Search

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.)

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.)

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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Imagofagia is the property of Imagofagia - AsAECA 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 exercise of the journalist's profession has been reconfigured and required media and discursive skills that are associated with the transmedia production model. This article systematizes contributions from the application of the teaching method of scripting special transmedia reports that considers thematic aspects for the expansion of new content, and puts to test the media-thematic map, a tool designed based on analytical studies to subsidize its production process. The testing was carried out in classes of the Journalism Course at Universidade Federal de Pernambuco during the 2020.2 and 2021.1 semesters, and its first results point to the functionality of the tool, evidencing significant clues for the teaching of transmedia journalism. [ABSTRACT FROM AUTHOR]

Copyright of Esferas is the property of Esferas 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Dixit. Comunicación, Profesión, Conocimiento is the property of Universidad Catolica del Uruguay Damaso Antonio Larranaga 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.)

Neste artigo, investigamos como os serviços de streaming de vídeos configuram em suas produções relações de nostalgia e juvenilização. Fundamentamo-nos na noção de nostalgia de consumo (CROSS, 2001) e de youthification (HAGEDOORN; EICHNER; GUTIÉRREZ LOZANO, 2021; SUNDET; 2021) para sugerir a emergência de uma nostalgia juvenilizada a partir da reabertura de franquias transmídia por serviços de streaming. Selecionamos as séries O Mundo Sombrio de Sabrina (Netflix) e A Casa da Raven (Disney) para discutir peculiaridades sobre modos de produção de nostalgia juvenilizada instaurados por ambas as produções. Argumentamos que a transmidialidade favorece a vitalidade desses produtos e a promoção dos serviços de streaming de emergentes, como a Netflix.

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

Considered a tool for integrating technologies and content, transmedia has been increasingly used in the context of education. The aim of this article is to analyze the relationship between early childhood education teachers and digital technologies and transmedia through continuing education. This study uses action research with teachers from the city of Indaial (south of Brazil). As a result, the need for more continuing education was identified that deepened the theme with teachers, emphasizing the importance of implementing continuous programs that analyze in depth the social, cultural, and economic contexts in which students, teachers and other professionals involved in educational institutions are present. [ABSTRACT FROM AUTHOR]

Copyright of Noria Investigación Educativa is the property of NORIA, Investigacion educativa de la Universidad Distrital Francisco Jose de Caldas 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.)

A partir das mudanças de comportamento de espectadores de filmes e festivais de cinema relacionados à pandemia, informações sobre conteúdos dos eventos passaram a ser fornecidos quase exclusivamente de forma digital. O uso de hashtags tem como objetivo facilitar a navegação e aumentar engajamento de espectadores de festivais de cinema em plataformas digitais. Para curadores de festivais oferece o desafio de pensar em novos eixos para programação incluindo diferentes mídias além do que tradicionalmente é chamado cinema, como séries e espetáculos teatrais que passaram a ser concebidos para exibição digital. O Festival MixBrasil iniciou processo de introdução de hashtags na informação de toda programação com objetivo de fazer através delas a convergência de diferentes linguagens e formatos.

O presente artigo discute características das franquias de mídia, prática cada vez mais relevante para o cinema contemporâneo. Como principal objetivo, buscamos compreender como se caracterizam as franquias cinematográficas de maior sucesso dos mercados global e brasileiro, respectivamente, o “Universo Cinematográfico da Marvel” e “Minha Mãe É Uma Peça”. Para este objetivo, analisamos dados de bilheteria em salas de cinema como forma de identificar as franquias de sucesso nos dois mercados. O artigo apresenta conceitos de franquia, contextualiza a sua relação com o cinema e apresenta uma análise baseada em Jenkins (2009) acerca dos objetos de estudo. Os principais resultados evidenciaram que as franquias global e brasileira apresentam diferentes patamares de complexidade de estrutura, marcadas, respectivamente, pela construção de um universo ficcional expansivo e pela centralização em um personagem. Porém, ambas demonstraram que o formato apresenta grande potencial para atingir sucesso de público e bilheteria, tanto no mercado global quanto no brasileiro, e filmes que se afastam de uma franquia têm mais dificuldade em conquistar estas posições.

This research deals with the reverse product placement advertising tool, a technique little explored in the academic field that requires a systematic arrangement. For this, the study is conducted through the case of the fictional brand Duff, original from the television series The Simpsons (1989-). Qualitative analysis is performed using an exploratory-descriptive methodology divided into phases. The first phase was based on a literature review of the technique. Next, an interview was conducted with the brand licensee: Andrés Nassar; his statements support the study from an empirical perspective. In the third phase, the previous results were approached to build an analysis that identifies the communicative features of this type of action. The conclusions illustrate the communicative capacity of fictional brands thanks to their transmedia personality in the current advertising landscape. [ABSTRACT FROM AUTHOR]

A capacidade de uma narrativa transmídia transferir conceitos do ficcional para o real potencializa o engajamento dos fãs e permite que o fã-ativismo se manifeste através de ações afirmativas. O objetivo deste artigo é analisar como a extractibilidade das narrativas transmídia contribui para a formação identitária de comunidade de fãs e para o fã-ativismo. Para isso, foi analisada a campanha Without Hermione, organizada pela ONG The Harry Potter Alliance tendo como base a narrativa ficcional de Harry Potter aplicada a discriminação e dificuldade de acesso a educação encontrada por meninas.

Com dezenas de artigos e livros publicados sobre transmídia, especialmente no que se refere a metodologia de análise – recomenda-se a busca por suas obras –, a pesquisadora Renira Rampazzo Gambarato, professora associada na Escola de Educação e Comunicação da Universidade de Jönköping, na Suécia, é a criadora do modelo analítico de design de projetos transmidiáticos, o qual tem permeado pesquisas envolvendo transmídia no âmbito do Programa de Pós-Graduação em Tecnologias, Comunicação e Educação (PPGCE) da Universidade Federal de Uberlândia (UFU). Em um diálogo fluido e prazeroso, não pontuado apenas por perguntas e respostas, ela revela detalhes de seu percurso acadêmico e de algumas obras mais recentes, ao mesmo tempo em que confia aos leitores seu amplo conhecimento sobre a área e indica tendências a partir de uma visão positiva, explicitando os motivos de ter se tornado referência nos estudos do tema objeto deste dossiê.

O objetivo deste trabalho é identificar e compreender os procedimentos metodológicos usados em pesquisas sobre transmídia no jornalismo, a fim de perceber suas regularidades e possíveis categorias analíticas. Visando construir um Estado da Arte (FERREIRA, 2002) sobre essas pesquisas no período de 2000-2019, observou-se a origem, gênero, ano de produção e tipos de plataformas e suportes em foco. O levantamento bibliográfico foi feito na plataforma Google Acadêmico e resultou em 79 trabalhos, dos quais 50 foram analisados com base na Análise de Conteúdo (BARDIN, 1977). Como principais resultados, indica-se a Análise de Conteúdo e o Estudo de Caso como procedimentos metodológicos mais usados, apontando-se, ainda, o caráter expansivo e multiplataforma da narrativa jornalística transmídia como importantes elementos na construção de categorias analíticas sobre o tema.

Na primeira parte deste artigo fazemos um breve relato histórico sobre o surgimento dos meios de comunicação e organização do trabalho, da força convergente possibilitada pela informática e seus desdobramentos socioculturais. Na segunda parte, um resumo dos objetivos de cada um dos subgrupos que formam o GEMS e suas relações com os processos transmidiáticos. Formado por profissionais das mais diversas áreas, os estudos empreendidos no grupo seguem a linha de Gestão Midiática e Tecnológica do programa de pós-graduação em Mídia e Tecnologia da Faculdade de Arquitetura, Artes e Comunicação (FAAC) UNESP de Bauru/SP.

O presente artigo tem por tema a presença de narrativas transmidiáticas por parte da indústria dos jogos digitais. O objetivo é interpretar as idiossincrasias que essa indústria possui no que diz respeito às estratégias de desenvolvimento de tais narrativas. Para isso, utiliza-se da hermenêutica de profundidade, conforme Thompson, para observar a franquia The Last of Us, composta de narrativas em diversas plataformas midiáticas, desde 2012 até 2020, momento em que esse artigo é escrito – mas que também aponta possíveis desdobramentos futuros. O aporte teórico envolve Jenkins, Prensky, Sheldon e Field. Dentre os achados, destaca-se a fluidez com que uma indústria nativa digital lida com as narrativas transmidiáticas, a ponto de desenvolvê-la em três patamares distintos – transmídia inter-midiática, transmídia extra-midiática e transmídia intra-midiática.

The media and entertainment ecosystem have been increasingly incorporating content based on transmedia narrative models, because of the multiplication of channels, the evolution of ICT and the adoption by audiences of a more active role within the creative processes. The generalization of the multiplatform distribution of these new narratives facilitates the leading role of the public, which is organized in communities that have emerged and grouped around the content. Skam Spain serie, the object of study of this research, is framed within these parameters, following the model of the original series of Norwegian origin. This fiction is an example that could seem representative of the use of transmedia to expand its narrative possibilities and at the same time get closer to its followers. Among the objectives that are proposed is the identification of the transmedia aspects of the series in its fourth season, defining the role of the broadcast channels, identifying the content that generates the greatest interaction and valuing the role of the fan community as generators and participants. of the expansion of the narrative world. A mixed methodology is applied, focused on a quantitative and qualitative content analysis of eight episodes of the fourth season of the series Skam in Spain. After developing this study where the expansion of the narrative channels and the interaction with their fan communities can be observed, having as a strong point the breaking of paradigms in the use of the channels to promote engagement with the audiences, the results obtained point to the application of a timid transmedia narrative of the channels used by the series, as well as the metafictional resources that allow crossing that line between fiction and reality, also defined by the concept of the fifth wall. [ABSTRACT FROM AUTHOR]

This discussion is based on the following questions: a) What are the limits and potential of transmedia design for contemporary communication planning?; b) How and to what extent can semiotics contribute to the issue? In order to answer these questions, we consider that th transmedia logic outlines the contemporary communication logic. In this sense, we emphasize the necessary articulation between communication and transmedia logic to discuss the specificities of design and semiotics in the scope of transmedia logic and its implications in various areas of knowledge. We sought to highlight the etymological approach between sign and design to elucidate the contributions of semiotics to this area of knowledge. Concomitantly, it was emphasized that transmedia logic can be better understood with the adoption of the logical perspective stemming from Charles Sanders Peirce's pragmatism, which identifies logic with semiotics. [ABSTRACT FROM AUTHOR]

This paper analyzes the fictional brand Wonka through the use of the reverse product placement tool. It has an exploratory-descriptive methodology that has required a bibliographic review and in-depth interviews with the experts responsible for the brand. The results illustrate its treatment in the market reflecting on its transmedia identity. In this way, a vision on the application of this technique is constructed through the study of a case of an advertising practice that has been little investigated in the academic field. [ABSTRACT FROM AUTHOR]

Copyright of Revista En-Contexto is the property of Tecnologico de Antioquia, Institucion Universitari 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.)

Este artigo explora os conceitos sobre narrativas transmídia propostos por Jenkins e Scolari, analisando as personagens Phil Coulson e Peggy Carter que, além de serem agentes secretos no Universo Marvel, funcionam também como agentes transmidiáticos. A estratégia presente no Universo Cinemático da Marvel na criação de uma rede transmídia de produções proporciona uma oportunidade de observação dos elementos e contextos que permitem essa realização através das personagens originárias dos quadrinhos e que são representadas nos longas-metragens, curtas-metragens e séries de televisão. Além disso, constituem-se como elementos de ligação importantes entre as diversas narrativas da franquia.

O objetivo do artigo é o de analisar a narrativa transmídia jornalística do filme Vingadores: guerra infinita (2018, Anthony e Joe Russo) nos portais de notícias brasileiros. Esta pesquisa se classifica como descritiva, com abordagem qualitativa e utiliza a técnica de análise de conteúdo. Foram selecionados como amostra, para análise, notícias publicadas em cada um dos seguintes portais: G1, Globoplay e Omelete entre dezembro de 2017 e setembro de 2018. Como principal resultado constatou-se que os referidos portais de notícias brasileiros, cada um com suas peculiaridades, dão novos sentidos para o filme e assim, contribuem para uma narrativa transmídia.

Stardom is a paradigmatic example of contemporary mythology. Through their function as semiotic-cultural and somatic-emotional receptacles, the stars serve as referents and mirror of the social collective that engenders them. Within digital communities and through interactive technology, celebrity liturgy, fan rituals, and the symbolism of this massive secular religion reach its zenith. Our first goal is to analyze the parallels between stardom and religion. To do this, we will place idols in a theoretical framework and describe the transformations that digital fan communities are undergoing. Our second objective is to interrelate the transmedia phenomenon of Rosalía's album El mal querer with the notion of "hyperculturality" proposed by Byung-Chul Han. We will expose how the conceptual universe generated by the Catalan artist reflects the transformations that identities attend in the globalized, hyper-connected and digital culture. The article concludes by developing the idea of stardom as modern mythology and the importance of interactive digital technology in the transformation of online audiences. Likewise, the global and intergenerational dissemination of Rosalía's work is symptomatic of the non-fundamentalist model of globalized culture, as well as the prominence of the traditional, the consumption of the aesthetic-cultural and the active role of audiences in the configuration of contemporary cultural identity. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

Na contramão da efervescência de conceitos que caracterizam as narrativas audiovisuais digitais, a aplicabilidade ainda é desafiadora, sobretudo pelo desconhecimento de técnicas e meios que possibilitem sua criação por amadores. Assim, considerando essa realidade, o presente artigo busca demonstrar caminhos que envolvem a produção de uma narrativa interativa, imersiva e transmídia, a partir de recursos gratuitos disponíveis na Web. Para tal, une teoria e prática, fornecendo reflexões sobre o processo criativo do webdocumentário “Jovens e as Imagens - Relatos e Experiências em 360 Graus”. Espera-se que os resultados alcançados possam contribuir para a pesquisa e desenvolvimento de obras audiovisuais de não-ficção na web, com destaque para aquelas 360 graus.

This article has as a theme the dialogical analysis of the discourse of the transmedia propaganda campaign for the Lincoln Rhyme series in the postmodern context. The television series is an adaptation of the book "The Bone Collector", by Jeffery Deaver, release in 1997 and adapted to the cinema in 2000. The research was motivated by the relation between the receptivity and interactivity of the postmodern subject not being limited to just one media platform. In addition to it, there is the justification of the relation of the individual behaviour in relation to the consumer society and its influence in the dialogical current of Digital Culture, comprehended by Santaella (2003). As a process of analysis, the advertising content is conceptualized as an enunciation, capable of interacting and generating interferences and response enunciations in the dialogic arena of its environment, based on the dialogical theories studied by the Circle of Bakhtin. As a methodology of carrying out this work, there is bibliographic research, to support the concepts presented and to base the article's approach in relation to the theories of communication and language. The results of the research show that the social interaction of the individuals in the postmodern context does not limits itself in a single mode of expression and that with segmentation of the narratives in different digital platforms, it is possible to obtain a major receptivity. [ABSTRACT FROM AUTHOR]

As complexidades e dificuldades teóricas, críticas analíticas e criativas atinentes aos processos de criação e desenvolvimento de personagens, tem sido objeto de estudos interdisciplinares, mas essas questões se mostram inesgotáveis. Atualmente, novos desafios se apresentam para os roteiristas acerca do conceito de construção de personagem em multiplataformas. Pretende-se assim, explorar abordagens interdisciplinares associadas à esta questão, levando em consideração a forma narrativa em série, a noção de ambiente, character design e character driven stories. Desta forma, objetiva-se discutir procedimentos e dinâmicas relacionadas à criação e desenvolvimento de personagens, os quais ganham particularidades e contornos ainda mais complexos em contextos transmidiáticos multiplataformas.

A partir do estudo de uma campanha criada para divulgar lançamentos fonográficos, são discutidas questões relativas a estratégias transmidiáticas e seus aspectos narrativos, além de sua adequação a um público-alvo específico: fandoms. A indústria musical apresenta possibilidades e desafios específicos para o uso de narrativas transmidiáticas como recurso promocional. Enquanto o público formado por fandoms ativos facilita ações precisas de engajamento, o produto, música, por não ser inerentemente narrativo, requer a aplicação de mecanismos alternativos. A campanha Visit Eroda, promovendo o cantor britânico Harry Styles, apresenta uso eficaz de recursos narrativos e conceituais em uma estratégia transmidiática.

A narrativa transmídia, oriunda da área do entretenimento, é conhecida por aquelas histórias que se expandem em diferentes plataformas, a partir de uma mídia de origem. Na área da Educação ela pode contribuir no processo de ensino e aprendizagem por despertar nos estudantes a procura e a produção de conteúdos. A partir desse contexto, o objetivo deste artigo é o de relatar uma prática educativa interdisciplinar que utiliza técnicas transmídia e de produção de moda para a concepção de fashion films, a partir de um episódio do seriado de televisão Sex and the city. A atividade ocorreu com uma turma de graduação em Moda de uma universidade do sul do país. Como principal resultado foi percebido que as práticas interdisciplinares como essa se tornam profícuas para o processo de desenvolvimento de produtos audiovisuais de moda e de como eles podem comunicar sua imagem perante a sociedade em múltiplas plataformas.

Copyright of MATRIZes is the property of Universidade de Sao Paulo, Programa de Pos Graduacao em Ciencias da Comunicacao 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 research uses the hypothetical deductive method and has Resolution n. 5 of the Ministry of Education, of 12/17/2018, as theoretical reference, which establishes that the Law Course Pedagogical Project (PPC) should have as structural elements, among others, the realization of inter and transdisciplinarity, the incentive to innovation, the integration between theory and practice, the specification of the active methodologies used. The problem is that law professors and students usually don't know how to do this in practice. The research seeks to point out viable paths for this, from the transmedia educational narrative and the podcast. [ABSTRACT FROM AUTHOR]

Contrary to the effervescence of concepts that characterize digital audiovisual narratives, applicability is still challenging, especially due to the lack of techniques and means that allow its creation by amateurs. Thus, considering this reality, the present article seeks to demonstrate paths that involve the production of an interactive, immersive and transmedia narrative, based on free resources available on the Web. To this end, it unites theory and practice, providing reflections on the creative process of the web documentary "Youth and Images - Stories and Experiences in 360 Degrees". It is hoped that the results achieved can contribute to the research and development of non-fiction audiovisual works on the web, with emphasis on those 360 degrees. [ABSTRACT FROM AUTHOR]

News consumption has transformed significantly in recent years due to the multiple devices through which information is accessed, changes in how news are told, and the growing importance of software in information management. The smartphone is the main source of news for young university students from the Aglomerado Gran Buenos Aires, who employ particular reading strategies when it comes to getting information. Young people surf the internet taking advantage of the specificity and best features offered by each device in carrying the news. Thus, "transmedia reading" seems to be the form taken by the relationship established with these contents since news stories are displayed on multiple platforms and complemented by the active participation of users. The latter cause such platforms to interact with each other, share the news on social media, and produce content related to their interests. This exploratory research attempts to describe and discuss the youth's news consumption practices using the smartphone that were collected through 16 in-depth interviews with students from various universities in the country. From the analysis of the interviews, we deduce that young people follow usual reading strategies ranging between exposure and interaction, between intensive and extensive reading, and between information seeking and entertainment. [ABSTRACT FROM AUTHOR]

The paper analyses the use of multimedia tools that young people use in order to communicate a journalistic product. The study focuses on the new digital platforms of journalistic content and examines the results of a research that explores the competences of "transmedia literacy" in Journalism students of the Autonomous University of Barcelona (UAB) over several courses. The text examines 28 multimedia reports presented by students through a quantitative and qualitative content analysis, and introduces the opinions of three focus groups with the authors of the projects. The study shows that the students confer a prominent role to the visual elements inside of their own reports. The analyzed works demonstrate, however, that the emotive components of the stories ignore aspects of transmedia journalism, and that among the students there is a terminological confusion about what a transmedia product is. The article identifies the prevalence of instrumental or technical literacy, linked to the inclusion of pictures and audio-visual content in their products, but not critical, both in the discourse and in the contents created by the students. [ABSTRACT FROM AUTHOR]

Copyright of Esferas is the property of Esferas 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 aims to discuss how digital journalism and the culture of modern videogames interface in two forms of playful simulation and journalistic immersion: docuwebs and newsgames. For this, a qualitative analysis method has been used with a double perspective: the level of informativejournalistic discourse (i.e., contents and their projections) and the level of procedural rhetoric (i.e., through game mechanics). This is applied to two RTVE Lab case studies: newsgame MonteLab and docuweb Guerra a la mentira. The main results show how the design of MonteLab opens a dialogue between a rich journalistic source system and some game dynamics that enable decision-making regarding today's social problems. Likewise, Guerra a la mentira offers a set of real cases and uses fact-checking and fake news as the journalistic foundations on which to build a playful proposal for puzzle solving and narrative momentum. In conclusion, we could verify that the contemporary newsgame seeks to empower the player as an informed citizen who takes advantage of playful dynamics to provide social solutions based on journalistic information. At the same time, the docuweb goes beyond hypertextual staticism and the mere journalistic description of reality to get into more complex dynamics and more immersive playful designs. [ABSTRACT FROM AUTHOR]

Este artigo apresenta um estudo sobre as narrativas em videoclipes. Discute-se os arranjos das linguagens audiovisuais a partir de configurações estabelecidas por características dos meios de comunicação, enfatizando o papel das plataformas de difusão de informação e entretenimento como o YouTube. Sublinha-se ainda um diálogo com a linguagem do cinema e evidencia-se que, nos cenários contemporâneos, os videoclipes contam histórias. Discute-se que os videoclipes contemporâneos, em grande maioria, prolongam o tempo da música, com pausas, atuações de personagens, inserção de diálogos e outros elementos estruturantes que descaracterizam os paradigmas clássicos e convencionais da linguagem. Para a análise, o objeto do estudo são os videoclipes do cineasta canadense Xavier Dolan. A fundamentação teórica é estabelecida a partir de autores inseridos nos debates da cultura da convergência, de transmídia storytelling e das interações entre linguagens audiovisuais.