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Copyright of Methaodos: Social Science Journal / Methaodos: Revista de Ciencias Sociales is the property of Departamento de Ciencias de la Comunicacion y Sociologia, Universidad Rey Juan Carlos 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.)

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.

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.)

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.

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 falls within the field of Applied Linguistics and aims to investigate the new literacies in remixed transmedia narrative texts in Portuguese Language teaching from a transgressive viewpoint in the context of digital culture. The research has a theoretical basis in Jenkins (2006), Lankshear and Knobel (2011), Rojo and Moura (2019) and Tavares and Cruz (2016). The methodology adopts a qualitative approach, characterized as descriptive, documentary and applied, to study a corpus consisting of three media: musical album, documentary film and social network posts from the transmedia universe "AmarElo", authored by singer-songwriter Emicida. The results of the analysis of the transmedia narrative show the following remixing operations: remix, sampling, video mashup and motion graphics. It is concluded that the new literacies in remixed transmedia narrative texts can be worked in the transgressive Portuguese Language teaching, contributing to students' participation in a new mindset in digital culture. [ABSTRACT FROM AUTHOR]

The current transformations of the music industry continue a previous process, added to the changes brought about by digitalization, audiovisual convergence, and transmedia logic. A systemic approach is necessary to locate the new conditions of musical remediation and appropriation of music by the media industry and to inquire into the turn toward the visual of the music industry, which some authors have found in recent years. The period of lockdown due to the Coronavirus (COVID-19) deepened a series of dynamics that combine the production and distribution of popular music with other sectors of the music industry. On the one hand, the video clip has become a multifaceted instrument after YouTube, which has made it possible to monetize music listening. Its forms of expansion colonize platforms, and its format and aesthetic model expand in duration in the visual album or are cloned for application to various microformats. Thanks to platformization, it acts not only as a promotional format but also as a listening medium. On the other hand, live music is a relevant diffusion field in popular music. In its retransmitted version, livestreaming of concerts consolidates another formula of innovation tending toward personalization. The paper's objectives involve reflecting on the logic of global modification of the creation and consumption of musical content in the current transmedia context and analyzing the dynamics of interaction between agents, considering the digitalization and platformization of musical content. The conclusions trace the possibilities of monetization and personalization of the experience of popular music and reflect on how the production conditions of creative agents in the current music industry and musical reception change. [ABSTRACT FROM AUTHOR]

Copyright of Uru: Revista de Comunicación y Cultura is the property of Universidad Andina Simon Bolivar, Sede Ecuador 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 Revista Laboratorio is the property of Universidad Diego Portales 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.)

With the mass use of the web and online social media such as Youtube, Facebook, Instagram and Tiktok, a common question is whether traditional online media are managing to effectively exploit the full potential of these communication platforms. This article aims to point the way towards an answer to this question, based on a theoretical and content analysis, presenting some indications of how this work can be carried out. To this end, concepts will be presented on social networks and online social media, communication and transmedia journalism and a discussion on prosumers, as the new consumers of information are called, who at the same time participate in the process of constructing information content. In addition, some transmedia journalism initiatives developed with the collaboration of this new audience of content consumers and producers will be presented. [ABSTRACT FROM AUTHOR]

After the global crisis of the recording industry, popular music has had to rethink itself to avoid perishing. Its alliance with transmedia business and—narrative—logic has been part of that transformation. Music video remains necessary for the multilateral and transmedia music promotion. Through these formats, users create and share content concerning the artist’s visual universe, making it viral and results exponentially. This supposes the first form of expansion of music video in its transformation into the logic of digital ecology in a post-television era. However, the music video has another aspect of growth with its extension through the visual album where each music track corresponds with a visual track; it uses mechanisms that unify the messages or references, for example, as repetitive visual motifs (thematic motifs, similar images, locations, or characters). The visual album allows another way of promoting record works: before, they were sold through two/three singles; now, an attempt is made to extend the life span of records, generating consolidated worlds of meaning. This imaginary is achieved with unity and diversity through rhetorical figures of repetition or quotes from other cultural texts, composing storytelling for music personae. Projects such as Beyoncé’s three visual albums (Beyoncé, 2013; Lemonade, 2016, and Black is King, 2020), Dirty Computer by Janelle Monaé, and El mal querer by Rosalía are examples of a new form of music albums, where the musical artist is resignified with these resources for a new concept of body and performance. [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.)

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]

Copyright of Laocoonte is the property of Sociedad Espanola de Estetica y Teoria de las Artes 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 Austral Comunicacion is the property of Austral 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 Álabe is the property of Alabe 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 aims to analyze the participatory culture of learners in the end of the years of Elementary Education by creating Transmedia Narratives (NT) from the theme "gender" and its consequences as a cross-cutting theme. We adopted the 'Culture of Convergence' Theory, by Jenkins (2009), whose characterization occurs through the convergence of massive and interactive technologies and it’s not about their overlap, as a theoretical framework to support the object of this research. From this perspective, NTs appear as a way of narrating stories on media platforms. The research has a qualitative approach, descriptive and, as a methodological path, we adopt the cartographic that analyzes the paths of the learners when producing NTs, thus contemplating the participatory culture. The data collection of the stages of the NT production process occurred through interviews, analysis of the created media and their speeches. The results appeared in a rhizomatic way and the elaboration of the NTs was characterized by the use of several media.

Copyright of Revista Comunicação Midiática is the property of Universidade Estadual Paulista, Faculdade de Arquitetura, Artes e 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.)

Media art and literature has formed a new set of rules for textual production and symbolic control out of the logic of communication. With an inherent structure of significance and dimension of temporality, media art and literature not only provide a new form of development for art, but also offer more possibilities for artistic imagination to engage in social life. According to the process of communication, the communication of literature and art via media involves three domains: "media" at the level of production, "story" at the level of content, and "senses" at the level of aesthetics. Due to the interconnection and interaction between these three domains, the inherent "communicative attributes" of media art and literature intensify the tension between literary and artistic autonomy and heteronomy. The artistic identification of media art and literature and their anxiety need to be self-consistent in the reconstruction of artistic knowledge, discursive negotiations, and games. [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.

This work focuses on multimodal communication and a transmediatic approach to narratives (storytelling cf. Jenkins 2006). Although anchored in the traditional semiotic narrative mentioned above, it is situated, more specifically, in the field of socio-semiotics (cf. Kress and Van Leewven 1996; 2010), looking at the modes and means of expression and reception of messages. Methodology: This qualitative research followed three methodological steps. First, exposition of the theoretical path, then identification of the relevant bibliography in cognitive linguistics and, finally, the use of theconcept of convergence applied to multimodal communication, from the previously indicated approach on conceptual metaphor as a cognitive process of semiotic relevance. These theoretical assumptions were applied in the analysis of different representations of the Harry Potter phenomenon, in its diverse and convergent material occurrences. Analysis: The analysis performed confirms that narrative processes as transmedia texts can create a comprehensive fictional environment, open to multiple contexts of interpretation and reformulation, being able to mobilize mechanisms of convergent meaning and sequential narratives that work on multi-platforms of frequent access to a wide audience (Jenkins 2006). Starting from the concept of form introduced by3 Kress and Van Leewen (1996), a proposal of a socio-semiotic character is presented, focusing on multimodal communication (cf. Kress 2010). It intersects with the theory of conceptual metaphor introduced by Lakoff and Johnson (1980), thereby creating structures of convergence between various media of access to each narrative object (Jenkins 2006). Discussion: Explores the narrative universe of a product using transmediatic mechanisms, highlighting a question of cognitive experience, more than use, since it creates commitments and interpretative challenges that are necessary to both authors and audiences (Scolari 2009). This approach is illustrated with the example of the narratives created around the character of Harry Potter (Rowling 1997-2007), in which case it is part of a series of books and analog games, which, in turn, are at the origin of an extensive media production, digital games and online platforms with active participation of fan communities of the character. Conclusion: Research demonstrates the relevance of this proposal, underlining the multimodal and, at the same time, transmediality of the current forms of creation and access to narrative texts. The series can be considered a significant example of transmedia narratives in the sense of Jenkins (2006), since it promotes a whole set of modalities and possibilities of representation in a variety of formats. [ABSTRACT FROM AUTHOR]

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 Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU 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 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.)

Given the formative and playful potential of the new literate practices developed in digital environments and, specifically, fanfictions, 321 beta readers of the fanfiction.net platform have been analyzed in this work. In the readers' profiles we have been able to know general characteristics such as sex, age or country of residence. As well as the strengths, weaknesses, textual preferences that these beta readers expose. All this has allowed us to explore the interactions that are established between writers and their beta readers. In addition, five collaboration models of beta readers have been extracted. Finally, it has been proven that these are unique opportunities for the development of reading, writing and literary skills in informal settings. [ABSTRACT FROM AUTHOR]

The first short films from the Allegro Polish Legends series attracted great popularity. Further productions were created on the wave of this trend - short films, audiobooks and music videos. A feature film was also announced. The Legends are a unique narrative in Polish popular culture, not only because of the circumstances of its creation, but also the manner of its execution, distribution and the subject matter. In the article, I analyse this popular series, judging whether it can be considered a transmedia narrative. Firstly, I reflect on concepts such as an entertainment supersystem, a universe, a narrative and a transmedia story. Secondly, I relate these concepts to The Legends in an attempt to ascertain their applicability in an analysis of the series. I also reflect on the current situation of the franchise, as well as its potential and development prospects. [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.)

Copyright of Caracteres: Estudios Culturales y Criticos de la Esfera Digital is the property of Editorial Delirio 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.

Copyright of Megatrends & Media is the property of University of SS. Cyril & Methodius in Trnava, Faculty of Mass Media 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.)

The article presents the experience of a transmedia narrative in a high school in Argentina with the aim of reflecting on the implications in the educational process. The analysis methodology is qualitative, based on participant observation and bibliographic review. The results link the transmedia narratives with the competences of the students, the role of the teacher and the dialogue with the community. [ABSTRACT FROM AUTHOR]

Copyright of Revista Anagramas is the property of Editorial Universidad de Medellin 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.)