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Television series enhance the social visibility of their content, as is the case with Queen Elizabeth II and The Crown. Netflix is the streaming television platform that has turned Peter Morgan's successful series (2016) into a television icon where the monarch is the main protagonist, taking us on a biographical journey that mixes the historical and the political with fiction. The main character is made to seem more humane and is brought closer to the general public, all of which leads to a transmedia narrative. This research aims to analyze the content of the messages published on Twitter during the days surrounding the Queen's State funeral in September 2022 and their connection with the series through the hashtag #TheCrown. The topics that have become trends worldwide are quantitatively analyzed, using different digital tools. The sample collected 1,489,279 tweets published during the days from the announcement of the death of Elizabeth II to the day of her funeral (from 8 to 19 September 2022). The results show nodes of connection between different players and linked communities to #TheCrown while offering the traffic generated by the hashtag with different nodes and edges. [ABSTRACT FROM AUTHOR]

The plots of soft-boiled novels usually offer a game of riddles and puzzles that challenge the reader. That is why it has been easier for structures to be adapted to new dimensions. Through interactive literature and transmedia narrative, the aim is to explore how this genre has been transferred to other works in different formats. The study will address some concrete examples to finally show the design of an interactive and transmedia product with the purpose of teaching literature to high school students. The research does not aim to show a learning process but the design and development of a game to learn.

Television series enhance the social visibility of their content, as is the case with Queen Elizabeth II and The Crown. Netflix is the streaming television platform that has turned Peter Morgan’s successful series (2016) into a television icon where the monarch is the main protagonist, taking us on a biographical journey that mixes the historical and the political with fiction. The main character is made to seem more humane and is brought closer to the general public, all of which leads to a transmedia narrative. This research aims to analyze the content of the messages published on Twitter during the days surrounding the Queen’s State funeral in September 2022 and their connection with the series through the hashtag #TheCrown. The topics that have become trends worldwide are quantitatively analyzed, using different digital tools. The sample collected 1,489,279 tweets published during the days from the announcement of the death of Elizabeth II to the day of her funeral (from 8 to 19 September 2022). The results show nodes of connection between different players and linked communities to #TheCrown while offering the traffic generated by the hashtag with different nodes and edges.

The juxtaposition of camp and smart cinema in the context of American filmmaking seems justified since both categories fit into a more general notion of Indiewood, reflecting the culture of irony and parody. I consider three comic book movies with their camp characteristics: 1966 Batman by Leslie H. Martinson and 2016–2018 dilogy, Deadpool by Tim Miller and Deadpool 2 by David Leitch. Leslie Martinson’s Batman is one of the first comic book movies in the stylistics of camp, a concept introduced by Susan Sontag. The Deadpool dilogy can be referred to as smart cinema, aimed at a special form of emotional sensibility of the viewers, which brings smart cinema closer to the notion of camp. However, the excessive redundancy and hyperbolism of Batman is to a greater extent quirky and does not reach the level of smart cinema, which implies a more sophisticated “culture” of irony and parody. Deadpool is constructed as a self-referential, mockingly ironic film that uses the technique of breaking down formulaic clichés by accentuating them. Leveraging the resources of its media universe allowed Marvel to spark viewers’ interest. And by mixing various groups in a specific gaming space, by encouraging the audience to participate in discussions of its products on social networks, the studio went beyond the Hollywood unidirectional marketable filmmaking. Соположение категорий кэмпа и так называемого smart cinema в контексте современного американского кинопроизводства представляется оправданным как вписывающихся в более общее понятие «индивуд», то есть гибрид независимого и голливудского кино, и отражающих культуру иронии и пародии. В статье рассматриваются три кинокомикса («Бэтмен», 1966 и дилогия 2016–2018 годов «Дэдпул» и «Дэдпул 2») с характеристиками кэмпа. «Бэтмен» Лесли Мартинсона вошел в историю как один из первых кинокомиксов в стилистике кэмпа. Дилогию о Дэдпуле можно отнести к категории smart cinema, нацеленных на особую форму эмоциональной восприимчивости зрителя, сближающей smart cinema с понятием «кэмп», введенным американским культурологом Сьюзен Сонтаг с искусственностью и избыточностью которого корреспондировала эстетика технологической эры. Однако чрезмерная избыточность и гиперболичность «Бэтмена» соответствует, скорее, понятию quirky (что означает «причудливый», «эксцентричный»), но не дотягивает до smart cinema, предполагающего более изощренную «культуру иронии» и пародии. «Дэдпул» конструируется как автореференциальный, насмешливо-иронический фильм, использующий прием избавления от формульных клише за счет их акцентирования. Подключив ресурсы своей медиавселенной, «Marvel» активировала интерес зрителей. Стимулировав смешение различных групп в особом игровом пространстве, побудив аудиторию участвовать в обсуждении своей продукции в соцсетях, ее создатели вышли за рамки однонаправленного товарного кинопроизводства.

The visual album represents a new communicative artifact originated with the logic of the transmedia context in its expansion of the music video clip format. Three case studies are analyzed, using multimodal analysis to know the meaning and contribution of visual materials, looking for elements of intertextuality and repetition of motifs and visual patterns for the realization of a storytelling. The conclusions point to three different paths in the construction of a self-expressive representation of the artists, thanks to a visualized performativity and materialized in a greater intertextuality and use of cultural appropriation. [ABSTRACT FROM AUTHOR]

This article examines the implementation of worldbuilding in the Malaysian animation franchise, BoBoiBoy, through the portrayal of 'Power Sphera Universe' across various installments. Worldbuilding refers to the creation of a fictional storyworld in which a set storyline(s) take place. Within the scope of storytelling, worldbuilding plays an integral role as it enables a storyworld to sustain or encompass multiple storylines that were produced for various media platforms. This study will argue that the portrayal of 'Power Sphera Universe' in various installments across the BoBoiBoy animation franchise ensures that the encapsulated and uniquely developed stories remain interrelated to one another, allowing the audience to enhance their understanding and comprehension over the overall transmedia storyworld. The discussion will visit the utilization of contextualizing devices as a primary means of worldbuilding across several storylines within the BoBoiBoy animation franchise [ABSTRACT FROM AUTHOR]

This article explores the application of the concept of transmedia narrative to the construction of the public image of political figures, in a media context characterised by the prevalence of infotainment and the dissolution of the boundaries of political content. To attain this objective, a case-study on a specific leader is carried out; he is a regional leader recognised at a national level thanks to his discursive strategy: president of Cantabria, Miguel Ángel Revilla, chosen for his role as a regular guest on T.V shows of all kinds, as well as for having become the third most followed Spanish politician on social networks. Through content analysis, we examine the character’s own performance on different media (television, social networks and an autobiographical book) along with the reactions provoked among the cybernauts. The results show a multiplatform narrative adapted to the specific formal language of each of those media and formats, constantly maintaining the application of politainment features (personalisation, entertainment, emotiveness and trivialisation of the issues). Regarding the effects, there is a high level of involvement and a love-hate dichotomy among the public, as proved in social networks. Consequently, in the transmedia political narrative (TPN) the users co-create the resulting image of the politician who is finally perceived by the audience. In addition, the success of Revilla’s communication strategy is verified via ensuring that the self-assigned values in his speech, such as leadership and closeness to the people, match those that the audience identify with his figure.

Literary narratives are well recognised for their power to foster engagement with complex social themes. Transmedia narratives, which present the same story in different media, can help advance both critical multimodal discourse studies and multiliteracies pedagogies. To harness this potential, we need to develop methods for systematically relating media affordances to discourse-semantic patterns and the broad social themes these patterns construct in narratives, and ensure these methods build on the knowledge learners bring to the classroom. This article introduces a social semiotic method for analysing transmedia narratives and illustrates its ability to reflect the persuasive power of narrative and build on young children's critical multimodal awareness. This is achieved through a case study comprising data from three adaptations of the same award-winning narrative - animated film (Joyce, W. (Producer), Joyce, W., & Oldenburg, B. (Directors) (2011). The fantastic flying books of Mr Morris Lessmore [Motion Picture]. Moonbot Studios), interactive app (Moonbot Studios. (2011). The fantastic flying books of Mr Morris Lessmore (Version 1.4). [Mobile Application Software]), and traditional-format picture book (Joyce, W. (2012). The fantastic flying books of Mr Morris Lessmore. Illustrations by William Joyce and Joe Bluhm. Moonbot Books) - and mother-child interactions with the book and the app. [ABSTRACT FROM AUTHOR]

This article describes the evolutionary process and the state of the art of podcasting from a theoretical and analytical perspective. This work integrates the main results of several researches carried out by the author in different countries, whose main conclusions show that podcasting has acquired a transmedia narrative texture that goes beyond the monomedia model from its beginnings, giving way to a new medium, transpodcast, which presents complex structural systems characterized by a specific multiplatform grammar and a high diversity of contents. Transpodcast is supported by the development of robust affinity communities, users and fans. These communities are built as peer-to-peer communication spaces and algorithmic environments where an evident automation of the fandom takes place.

The article discusses the concept of authenticity in relation to literary travel and other forms of media-induced travel. Focusing on the power of fictional narrative to draw members of the audience to locations associated with a story, the paper aims to find out what exactly visitors are expecting to find when journeying to locations with literary and media associations. An overview of previous research demonstrates how the concept of authenticity has been understood in connection with travel inspired by literature, films and TV productions. An analysis of recent research, focusing on literary and screen-induced travel, demonstrates that perceptions of what is authentic varies between individual visitors based on their level of dedication to fictional narratives and the meanings they attribute to them. There is a number of ways in which visitors seek for and encounter different types of authenticity at sites with media connections.

Copyright of Historia y Comunicación Social is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the application of the concept of transmedia narrative to the construction of the public image of political figures, in a media context characterised by the prevalence of infotainment and the dissolution of the boundaries of political content. To attain this objective, a casestudy on a specific leader is carried out; he is a regional leader recognised at a national level thanks to his discursive strategy: president of Cantabria, Miguel Ángel Revilla, chosen for his role as a regular guest on T.V shows of all kinds, as well as for having become the third most followed Spanish politician on social networks. Through content analysis, we examine the character's own performance on different media (television, social networks and an autobiographical book) along with the reactions provoked among the cybernauts. The results show a multiplatform narrative adapted to the specific formal language of each of those media and formats, constantly maintaining the application of politainment features (personalisation, entertainment, emotiveness and trivialisation of the issues). Regarding the effects, there is a high level of involvement and a love-hate dichotomy among the public, as proved in social networks. Consequently, in the transmedia political narrative (TPN) the users co-create the resulting image of the politician who is finally perceived by the audience. In addition, the success of Revilla's communication strategy is verified via ensuring that the self-assigned values in his speech, such as leadership and closeness to the people, match those that the audience identify with his figure. [ABSTRACT FROM AUTHOR]

In this essay, I aim at developing the notion of transmedia storytelling beyond the standard formula popularised by Henry Jenkins in 2006 and upgraded on several occasions on his blog. I would like to focus on the innovative transmedia poetic storytelling based on data visualisation, concerning the issue of migration and movement across borders. The four prominent examples include Migration Trail by Killing Architects, aimisola.net/hymiwo.po:a poemtrack for a yet-to-be-written dance piece by Álvaro Seiça and Sindre Sørensen, and two projects by María Mencía that can be considered as one creative endeavour due to their genealogical and aesthetic proximity: Gateway to the World and The Poem That Crossed the Atlantic. They might not be an example of "storytelling," in the traditional meaning of the word, yet they carry some narrative potential primarily in the way they handle the available data on spatial practices. To what extent the idea of movement in space is mirrored in the transmedia characteristics of the texts, often based on real events, which might include layers of information about the processes happening in the real world? Is transmedia just a formal feature of these cultural texts? By answering such questions, I want to point out that transmedia narration (based on the dynamic circulation of content on the Web) became normalised as part of everyday media cultures. Therefore, attention should be paid not only to cultural texts as such, but also to the broader cultural practices within networked media. [ABSTRACT FROM AUTHOR]

A team from the University of Coimbra is partnering with the producers of Inanimate Alice to present a distinctive vision of interactive storytelling in education. In this article, we will discuss the origins of the series, the vision of the creators and how technological developments have added to the user experience. Uniquely, this transmedia narrative demonstrates the progressive complexity of life in the digital age with Perpetual Nomads, the latest adventure, providing a narrative experience in Virtual Reality. The goal of the Portuguese translation is to introduce the reading of Inanimate Alice in elementary and secondary schools. It will be the first digital-born text to be read in Portuguese schools so, concurrently, we have been translating the pedagogical guidelines. Consequently, we intend presenting both the results of our work and the main challenges faced during preparation of the translations, especially focusing on intercultural analysis.

Transmedia narratives are a key topic of communication research. Transmedia adaptations occur when a narrator transposes an original work by using various media platforms. Considering pictorial turn, this study employed the intermediality of an animated work that was adapted from an award-winning picture book as an example to propose an analysis for theory building. After examining the literature on transmedia narratives, intermediality, and aesthetic communication, this study proposed analyses for the dimensions of transmedia adaptations of pictorial narratives and aesthetic pole interpretations. Focusing on the three layers of the artistic pole, aesthetic pole, and interactions and effects, this study cited the cases of award-winning picture books and adapted animated works as the basis for reflecting on aesthetic communication. The artistic pole of transmedia adaptation was used as an example of how a narrator employs intermediality by citing the pictures, plot, or art forms from an original work to reinvent structures and then adapts them according to intermediality. If the aesthetic pole views the adapted animated work after reading the picture book or forms an expectation of the adaptation because of intermediality, then when the audience watches the adapted animated work, their imagination could be stimulated by the intermediality (i.e., picture book graphics and scene depictions). For transmedia narrative interaction, the aesthetic pole must “fill blanks” or “negate” to continue to view the adaptation. For filling blanks, because of intermediality, the aesthetic pole must construct an “intracompositional intermediality” to connect with the visual and audio links of the same work or construct “extracompositional intermedialtiy” to associate the original work with the transmedia adaptation. For negation, when viewing the adaptation (i.e., presentation of picture book graphics, added music, or theme song), the aesthetic pole must gradually adjust his or her expectations to engage with the transmedia universes.

The article provides a wide theoretical analysis of the relatively new phenomenon - the transmedia narrative. The work starts with a broader overview of the historical and social aspects related with the narrative structures. Subsequently, it reviews the wide spectrum of literature outlining the very concept of "narrative". Towards the end, the most prominent scholar definitions of the term "transmedia narrative" are examined and analyzed. As a result, a coherent definition is offered in order to serve as a basis for further research into the diminishing attention spans of the modern audience, the media convergence and the applications of user-generated content.

We are witnessing the emerging of the European single digital market which brings new opportunities for the transmedia and cross-media producers. Although the European media landscape does unite, culture and language boundaries are remaining. "East Grimm" is a cross-cultural transmedia project that is concerned with ancient heritage, old traditions and mythology in popular form. The old mythologic stories are accessible to creative retelling, they are timeless, and they project into our today's life. This paper describes the "East Grimm" project and its development. The project narrative offers an opportunity to observe cultural specifics in today's storytelling and the stories themselves. [ABSTRACT FROM AUTHOR]

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of this article is to discuss transmedia narratives based on giant lore, which is described by means of examples from folkloristics and transmedia dissemination. Giant lore, particularly the epic Kalevipoeg, a core text of Estonian culture, has generated numerous transmedially circulating texts and various contemporary forms. Through their connections with media, texts about giants continue to participate in the national cultural space; in previous eras, they have been carriers of Estonian identity or, alternatively, have held an important place in the creation of local identities. The latter can be observed today in printed matter, advertisements, and products marketed to the homeland public. However, texts about giants can also be used as a self-characterising image directed beyond national space. The article provides a closer look at ways in which stories connected with Kalevipoeg and Suur Tõll are engaged in different levels of media, as well as necessary contextual cultural knowledge for understanding contemporary media clips. [ABSTRACT FROM AUTHOR]

Children's engagement with transmedia narratives, where the same story is presented through different media such as book, film and interactive app, can reveal their knowledge about different modes, media and software for multimedia authoring. Such insights provide a suitable starting point for developing effective approaches to critical multimodal literacy education in the digital age. Specifically, they can inform decisions about which concepts and frameworks for the critical multimodal analysis of texts and digital technologies to adapt for use with young learners. We advance this argument through a case study comprising: • the transmedia narrative The Fantastic Flying Books of Mr Morris Lessmore in its film (Joyce and Oldenburg, 2011), interactive app (Moonbot Studios, 2011), and traditional picture book (Joyce, 2012) formats; • observations of mothers and their 4–5-year-old children's interaction with the book and the app; • a comic strip and a LEGO animation created respectively by a 7-year-old (Oskar) and a 10-year-old (Ollen), which represent a scene from that narrative; and. • an interview with Ollen about his experience of making the animation with the software tools Stop Motion Studio and GarageBand '08. The case study's findings reveal: • preschool-aged children's awareness of media affordances and semantic patterns in narrative. • the older children's understanding of narrative conventions and capacity to construe broad social themes by selecting the most apt semiotic resources available in their chosen media. • the ways both familiarity with different digital semiotic technologies and non-digital resources (e.g. LEGO) and a software's design can shape a child's multimedia authoring. Drawing on these findings, we argue that observations of children's experiences with transmedia narratives provide a suitable starting point for developing effective approaches to critical multimodal literacy education in the digital age. We posit that such observations can help educators consider which concepts and frameworks for the critical multimodal analysis of texts and digital technologies to adapt for use with young learners in the classroom. This necessarily involves examining continuity and change across old and new technologies and semiotic practices. [ABSTRACT FROM AUTHOR]