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This study explores a pronounced queer women-centered pop cultural imaginary in post-2010 China, namely, "older sister" (jie 姐) fantasies that center around mature women. It contextualizes this imaginary in relation to Asian and Chinese-language girls' love (GL) and queer women's cultures. I trace this "older sister" trope on contemporary Chinese TV to the enduring popularity of an online 2012 autobiographical-styled queer women's story known as the "sister-kid literature." My analyses of the transmedia metamorphosis of the trope and the wide recitation of the story in contemporary Chinese media and pop cultural terrains reveal an evolving, heteronormativity-intervening temporal logic of adult female homoerotic narratives. By (re)considering the significance of reconstructing this "older sister" imaginary across divergent media to dismantle China's heteronormative-patriarchal assertions of the (non-)futurity of adult lesbianism, I suggest transformative ways to understand queer women-driven (trans)media productions and cultural activities that are situated in largely LGBTQ-suffocating social and fantasy worlds. [ABSTRACT FROM AUTHOR]

Television advertising is an important channel through which brands create equity, based on the brand associations that consumers derive from viewing television advertisements (TV ads). This study examines how these associations' effect on brand authenticity may depend on how brand-related information is received through multiple media channels. The entity-referent correspondence framework conceptualises brand authenticity along three dimensions of truthfulness. Based on a national panel involving food brands, this study indicates that TV ad-related brand associations strongly influence brand authenticity, depending on consumer social brand engagement and brand scandal awareness. In turn, brand authenticity reinforces brand equity by improving brand clarity and uniqueness. Our findings provide insights to assist advertisers design TV advertising campaigns that create authentic brands. [ABSTRACT FROM AUTHOR]

El presente artículo se enfoca en el análisis de las narrativas transmedia a través de la plataforma de streaming Netflix. Desde el año 2021, esta empresa ha expandido sus contenidos más allá del video, como parte de sus estrategias mediáticas de comunicación, al incorporar videojuegos dentro de la suscripción mensual a su plataforma. Estos juegos tienen el valor agregado de pertenecer a las narrativas originales de los contenidos, no contener comerciales, ni pagos extra dentro de la aplicación. Por ello, se examinan las similitudes y diferencias entre dos series y sus respectivos videojuegos: Stranger Things y Narcos, junto con Stranger Things 1984 y Narcos: Cartel Wars Unlimited. Ambas series han marcado significativamente el despliegue de las narrativas en otros medios. Mediante un enfoque narrativo-hermenéutico, se exploran las categorías de personajes, espacios, tiempo, estilo narrativo, participación de la audiencia y estructura narrativa en los contenidos mencionados. Esto permite investigar las estrategias y formas en las que se configuran las narrativas transmedia para mantener la coherencia y participación de los usuarios.

In recent years, many Western transmedia projects have entered into the Chinese market, with their own cultural influences. In this situation, we should pay attention to how Chinese transmedia projects are developing, what are the collisions between Chinese and Western cultures, and what are the opportunities and challenges brought by transmedia projects. The purpose of this research is to understand the popularity of Western transmedia projects in China, to examine the reasons for their popularity, and to recognize the opportunities and challenges in this situation. The study uses mixed methodology: secondary data analysis, online survey, and in-depth personal interviews. It has been found that Western transmedia projects are popular in China due to the cultural, technical, and promotional reasons which have been discussed in details. One of the reasons for Western transmedia projects been not popular deals with the problem of cultural distance and alienation.

Through the lens of ecologies of belonging, The City as Escape Room transfers a simple and commonly held understanding of the escape room into a metaphor that reveals a complex layering of place, participation, and affect in meaning-making for transmedia storytellers. It situates the city as a play space where community participation, meaning-making, and co-creation are interwoven as meaningful story experiences. By mirroring the practice of urban foraging, the discussion explores transmedia storytelling as a form of sympoiesis that brings into being a shared memory, a becoming-with the city for the community that resides within. Avoiding the common placemaking tropes associated with public sector marketing and economic (re)generation, city-wide transmedia storytelling is instead considered a form of speculative fabulation that can defamiliarize the familiar and generate affective story experiences. The offering of a case study that contrasts commercial and community-driven transmedia experiences further illuminates how immersive experience design can take hold of a city as a play space and render it as a meaningful story experience.

This article is a descriptive study with a qualitative approach that compares the transmedia narratives of memory from the digital platforms of the Museum of Memory and Human Rights of Chile (www.mmdh.cl) and London 38 (www. londres38.cl). The object of study corresponds to a specific sample of content in which the characteristics and narrative approaches are investigated, visualized through journalistic genres, artistic productions, social, creative and commemorative activities. The existence of typologies of memory is demonstrated that generates a transformation in cultural organizations that disseminate the past, covering all areas of contemporary life at the level of justice, but in an innovative and creative way. [ABSTRACT FROM AUTHOR]

The study examines the convergence of virtual reality (VR), metaverses and immersive advertising (IP), employing discourse analysis, case studies and a documentary review to generate a taxonomy. It elucidates the role of Information and Communication Technologies (ICTs) in advertising today, with a particular focus on metaverses. It also highlights how new generations are adopting immersive narratives and how transmedia advertising and advertainment are effective. It is proposed that IP can enhance transmedia strategies, with particular emphasis on the immersion afforded by VR, the sociability of metaverses, and the advantages of engagement and personalisation. However, technical obstacles such as ergonomics and market fragmentation are also identified [ABSTRACT FROM AUTHOR]

Various studies have analysed the news media's participation in debates generated in the public digital sphere represented by social media, particularly X (formerly Twitter) and Instagram. Some of these debates have gained strength and become authentic movements linked to certain social struggles, such as feminism. Similarly, the so-called 'environmental hashtivism' or 'eco-hashtivism' is acquiring increasing importance in the context of this digital sphere. In view of this, the focus of this article is the distinctive area of public radio and television channels in Europe to examine the transmedia action #EKIN_klima, developed by the Basque public audiovisual corporation Euskal Irrati Telebista (EITB). The study of this pioneering initiative allows us to understand just how the eco-activism actions of the public news media can help to reposition it within the hybrid media system and contribute to the modernisation of its social function, along the lines of other actions, such as those carried out by the BBC against disinformation. In this way, it has been noted that the environmental issue is not only something to be included in the news media agenda, but also an opportunity for the public news media to legitimise its social and innovative character through transmedia branding actions. [ABSTRACT FROM AUTHOR]

Copyright of Iluminuras is the property of Revista Iluminuras 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 concept of transmediation might be one of the most influential intellectual tools for studying, discussing and fostering innovative phenomena across fields of study. One could argue that the term itself is self-explanatory. Etymologically, it suggests a transition (to go across) between different media but the concept of transmediation has been shaped both by the somewhat historically lax definition of media and the disciplines that have adopted the term. And while the looseness of media gives transmediation a potential for interdisciplinarity, the siloed nature of academic disciplines could have, at the same time, hindered such potential. In this paper, we introduce a framework for transmediation based on an analysis of the use and evolution of the concept and our own explorations over the last few years. This framework aims to provide a common language and a set of conceptual prompts to explore the notion of transmediation further. [ABSTRACT FROM AUTHOR]

Despite the extensive attention that information disorders have received in the academic field, the intersections between this phenomenon and film marketing have not yet been examined. To fill this gap, this research analyzes the campaign based on five fake newspapers and fake news orchestrated by 20th Century Fox and Regency Enterprises to promote A Cure for Wellness of Verbinski, 2016. Starting from this case, our main objective is to analyze the promotional campaign of a film based on information disorders. At a methodological level, initially, virtual archeology work was carried out using the Way back Machine to recover the websites that constituted the fake media and identify all the fake news used in the aforementioned campaign. Thereupon, using the content analysis technique, we examined the 140 fake news identified by applying an analysis template designed specifically for this study. The results reveal that the fake news barely established connections with the film, although these were usually consistent with its subject matter. Likewise, the fake news, which were essentially cloned in the various fake media, are surrounded by advertising of the film and include images from Shutterstock, fake and real quotes and sources, as well as hashtags related to the film and politics. This unprecedented marketing application of information disorders generates a new type of reception that we have called “disruptive”, which uses disinformation to replace the user's reality with a false reality that is largely disconnected from the cultural artifact to be promoted. [ABSTRACT FROM AUTHOR]

What stories can a body tell? This is one of the questions raised by the artistic career of Portuguese Guinean actor, filmmaker and performer Welket Bungué, which leads to a broader reflection on the body as a narrative and performative expression in a transmedia practice. The purpose of this article is to analyse Bungué's artistic method, questioning its relationship with the legacy of Balanta culture and African oral traditions and griots, a social function that can serve as a reference for reflecting on how artists from Africa and its diasporas tell their stories in continuity with this legacy. [ABSTRACT FROM AUTHOR]

The Wizard of Oz (1939) is one of the most often referenced, if not the most often referenced, text within US popular culture. The MGM classic starring Judy Garland has largely eclipsed L. Frank Baum's vast universe of Oz and original book, as the songs ("Somewhere Over the Rainbow"), phrases ("We're not in Kansas anymore"), and visual iconography (ruby slippers) of the film are regularly alluded to – and have taken on a life of their own. This not only raises The Wizard of Oz to mythic status, but it also allows for these references to serve as signifiers immediately understandable to a US-American audience, in what can be called "palimpsestic transmediality," building on the theories of Gérard Genette, Marie-Laure Ryan, and Henry Jenkins. To illustrate this phenomenon, the article provides a close reading of the Apple TV+ series Ted Lasso (2020–23), where The Wizard of Oz is used to illustrate the titular protagonist's journey of personal growth, and thus connects it to a televisual fantastic. [ABSTRACT FROM AUTHOR]

This article explores how journalist, cult icon, and Shudder host Joe Bob Briggs has used visual and verbal rhetorical devices to become a fixture in genre subcultures. Created and performed by John Bloom, the Briggs persona utilizes traits of past successful horror hosts while also implementing his own astute knowledge of film history and theory to confront questions about 'good' and 'bad' taste in film. Even though his work has been controversial, the evolution of his use of satire and parody has sustained his position as a cultural, or a subcultural, intermediary and transmedia celebrity. This article presents a variety of critical perspectives about the importance of 'authenticity' within horror subcultures/fandoms and examines satire and parody as methods for attracting distinct audiences and encouraging parasocial relationships; in addition, myth and nostalgia are analyzed as contributing factors to establishing and maintaining a loyal, familial fan community who value and share subcultural capital among multiple media platforms in which Briggs, cult celebrities, and fans participate. His in-person and multi-platform presence wherein fans, known as 'drive-in mutants', perform tongue-in-cheek rituals, and participate in virtual and in-person traditions, demonstrate how transmedia texts such as Briggs can solidify and grow a genre-specific fan community. [ABSTRACT FROM AUTHOR]

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo 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.)

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo 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.)

Copyright of Cuaderno de Pedagogia Universitaria is the property of Pontificia Universidad Catolica Madre y Maestra 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.)

Copyright of ESSACHESS is the property of ESSACHESS 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.)

Copyright of Dispositiva is the property of Dispositiva 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.)

UTOPIAS AND ALTERNATIVE UNIVERSES IN MULTIMEDIA, CROSSMEDIA AND TRANSMEDIA (FREEDOM, RESPONSIBILITY, SECURITY, WELL-BEING) This article deals with both the relationship between multimedia, crossmedia and transmedia, and the significance of values such as freedom, responsibility, security and wellbeing in contemporary media discourse. It explores how the media often distorts and manipulates the truth.

Desde 1998 ha estado la Noche de Max Estrella trasladando Luces de bohemia de las tablas a las calles. Interrumpida por la pandemia, en 2022 se llevó a cabo en forma de documental transmediático, ofreciendo una experiencia que combinaba pareceres de expertos con imágenes de citas prepandémicas, además de representaciones a cargo de la compañía Miseria y Hambre. Por ende, la pieza constituye una significativa oportunidad de estudio en línea con las tendencias teatrales y escénicas de la era digital, brindando un original modelo de performatividad y recepción que ilumina privilegiadamente las perspectivas espectaculares del siglo XXI. El presente artículo explora las estrategias teóricas y prácticas ejercidas sobreel espectador, así como el propio fundamento de esta nueva opción dramatúrgica, dada la fusión escénica, transmedia e intelectual lograda por sus autores.

Las opciones de la digitalización y la convergencia en un contexto transmedial permiten expandir los universos narrativos de la ficción a través de diferentes medios. Este es el caso del videojuego y la serie de ficción, cuyo estudio comparativo es el foco de atención académica en esta investigación, concretamente, desde la representación social del colectivo LGTBIQ+. El objetivo principal de este trabajo es determinar la presencia y representación queer en el universo de The Last of Us, seleccionado por su popularidad y aceptación, y considerando dicha ficción como un caso paradigmático desde este sentido. Con un alcance cualitativo se aplica el análisis textual para comparar la representación de dos parejas de personajes homosexuales en ambos formatos: Bill y Frank, y Ellie y Riley. Los resultados aplauden la inclusión queer en el universo ficcional, especialmente en la serie de televisión, anotando ciertas carencias y estereotipos en el videojuego original en lo relativo a la trama masculina. A pesar de ello, la inclusión es positiva y la aceptación patente, lo que repercute favorablemente en la identificación de la comunidad LGTBIQ+ en el audiovisual y el reconocimiento de la sociedad en general, atendiendo al papel de los medios como instrumentos de socialización.

The present article proposes to analyze the transmedia capacity of VTubers, content creators, independent or under agencies, who interact with the audience via a virtual 2D or 3D avatar generated by computer graphics and controlled by human movement capture. For the course of this work, through the perspective of a marketing strategy composed of collective construction, the analysis found an opportunity to prove that, through the use of moe sentiments, kawaii aesthetics, and incentives towards the participative culture of other social actors, VTubers have the ability to expand their media market beyond that of their original live streams in media platforms. To prove such a hypothesis, case studies of the current portfolio of cultural products from Hololive, one of the biggest international VTuber agencies, and of the consumer/fan productions of these content creators under the Hololive brand were promoted. Other than proving the initial hypothesis, the results show that the agency’s interface with the consumers/fans, constructed via providing infrastructural and financial incentives by the company, takes it to promising corporate results, indicative that such actions represent the birth of a new transmedia perspective.

The development of media and digital competences among the new generations is a requirement for their democratic participation in today's technological society. This article takes an approach to young people's perception of their own media competence, based on their comments on the use and sense of consumption of social media. The results of 14 focus groups (N= 83) of young people from three Spanish regions between 12 and 18 years of age are presented. Based on two theoretical models, a content analysis considering gender and age was carried out using Atlas.Ti software. The results indicate a greater presence of the Interaction dimension among girls and of Production and Dissemination among boys, and in general a familiarisation with preventive measures on safety on the networks and a review of the media diet, up to the age of 12-13. The adolescents themselves identify how, from this age onwards, the use of social networks is amplified and point out difficulties in self-management well into the university stage (18 years old). Although the participants show a high level of knowledge of social media marketing strategies and influencers' "authenticity" tactics, they recognise that they are driven by the search for entertainment and a need for approval from their peers in the digital space. Based on the results, we identify the need for further research in the period between 12-13 and 14-16 years of age in relation to the paradox between adolescents' conviction of their expertise in certain dimensions of media competence and their poorly reflective and critical consumption. [ABSTRACT FROM AUTHOR]

The development of media and digital competences among the new generations is a requirement for their democratic participation in today's technological society. This article takes an approach to young people's perception of their own media competence, based on their comments on the use and sense of consumption of social media. The results of 14 focus groups (N= 83) of young people from three Spanish regions between 12 and 18 years of age are presented. Based on two theoretical models, a content analysis considering gender and age was carried out using Atlas.Ti software. The results indicate a greater presence of the Interaction dimension among girls and of Production and Dissemination among boys, and in general a familiarisation with preventive measures on safety on the networks and a review of the media diet, up to the age of 12-13. The adolescents themselves identify how, from this age onwards, the use of social networks is amplified and point out difficulties in self-management well into the university stage (18 years old). Although the participants show a high level of knowledge of social media marketing strategies and influencers' "authenticity" tactics, they recognise that they are driven by the search for entertainment and a need for approval from their peers in the digital space. Based on the results, we identify the need for further research in the period between 12-13 and 14-16 years of age in relation to the paradox between adolescents' conviction of their expertise in certain dimensions of media competence and their poorly reflective and critical consumption. [ABSTRACT FROM AUTHOR]

El objetivo de este artículo es describir una experiencia de cocreación de narrativas biográficas en el marco del plan de Vinculación con el Medio (VcM) del Magíster en Comunicación Digital y Transmedia (MCDyT), para transitar del espacio privado e íntimo a la conversación pública y común con habitantes de Valparaíso. A través de la lectura colectiva de Imaginarios de mujeres latinoamericanas se realizó una actividad con un grupo de dirigentas vecinales de los cerros del Barrio Almendral de la ciudad-puerto, cuyo diseño consideró cuatro etapas claves: (1) experiencia simétrica en la puesta en escena para la presentación en el soporte web de la publicación; (2) lectura en voz alta, por parte de las asistentes, de relatos biográficos de dicho texto, entrelazando voces diferentes; (3) la conversación guiada sobre historias comunes de las asistentes; y (4) la construcción de nuevas narrativas desde la experiencia biográfica a través de la metáfora del árbol de la vida, que permite categorizar sentimientos, experiencias y metas de vida, de manera amigable y no invasiva. Los resultados de la actividad permiten inferir que la lectura y escritura biográficas, mediante un diseño transmedia, establece vínculos en el territorio mediante el reconocimiento de la otredad y de las propias emociones de las participantes; asimismo, que la divulgación académica con organizaciones comunitarias es necesaria y significativa si se logra una relación simétrica para la transferencia de saberes entre representantes sociales y académicas.

The modern media sphere is changing under the influence of socio-cultural, technical, technological and media processes. The article studies such a phenomenon of the media sphere as transmedia, which is characterized by the nonlinearity and hybridity of audiovisual forms. It is a new key feature of the media sphere and makes significant changes to screen art. As a result of the research, foreign theory and practice of forming the design of transmedia projects have been studied. The possibilities of using foreign experience in Russian conditions have been determined. Recommendations given for conducting a transmedia project in various areas have been, including improving the transmedia narrative in its basic concept using a systematic approach. The developed recommendation and methodological base for the formation of the design of transmedia projects has been practice-oriented. This method is aimed at solving problems, at the practical implementation of this approach to the implementation of transmedia projects. The recommendations demonstrate the need for narrative knowledge within the framework of a transmedia narrative, allowing users to engage and be motivated by a transmedia narrative, rather than simply distributing content through media channels. The possibility of using classical elements of an integrated approach to the formation of the design of a transmedia narrative in the transmedia approach has been investigated.

I will tackle serial appropriations of Shakespeare’s Macbeth in The Wire (David Simon, 2002–2008) and Breaking Bad (Vince Gilligan, 2008–2013). Both complex TV series recast Macbeth in the context of narcocapitalism. Rather than constituting an alternative to mainstream capitalism, narco-capitalism maintains the American and global socioeconomic orders as depicted in both series. Paying attention to what will be defined as Shakespeare’s archive, it will be shown that traces from Macbeth are reactivated in The Wire and Breaking Bad. Shakespeare’s archive is formed by traces of Shakespeare’s dramatic and narrative sources, quartos, folios, later editions and adaptations. This corpus displays verbal and non-verbal features of Shakespeare’s oeuvre. Taken together, traces and reenactments of Shakespeare highlight the multifarious and competing ways in which Shakespearean appropriations sail through the depth and length of complex TV. To illustrate this, I will use archive theory, transmedia theory and narcocapitalism as lenses of analysis. This framework helps explain archival strategies employed for Shakespearean appropriation within the social context of both series. The results reveal that Shakespeare’s archive in both works leads to an ambivalent ethical assessment of the potentialities of narco-capitalism.

Copyright of Mediterranean Journal of Communication / Revista Mediterránea de Comunicación is the property of Revista Mediterranea de Comunicacion / Mediterranean Journal of Communication 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.)

In an era of unprecedented consumer access to media and the tools to control narrative delivery, speed, and exposure to transmedia content, there is no longer the illusion of a cohesive narrative managed by a recognized singular author or unified authorial voice. Instead, consumers carve their own trajectories through brand narratives. Our multimethod inquiry of television series viewing, based on a combination of interviews, diaries, video recordings followed by member-check interviews and online forum analyses, identifies two key forces that guide narrative navigation: how consumers manage a text's gravitational pull and its permeability to transmedia content. We find that consumers shape their own trajectories by adopting and/or moving between nine documented narrative positions. This more nuanced understanding of narrative consumption in a transmedia environment offers new insights for the study of narrative brand spaces and brand storytelling. [ABSTRACT FROM AUTHOR]

Peter Kunze’s book Staging a Comeback: Broadway, Hollywood, and the Disney Renaissance is a (overwhelmingly) well-researched study of the transmedial migration of popular narratives in the 1980s and the 1990s. Focused on Disney’s appropriation of the Broadway integrated musical (H. Ashman, A. Menken), the study demonstrates how the musical theatre conventions improved the quality of Disney’s main product — the animated film. Kunze engages in close reading of an extended episode from the history of cultural production (the Disney Renaissance), showing the complexity and unpredictability of various media convergences. For instance, the book reconfigures the roles of managerial and creative labourers behind the Disney transformation, wittily (and convincingly) bringing to the forefront 1982 as annus mirabilis, which triggered immense changes in the cultural sector. After discussing Disney's appropriation of the musical Broadway, the book reveals how the updated animated musical comes back to the theatrical stage and transforms ‘respectable’ Broadway by alternative styles and agendas (Julie Taymor’s The Lion King). Apart from other sources, the research uses hardto- access archival materials, the author's interviews with the practitioners and their entourage.