Abstract

This paper explores the contributions of transmedia storytelling in the construction of fictional worlds, in an attempt to detect the narrative elements that strengthen the bond of the audience with the fictional world. The study shows that based on the solid construction of the poetics of a story, transmedia storytelling can enrich the engagement with a large audience. To prove this, we analyze the narrative elements and the transmedia strategies of the series Aliados, produced by Cris Morena Group and broadcasted in Latin America and countries in Europe.

Abstract

This paper explores the contributions of transmedia storytelling in the construction of fictional worlds, in an attempt to detect the narrative elements that strengthen the bond of the audience with the fictional world. The study shows that based on the solid construction of the poetics of a story, transmedia storytelling can enrich the engagement with a large audience. To prove this, we analyze the narrative elements and the transmedia strategies of the series Aliados, produced by Cris Morena Group and broadcasted in Latin America and countries in Europe

Abstract

This paper approach the study of transmedia phenomenon as a set of relationships that involves not only intertextual narrative conditions, but also anthropological. With two goals: first, to structure a system that serves intertextual analysis tool to own transmedia products of the culture industry and the second, to generate possible keys to be used as a pedagogical strategy in the classroom to encourage reading and writing in conjunction with other symbolic systems. So, the article introduces the reader to the phenomenon of transmediality, which is then reviewed proposals from Henry Jenkins and Marsha Kinder that serve as material for developing a transmedia Intertextual System, which applied as a methodology for the analysis of a case of the entertainment industry, The Walking Dead ®.

From the above and way of results, the text identifies key for this type of transmedia systems, which are applied as instructional strategies for teaching in basic education levels in secondary and high schools, as evidenced in the The Odyssey study. Finally, in conclusion exposes the importance of exploring the possibilities offered by the study and reflection transmedial in areas that transcend the world of entertainment.

Abstract

Abstract

Abstract

Transmedia storytelling has been practiced in the global entertainment industry for decades. The popularity of this mode of production across genre is indicative of its value. Malaysian producers have been influenced by the trend and have actively sought to explore and exploit the concept in animations such as ''Cicakman, BoBoiBoy, Upin Ipin ''and ''The Kampung Boy''. However, it is unclear when the practice first gained traction on the Malaysian entertainment landscape. '' ''Henry Jenkins is the preeminent scholar in the field of transmedia storytelling, and we propose to use his theory to underpin our critical research. This study will attempt to clarify the concept and explore the growth of the practice in the local animation industry; using Jenkins model as the standard.

Abstract

Habitualmente se piensa que los fans y los trabajos hechos por fans se basan únicamente en la adoración de éstos por los textos de origen, pero esto no es cierto: los fans son muchas veces los críticos más feroces ya que, al conocerlos tan bien y formar parte de una comunidad en torno al texto, son capaces de encontrar recursos (literarios, cinematográficos, etc.) recurrentes que muchas veces contienen elementos machistas, racistas o similares, que los fans pasan a criticar; en otros casos es el mismo texto el que les permite hacer una crítica de la sociedad; y en otros, los fans se sienten traicionados por el autor del texto base y pasan a criticar la actitud de éste. Estas críticas pueden realizarse de muy distintas maneras: ya sea por medio de textos escritos en las que se analiza el texto base, por medio de relatos, películas, cómics, vídeos u otros en los que se expone la crítica. Son en los trabajos creativos (relatos/películas/vídeos) realizados por fans en los que nos centraremos, ya que son los que se alejan más de la crítica tradicional y, aunque formalmente algunos de ellos puedan estar más cerca de la parodia o la sátira, el fondo normalmente se aleja de ellas tanto por la relación de los fans con el texto, como por el contenido de las mismas.