrowed extensively from Radiohead's music videos and associated world components in order to build new storyworlds in which his own music videos and artwork live in constant dialogue with their intertextual counterparts. Through an analysis of music videos created by Viñas, Radiohead and Hopewell, this chapter draws on the concepts of intertextuality and dialogism to argue that fan-made music video can play a significant role within a broader process of what is termed 'dialogic world-building'. This 'world-building' process gradually becomes apparent across the chapter, as a complex web of woven threads emerges from interconnected analyses of music videos, thereby demonstrating that a transmedial and transauthorial approach can enable a holistic impression of the establishment, appropriation and regeneration of 'storyworlds'. This chapter appears in The Bloomsbury Handbook of Popular Music Video Analysis, edited by Lori Burns and Stan Hawkins (2019).

As concerns have grown over the decline of TV viewership, especially among younger viewers, many networks have begun transmedia extensions in an attempt to increase audience engagement for their programs, and with second-screen applications in particular, to increase, or at least slow the decline of, linear-appointment viewing. In this paper I will first define and discuss current conceptions of transmedia and second-screen applications. Then I will analyze how AMC has developed and/or licensed other companies to develop various Transmedia applications for their popular TV show The Walking Dead, analyzing the various different examples and their perceived efficacy. Finally I will use those examples and the theories discussed in section one of this paper to develop a set of guidelines for other broadcast networks to develop similar transmedia applications for their own programs.

Many scholars have discussed the recent expansion and mixing of Play in our societies, a process generally labelled cultural gamification or ludification. Many cultural phenomena and societal domains are increasingly permeated by ludic elements, metaphors and mindsets. The influence of cultural gamification can also be seen in the media system, through the spread of game-like patterns influencing the narratives and usage of different media. The aim of this paper is to describe the emergence of game-like narratives and interaction in media, focusing on their semiotic dissimulation patterns. More specifically, the following pages will present and analyse recent playful elements and patterns connected to mystery, thriller and similar genres, investigating the ways in which game models interact with other media, and the resulting decrypting and dissimulation effects, both at the textual and at the discoursive level.

El taller, de formato cuatrimestral, se encuentra dirigido a los estudiantes de los años finales de la Licenciatura en Comunicación Social de la Universidad Nacional de Moreno. Su planteo teórico y práctico consiste en proporcionar las herramientas imprescindibles para que los estudiantes puedan  diseñar, planificar y ejecutar campañas destinadas a la difusión científica de un problema determinado con anterioridad, y que puedan a la vez elaborar guiones para el desarrollo de las mismas. A lo largo de la cursada, deberán  investigar en términos teórico/prácticos acerca de las diversas temáticas a abordar y proponer transposiciones en función de diferentes públicos implicados. El empleo de distintos tipos de recursos digitales para la producción de textos científicos, ocupará un lugar central en el marco de esta asignatura. En este sentido proporcionaremos los conceptos y herramientas indispensables para que los estudiantes puedan analizar, comprender y desarrollar prototipos y guiones de proyectos transmedia de no ficción, y de documentales científicos lineales e interactivos.

Within the broad historical context in which transmedia has been practiced and studied, David Bowie and Floria Sigismondi are instructive for their transformative approaches toward creating art across media, and for their alchemical process. As a collaborative team, their process is driven by an engagement with surrealist strategies of estrangement and analogical composition and a propensity for play. Their distinctive signature styles traverse mediums, space and time; in ways that move through and beyond narrative. Through an analysis of selected music videos, this chapter examines the transmediality of Bowie and Sigismondi’s oeuvres. By firstly exploring Bowie’s conception of himself as a medium, along with his persistent threads of ‘loose continuity’ across media and time, the author then examines the intersection of Bowie’s transmedial process with Sigismondi’s treatment of time as a medium. Drawing on the tenets of surrealism, along with the concepts of dialogic world-building, hauntology and ‘Gesamtkunstwerk’, the author proposes that for artists such as Bowie and Sigismondi, ‘transmedia surrealism’ may provide a more appropriate conceptual lens than the currently popular lens of transmedia storytelling.

Where does live performance end and life begin? Why are such distinctions made, between live art and life itself? What if one tries to overcome these formal differences? Is it possible for me to approach my everyday life as a documentary performance? I feel that this question may lead me into uncharted territory. The end of art as we know it perhaps? Or the beginning of a more conscious way of living?

Although it does not look or at first seem like what proponents of virtual worlds have been waiting for, Minecraft is the breakthrough success for virtual worlds.  In thinking through how what has emerged through the Minecraft phenomenon has redefined what a virtual world is, this presentation explores three interrelated questions: What does it mean to consider Minecraft as a virtual world?  Why has it succeeded as the breakthrough virtual world? How does transmedial experience factor into Minecraft as a virtual world?

Las empresas periodísticas han tenido que adaptarse para ofrecer información en video y distribuirla a través de redes sociales y medios digitales. En este contexto, se pretende reflexionar sobre la transición que está sufriendo el videoperiodismo en esta nueva época, poniendo el acento en el periodista y no en los contenidos ni en los formatos y lenguajes. El análisis está sustentado sobre todo en la experiencia de la autora, derivada de coordinar en los últimos cinco años el proceso de capacitación para transformar a periodistas tradicionales
en periodistas multiplataformas o, para ser más precisos, en periodistas
integrales. Además, han sido muy valiosas las observaciones que en entrevistas y conversaciones han aportado decenas de periodistas que han experimentado o están viviendo este proceso de cambio.
Esta transición es fundamental para las empresas y las personas involucradas  y, por ello, se propone que debe estar centrada en dos aspectos fundamentales: primero, visualizar un perfil real del periodista que debe trabajar en las redacciones integradas, y segundo, desarrollar las habilidades necesarias para enfrentar este reto.

Chapter 10 of the book Edges of Identity: The Production of Neoliberal Subjectivities

In this chapter we explore the evolving role of art and storytelling programmes in an inner-city building in Phnom Penh, Cambodia known as the White Building.1 This work represents a tentative exploration into a community of people and their history; their cultural work and their identity. We chart the history of the Building from the late 1950s, before focusing on art and storytelling programmes from 2008 to the present. The underpinning concept of the programmes under analysis has been around establishing a vision for communal transformation and then acting on that vision through an iterative process of action and reform. Within this setting, art and storytelling practices have become a way of articulating pluralistic modes of struggle in a post-conflict society that is dealing with the onset of a new neoliberal order of accumulation and dispossession. Importantly, these practices look both to the past and to the future. Our interests in these practices lie, in part, through applying a Lefebrevian lens to problematize the contested and dominated nature of the space within which these emergent forms of expression take place.

L’évolution constante du paysage médiatique invite les chercheurs à repenser sans cesse les changements de société sous différents angles, qu’ils soient culturels, sociaux, économiques ou historiques. Dans cette optique, les travaux sur la notion de convergence, ainsi que sur celle de transmedia se sont multipliés depuis le début des années 2000. Ceux-ci permettent d’analyser les stratégies mises en place par les acteurs pour construire et penser les relations entre supports médiatiques.
Cet ouvrage propose d’examiner le rendement heuristique de ces notions. Il vise également à étendre ces réflexions à des problématiques et des théories générales en sciences humaines et sociales, en plaçant le facteur humain et en particulier la construction des publics au coeur des questionnements.

Resumen
El presente trabajo pretende conocer si existe una estrategia de comunicación transmedia en Gadis, una empresa de supermercados gallega cuya publicidad destaca por las campañas “Vivamos como galegos!”. Se ha llevado a cabo un análisis de cuatro spots publicitarios para identificar sus elementos narrativos característicos, además de un análisis de contenidos de Gadis y “Vivamos como galegos!” en sus redes sociales y las páginas webs. Asimismo, se ha comparado su estrategia de comunicación con la de la competencia regional, además del engagement generado en dichas plataformas por las marcas. Por último, se han realizado dos entrevistas para obtener una perspectiva profesional y una académica sobre el tema. Todo ello posibilita reconocer unos insights de pertenencia que permiten diferenciar a la marca de la competencia, la fidelización de una audiencia cada vez más comprometida y el diseño de un mapa con los contenidos expandidos de forma transmedia en su conjunto.
Palabras clave: Gadis, “Vivamos como galegos!”, estrategia de comunicación, transmedia, insight de pertenencia, ser gallego, engagement.

Digital and social media systems/environments are a result of collective knowledge by the wisdom of crowds and Web 2.0 participatory cultures. They reveal the digital convergence of media, communication and content production/consumption (prosumption) by mediation, remediation and mediatization. Especially, prosumption activities by the complexity of user agency in social media create user-generated content and context as new sources of information flow among online and offline communities. Prosumers' social media practices not only show their creativity and identity dynamics but also educate about brands, products and services, lifestyles and personalities, as well as social and political issues among online communities by interactive conversations and transmedia storytelling. Their active and critical participations facilitate a restructuring of the power/knowledge relationship between production and consumption, and advocate a new global economic form of prosumer capitalism within social media ecosystems. This article explores a study of prosumption dynamics via users-as-prosumers' practices and perceptions and reactions toward digital advertising and marketing in social media and digital communication. Besides, it exemplifies the use of business and video ethnography to empirically investigate prosumers' behaviors and multi-layered identities via everyday social media practices.

La fantastica vita della plastica è una tesi pensata concettualmente con la logica del transmedia. È incentrata su un progetto a sua volta transmediale dedicato alla gestione della plastica in chiave di economia verde.
L’idea nasce dalla considerazione che la plastica è diventata la principale accusata dell’inquinamento ambientale e costiero. Osannata negli anni a ridosso della sua scoperta, ha subìto un ribaltamento: da rimedio a tutti i mali è diventata il male senza rimedio.
La tesi dimostra che entrambi i concetti sono errati e anche per la plastica esiste una “terza via”; consiste nell’uso più consapevole di questo materiale nato con un fine ecologico per evitare il depauperamento delle risorse naturali. Il consumismo e la logica dell’usa e getta hanno deformato l’impiego della plastica, creando le catastrofi ambientali che sono sotto gli occhi di tutti.
Pensare di eliminare tutta la plastica presente nella vita quotidiana di ognuno di noi è impossibile e diventerebbe forse ancora più dannoso per l’ambiente. La plastica deve continuare ad essere il rimedio a molti mali (non tutti), proprio per evitare lo sfruttamento sconsiderato delle materie; nello stesso tempo deve essere modificato il comportamento che porta la plastica ad essere fra i peggiori nemici del pianeta.
La fantastica vita della plastica, titolo della tesi, ha un significato duplice: l’aggettivo fantastica è da intendersi nel senso di “fuori dal normale”, fuori dall’ordinario; anche l’aggettivo straordinario è da intendersi nel senso di immaginifico, di qualcosa legato alla fantasia, all’invenzione. Ed infatti c’è ancora tanto da inventare e da ingegnare affinché la plastica possa diventare tutta riciclabile o, in alternativa, biodegradabile.
La soluzione facile e nota nella teoria è molto meno facile nella pratica. Andare verso la gestione corretta di questo materiale sintetico non è facile, ma è possibile. Tutto gioca sulla cultura la cui divulgazione attiene alla sfera della comunicazione in tutte le forme e con tutti i mezzi a disposizione. In un contesto di audience diffuse e di una pluralità in continua crescita di canali mediatici, è necessario adottare una strategia comunicativa che coinvolga quanti più pubblici possibile. In questo contesto storico, il transmedia è l’impostazione narrativa che meglio di ogni altra consente di raggiungere questo risultato.
L’ultimo capitolo della tesi entra nel vivo della questione: prendendo spunto da un progetto destinato alle scuole, “Humans save the sea”, che prevedeva già una partecipazione dal basso, quella degli studenti, è stato costruito un progetto transmediale contenente più elementi narrativi fra cui uno slogan, un documentario, una web serie, un Arg e un teaser in formato audiovisivo. Si tratta di strumenti differenti e indipendenti, ma che vanno a comporre un universo narrativo che possa coinvolgere altre audience, oltre a quelle studentesche.
Solo arrivando a sensibilizzare il numero più alto sia di individui singoli, sia realtà strutturate come le istituzioni, le industrie e il terziario si può sperare di arrivare a quel punto di equilibrio tanto agognato che riesce a far convivere il progresso con l’ambiente, senza che l’uno danneggi l’altro.

A transmídia veio para ficar. A multiplicação de dispositivos, plataformas, telas e o modelo de negócios das franquias, tudo isso conspira a seu favor. Além disso, o conteúdo que nela domina - a cauda longa de histórias contadas, desdobradas e diversificadas em meios audiovisuais - imanta curiosidade dos usuários desses meios.
Desde que foi lançado no Brasil o livro de Henry Jenkins, Cultura da Convergência, no qual o autor desenvolve sua teoria sobre transmídia storytelling, esse tema passou a atrair crescentemente a atenção de todos aqueles que pesquisam e trabalham com as mídias digitais. Hoje o tema se tornou obrigatório como objeto de estudo em todos os cursos que, de uma forma ou de outra, direta ou indiretamente, tratam dos impactos e destinos das redes sociais na cultura humana. Neste volume o leitor encontrará uma miríade de questões implicadas no tema da transmídia e seus desafios presentes. Trata-se de um volume histórico que traz para o público brasileiro o resultado das pesquisas que têm sido desenvolvidas por estudiosos em nosso país, inclusive com contribuições internacionais.
Esse volume apresenta quatorze capítulos escritos por alguns dos principais pesquisadores nacionais e internacionais do tema, oriundos de diferentes áreas e campos do saber, mas todo preocupados com as metamorfoses irreversíveis pelas quais as mídias e as linguagens estão passando. Esta diversidade é prova da relevância e das potencialidades práticas e teóricas da transmídia na atualidade.

This article explores two stories told during the production of the transmedia documentary project <em>Big Stories, Small Towns: Bongkud-Namaus</em> in the Dusun villages of Bongkud and Namaus in Sabah, Malaysia. Both stories relate to hungry and sacred entities – an atomised, monstrous moon-eating spirit called the Tarob, and a sacred oath bound in blood, which eats anyone who breaks it. The article will introduce the<em> Big Stories, Small Towns</em> project, the process that underpins this project and the site of production in Sabah of one iteration of the <em>Big Stories, Small </em><em>Towns</em>, before analysing heterotopic conceptions associated with aspects of folklore in the Southeast Asian region. Providing a theoretical framework that reflects upon a key text by Evans (1953) – an early translator of Dusun folklore for Western audiences – aspects of Dusun culture will be explored that illuminate details of the two case study...

(pp. 17-24)  Although paving the continuity road towards 'The Avengers', 'Captain America: The First Avenger' is as interesting for the ways in which it differs from the previous four Marvel Cinematic Universe (MCU) films as for its similarities and connections with them. Fittingly, at the heart of the film is the notion of mould-breaking, as the emergence of Captain America (Chris Evans) simultaneously heralds a new beginning for U.S. efforts in the Second World War, and the disappearance of a promised future army of Super-Soldiers with the death of scientist Abraham Erskine (Stanley Tucci) at Nazi hands. In Marvel comics, the status of Cap as a one-off is regularly foregrounded in the dynamic of his relations with other heroes; respecting this singularity, Cap's origin as an instrument to fight a specific war is developed by director and screenwriters in a way that accounts for the existential loneliness, as well as the matchless virtues of heart and courage, of the character.

Interactivity with users represents a key feature of transmedia storytelling. This research revolves around the way viewer engagement influences the content of an interactive Web series-namely, Si fueras tú. The series used a strategy based on social networks to encourage viewer participation in the decisions of the protagonist. Research uses a mixed study methodology that includes (1) an analysis of turning points, (2) an analysis of characters, (3) content analysis based on viewers' comments on social media, and (4) in-depth interviews with project managers to illuminate the process of building the transmedia strategy. Findings confirm that audience participation influences the content of the fiction series, albeit in a limited way, with the main aim being to retain the audience as part of the marketing strategy.

TEESID: Artikli eesmärk on arutleda transmeedia protsesside üle hiiu-pärimuse näitel, kasutades eeskätt folkloristika ja meediauurimise mee-todeid. Hiiupärimus ja eriti eepos " Kalevipoeg " kui rahvuslik tüvitekst on ajendanud eri meediavormides liikuvaid tekste. Hiiutekstid osalevad tänapäevani rahvalikus ja rahvuslikus kultuuriruumis, nad on kandnud eesti identiteeti, olnud olulisel kohal konkreetse paikkonna kohaliku identiteedi loojana – see peegeldub kodumaisele publikule suunatud trükistes, reklaamides ja esemetes. Kujundina on hiiud suunatud ka väljapoole rahvuslikku ruumi. Lähemalt iseloomustatakse Kalevipoja ja Suure Tõlluga seonduvate lugude peegeldumist meedia eri vormides ning nüüdismeedia kultuuritundmist.

Motion graphics or typographical animation has been used by the film and television industry for decades in order to present and promote movies and tv shows, while this industry has adopted traditional animation techniques in its arsenal of tools, it is also known for pioneer research and development of new techniques, mainly in computer graphics.

Digital media allows designers to use of animation to convey time based visual messages where static images have traditionally been used. With the growth of  the field of motion graphics, this industry can benefit from the interaction of research conducted in design and animation.

RESUMEN

Este trabajo explora las opciones que existen para ampliar los horizontes narrativos de los mundos de ficción en las actuales series de televisión. En él se analizan, única y exclusivamente, contenidos de ficción. Teniendo en cuenta las unidades clásicas de tiempo, espacio y acción, se propone una serie de estrategias que amplían la información de la historia que se narra, añadiendo a los personajes como una importante fuente de expansión que genera gran riqueza narrativa a través de los medios. Toma como muestra para el análisis los contenidos de ficción del proyecto de la ficción audiovisual española El Ministerio del Tiempo (TVE, 2015-actualidad). Se concluye que la metodología y las estrategias de expansión propuestas son eficaces a la hora de crear este tipo de narraciones, demostrando que el concepto de la expansión narrativa es clave y es la principal característica en los proyectos transmedia.

ABSTRACT

This work explores the options that exist to expand the narrative horizons of the fictional worlds in current TV series. This study analyze, exclusively, fiction contents. Considering the classic units of time, space and action, this paper suggests a series of strategies that expand the information of the story that is narrated, adding to the characters as an important source of expansion that generates great narrative wealth through the media. The sample for the analysis is Spanish audiovisual fiction project The Ministry of Time (El Ministerio del Tiempo, TVE, 2015-today). It concludes that the proposed expansion methodology and strategies are effective in creating this type of narration, demonstrating that the concept of narrative expansion is a key point and it is one of the main characteristics of transmedia projects.

Case study of Warner Communication's use of long term planning and its transindustrial corporate structure to develop, synergize, and franchise the film Batman (1989).  Published in The Many Lives of the Batman (1991) and republished in The Many More Lives of the Batman with a methodological postscript (2015).

El presente artículo busca explorar los modos
en que estas actividades de creación libre,
informal y cotidiana de los jóvenes en entornos
extraescolares puede ser aprovechada pedagógicamente
desde el medio educativo con un doble
objetivo: por un lado, para atender los variados
intereses y necesidades de los alumnos; por otro,
para acompañar los nuevos aprendizajes y construir
conocimiento con ellos. En un contexto en
que la escuela y la universidad se hallan atravesadas
por nuevas prácticas y dispositivos que se
filtran por la porosidad inevitable de sus paredes,
es necesario capitalizar didácticamente dichos saberes
procedentes del afuera de la institución educativa
para transformar la enseñanza en una actividad
emancipatoria, generadora de significados
relevantes para los jóvenes y niños de hoy.