Abstract

In recent years, Wattpad has become the leading collaborative reading and writing platform allowing young writers to publish their works, some of which belong to the tradition of fan fiction, including stories derived from a source text from popular culture. The main objective of this article is to explore how teenagers reading and writing fan fiction on Wattpad apply transmedia skills related to production and narrative and esthetic reflection. Using a theoretical framework that integrates transmedia literacy, fan fiction communities as affinity spaces, and Wattpad as a tool to promote transmedia reading, we carry out a qualitative study using data collected from workshops, media newspapers, and interviews with adolescents in five different Spanish regions. The results highlight identity-play in the production of the stories, in which fanfics about real-life celebrities from the teenagers’ media universes coexist with original stories inspired by the authors’ personal lives and interests. Likewise, there is a trend toward the hybridization of fan fiction with languages and formats more typical of social media platforms, such as Instagram, with a superficial application of narrative and esthetic transmedia skills related to fan fiction practices.

Abstract

This article presents the findings from an experimental study on the use of binaural audio in two long-form journalistic features broadcast on Portuguese radio. From a production and narrative design perspective, our objective is to examine whether/how binaural audio implies a transformation of previously established news radio production work principles and practices, as well as of storytelling ideation and techniques. From a user experience viewpoint, we examine whether the use of binaural audio translates into higher levels of self-reported immersion and place illusion (n = 77). Despite the spread of new audio journalism formats, media and communication studies have until now largely neglected the role of spatial audio in the construction of immersion and the illusion of place. We argue that this epistemic omission translates into an image-centric conception and operationalization of the immersive journalism proposal, which stands out as a knowledge gap regarding the work of journalistic storytellers and relating to participants’ actual experience. The original contribution of this article is threefold: (1) conceptual, by broadening the perspective of journalism studies’ scholars and media professionals on the concept of immersive journalism, which, in our view, is often incorrectly considered to be synonymous with that of virtual reality journalism; (2) practical, by generating a more nuanced understanding of how actual practitioners perceive and employ immersive journalism; (3) phenomenological, by developing an examination of the factors that influence listeners’ ultimate perception of the immersive experience.

Abstract

In a context marked by the emergence of new platforms and interfaces, digital native media face the challenge of organizing and presenting their content in an effective and eloquent way. This milestone requires ongoing work toward the identification and conceptualization of the dimensions that map the structural and formal requirements necessary for fluid communication with audiences and adequate visibility in the digital ecosystem. This study, which adopts a quantitative–qualitative methodological design, proposes, describes, and applies a taxonomy for the analysis of digital media web interfaces. Based on a review of the literature, two rounds of expert judgment, and a pilot test, the research identifies 14 thematic dimensions, 36 indicators, and 69 variables. The study focuses on the importance of renewing research about taxonomy related to structural dimensions that address narrative, quality, usability, information search, and content redissemination and socialization, among other aspects. The study of web interfaces applied to journalism demands long-term research work with a holistic approach that, at a conceptual and practical level, can offer proposals for analysis and diagnosis on the basis of an integrated method. 

Abstract

This article relates the activity in the press of the writer Aurora Bertrana with her literature, and it makes evident the interdependence of journalism and literary creation in the first stage of the author’s production. It also analyzes the key role of this interaction in the construction of her image as well as in the consolidation of her intellectual prestige.

Abstract

This paper presents the problems we have in a current society educated in the visual culture to teach Audio-visual Narrative in such a way that it takes a constant work of learning in the practical activity. Using this criterion, we begin studying the previous cultural parameters and continue with the practices, evaluation methods and feedback between pupils and teachers.

Abstract

Broadcasting and industrial television is a trip back to the past, to a space devoid of meaning, and to the boredom resulting from its moral conservatism, lack of creativity, thought and entertainment. But television’s monopoly over public screening is over; now, anyone can be a producer, an audiovisual narrator with his or her own screen. New television and other screens are daring to change the way stories are told: a more subjective, testimonial and imagebased journalism; a hyperrealist soap opera that dares to bring melodrama to comedy, documentary and local cultures; a bottom-up media with people in charge of breaking with the thematic and political homogeneity of the media, market and development machines. This essay will argue in favor of television as a space for expression by unstable identities, narrative experiments and unknown possibilities for audiovisual creation…only if «it takes the form» of women, indigenous peoples, African races, the environment, other sexualities…and plays on YouTube and new screens that are community-based and cellular. The most important thing is for television to move away from an obsession with content towards aesthetic and narrative explorations of other identities and into narratives that are more «collaboractive», with the possibility that they become the stories we want them to be.