Transmedia Narratives

This article examines the transmedial theme and narrative genre of bildung (life formation) in relation to videogames. It revisits key tenets of life formation theory insofar as they can be applied to a small but growing corpus of games that emphasize spiritual and philosophical maturation and advancement. We argue that Joseph Campbell's monomyth is an oversimplified and ultimately unsuitable lens through which to analyze character development in games, which restrains rather than stimulates the kind of complexities, diversity and fluidity of character psychology needed in contemporary videogame ecology. The main part of this study is dedicated to a comparative analysis of three indie games that address the life formation theme through allegories of space-in-time. The main focal areas will be character and story patterns; chronotopic mappings onto developmental trajectories; the treatment of mastery, mentorship and choice (Fraiman, 1993); and the spiritual and metacognitive alignment of extra and intradiegetic education.

Transmedia storytelling (TS) refers to media experiences expanded across multiple platforms. This article answers the research question about the specificity of Russian TS initiatives. The goal of the research is to emphasize the social and cultural contexts in which TS is inserted in Russia by reconstructing the panorama of the Russian transmedia landscape. The qualitative
research is methodologically supported by an analysis of documents and materials regarding transmedia projects in Russia and presents an interdisciplinary theoretical approach (1) to explore the concept of TS and the variability of terminology in different contexts; (2) to situate the discussion of TS in the contemporary Russian media landscape and above all (3) to investigate examples of transmedia projects in Russia. Since TS is just emerging in Russian media and culture, the article concentrates on mapping the Russian transmedia landscape.

It was slightly more than 10 years ago that Henry Jenkins (2003) first introduced the conceptualizations of transmediality into the mainstream of contemporary media studies, but the related academic research and scholarly disputes had been taking place in various alternative and peripheral domains of media and cultural studies for several decades before that. There had been studies of intermediacy and intersemioticity, of intertextuality and multimodality; the domain of adaptation studies had become increasingly complex in terms of the rich terrain of intermedia textualities it found itself covering. And there had been Marsha , who coined the term transmedia and approached the emerging phenomena of transmedia blockbusters from a critical viewpoint informed by various cultural studies and political economy approaches. Parallel to this work, the academic domain of audience research within media studies had been updated not only in terms of cultural studies' interest in the variety of everyday practices of sense making, use, and re-use of media content but also with regard to the changing affordances of digital textualities-of interactivity and participation, of remix and remediationand how these affected the ways audiences formed, acted, and interacted. Discourses on the individuation of media experiences, with anonymous mass audiences making way to the self-aware choices of individual users and consumers, had taken place, and so had discourses on new opportunities for these individual users' collective action and democratic empowerment, their cooperating and gaining in influence by sharing their choices, coproducing content, and meta-communicating on all value propositions. That is, Carlos A. Scolari: [email protected]

This essay aims to reflect on why and how the research on journalism and, specifically, research focused on the possible future innovations to be applied, may look at the concept and logic of transmedia as a way to refresh ideas, incorporate experimental methods and create/develop new forms, genres and models. In the current fluid media ecology, mobile and online environments play an outstanding role when identifying aspects, features and potentialities for interface design, interactivity, information architecture and its visuali-zation, localization and mobility, usability, etc., among others.

This article analyses the transmedia contents created around 33 Spanish television series broadcast in 2013 by national and regional TV networks. The article reviews the TV series’ official websites, in which the transmedia contents are made available, and organises the wide variety of transmedia formats created around the sample of TV series, based on the different touchpoint categories, which refer to any content or strategy that allow viewers to engage with a television brand through other media and platforms. The results indicate that there is an overwhelming presence of TV contents that are repackaged or adapted to the new medium or platform and that there is still a lack of transmedia expansion through contents that are actually new, differentiated across media, and narratively relevant.

En el marco de una investigación transnacional sobre alfabetismos digitales, el objetivo fue estudiar las prácticas de lectoescritura de estudiantes de colegios públicos colombianos en relación a las narraciones transmedia. Sostenido en un enfoque cualitativo y metodología etnográfica, el resultado es un análisis descriptivo sobre las dinámicas y competencias de los jóvenes a partir de la apropiación de estas narrativas.
//
Within the frame of an international research concerning digital literacy, the objective of this article is to analyze reading/writing practices and informal learning strategies of students in Colombian public schools related to transmedia narrations. Based on a qualitative approach and ethnographic methodology, the result is a descriptive study of the competences acquired by young readers through the appropriation of these narratives.

Resumo: A partir de uma abordagem teórica inicial, o artigo propõe-se a fazer uma aproximação entre as concepções de narrativa transmidiática (JENKINS, 2008) e de convergência de conteúdo (SALAVERRÍA & AVILÉS, 2008; e SALAVERRÍA & NEGREDO, 2008). Num segundo momento do texto, os elementos sistematizados inicialmente são ilustrados através da observação do exemplo – a revista Época, considerando-se a versão impressa e o site – e de outras plataformas utilizadas, como o celular. É possível verificar que, no ambiente digital, aspectos empregados em narrativas de produtos de entretenimento, num contexto chamado por Jenkins (2008) de cultura da convergência, também aparecem como recursos da narrativa jornalística.

Abstract: Starting from an initial theoretical approach, the article proposes to make a connection among the conceptions of transmedia narrative (JENKINS, 2008) and of content convergence (SALAVERRÍA & AVILÉS, 2008; and SALAVERRÍA; NEGREDO, 2008). Further on, the elements systematized initially are cultured through the observation of the example the Época magazine, considering the printed version, the site and of other used platforms, as the cellular. It is possible to observe that, in the digital environment, aspects used in narratives of entertainment products, in a context called by Jenkins (2008) the convergence of culture, they also appear as resources of the journalistic narrative.

Link: http://seer.uscs.edu.br/index.php/revista_comunicacao_inovacao/article/view/947

In this article, called Ministerical Fannibals: the power of the fandom
it will be analyzed how the fandom has become in recent years an essential role. While this is not something new or belonging exclusively to the field of seriality, as well Henry Jenkins (2006) explained in Fans, Bloggers, and Gamers: Exploring Participatory Culture, it is true that has evolved to become one of the key elements of the serial food chain. His contributions and especially their involvement have decided on several occasions the continuation of a series or the defenestration of a character, and perhaps most importantly, have led to the generation of
surrounding and alternative narrative universes. This paper aims to deep into the behavior of fandom and its consequences through the study of different samples and examples of actions taken (transmedia or not) in relation to different series produced specially in United States in the last 15 years. And although various serial fandom will be analyzed in different ways, the focus will be specially on two recent quite different cases: the fannibals –fandom of Hannibal (NBC, 2012- 2015)– and the ministéricos, fandom of the TV series El ministerio del tiempo (La 1, 2015-), for being two very different series and therefore two fandoms also very different, but the two of them are very active. The first, an American series of three seasons whose cancellation has awakened an increasing cohort of followers; and the second, a Spanish series that was initially planned for one season and, die to its success, its second season is already on the air for 2016. The main objective is to establish the high influence of these groups in the series of the third age of television, whether in reference to the constructive elements of the series, in their characters or with respect to the scope of transmedia, where perhaps there has been more the evolution of the footprint of this group in the world of fiction in recent years.

Vivimos actualmente una época que se puede entender en términos de procesos de comunicación, en donde las redes mundiales de comunicación participan de manera importante en el consumo y generación de cultura de imágenes e ideas a partir de las cuales la población conforma algunos de sus referentes más significativos. Este texto tiene como objetivo principal reflexionar y discutir el término narrativas transmedia. Se hace un repaso a la historia del concepto y se distingue de otros similares. Se propone una caracterización teórica basada en cuándo un producto cultural puede ser considerado transmediático y cuándo no. Se realiza una revisión a las principales aportaciones teóricas que hacen evidente este concepto. Preguntarse cuándo es transmedia y no qué, implica que el análisis asuma una dimensión histórica-evolutiva de los relatos y observe las maneras en que se incorporan en los procesos de significación por parte de las audiencias.

Dentro del panorama transmedia televisivo español reciente, destaca la experiencia llevada a cabo por la serie 'Víctor Ros' (TVE). El objetivo de este artículo es centrarse en el empleo del perfil personal en Twitter del detective protagonista como vehículo de expansión transmediática de su universo ficcional. Desde esta perspectiva se han analizado más de mil seiscientos tuits generados, de los cuales cerca de quinientos se corresponden con el relato transmedia previo a la emisión de la serie. Los resultados ponen sobre la mesa el uso dado al perfil del protagonista de una ficción como vía para la narración transmedia en primera persona, así como para interactuar con sus seguidores.

Transmedia narratives use a combination of Barthesian hermeneutic codes, negative capability and migratory cues to guide audiences across multiple media platforms. This thesis examines complex narratives from comics, novels, films and video games, but draws upon the transmedia franchises built around Jim Henson’s Labyrinth and The Dark Crystal to provide two primary case studies in how these techniques can be deployed with varying results. By paying close attention to staying in canon, building an open world, maintaining a consistent tone across extensions, carefully deciding when to begin building a transmedia franchise, addressing open questions while posing new ones, and looking for ways to help audiences keep track of how each extension relates to each other, transmedia storytellers can weave complex narratives that will prove rewarding to audiences, academics and producers alike.

Los avances tecnológicos han supuesto una revolución en la forma de crear, transmitir y consumir los productos de entretenimiento, dando lugar a nuevas formas de contar historias, como la narrativa transmedia, que se caracterizaría principalmente porque cuenta una historia a partir de distintas plataformas o formatos, permitiendo que el receptor se incorpore de manera creativa a la historia. Este trabajo explora las potencialidades que el formato de las narrativas transmedia aporta a las series de ficción televisivas. En particular se estudian 'Game of Thrones', 'Isabel' y 'Cuéntame cómo pasó', atendiendo especialmente al contenido multipantalla creado para estas series y a las posibilidades de inclusión del discurso del receptor como parte integrante del universo narrativo de la serie.

Keynote talk given at the conference of ISIS (International Society for Intermedial Studies) “Rethinking Intermediality in the Digital Age” organized by the Sapientia Hungarian University of Transylvania, in Cluj-Napoca, Romania, between the 24th and 26th of October 2013.

The aim of this chapter is to examine the history of storytelling. This brief history includes the concept of storytelling from myths to the digital era. In the first part of the chapter, the origins of storytelling in primitive communities and its development in later periods are examined. In the second part of the chapter, the development process of digital storytelling is explained. According to this, traditional sto-rytelling has gained a new form called digital storytelling which started with a workshop in 1993 by Dana Atchley. One year later, the Center for Digital Storytelling (CDS) was established in Berkley, CA. The Center for Digital Storytelling has organized workshops and partnered with organizations around the world to hold projects on story facilitation, digital storytelling and other forms of digital media production and since 1993, it has helped more than 20,000 people to share their own stories. Though the digital storytelling movement started in North America, it has also spread in Europe, Australia, Asia, Africa and South America. The movement has found a place in the world of today.

Transmedia storytelling is defined as a process where integral elements of fiction get dispersed systematically across multiple delivery channels to create a unified and coordinated entertainment experience. This process and its narrative models have had an increasing influence on the academic world in addressing both theoretical and practical dimensions of transmedia storytelling.

The Handbook of Research on Transmedia Storytelling and Narrative Strategies is a critical scholarly resource that explores the connections between consumers of media content and information parts that come from multimedia platforms, as well as the concepts of narration and narrative styles. Featuring coverage on a wide range of topics such as augmented reality, digital society, and marketing strategies, this book explores narration as a method of relating to consumers. This book is ideal for advertising professionals, creative directors, academicians, scriptwriters, researchers, and upper-level graduate students seeking current research on narrative marketing strategies.

The phenomenon of the transmedia narrative, as a result of the experimentation of the fiction in television in a multiplatform and multimedia frame, arises multiple challenges which not only affect to the decisions in the industry and its production lines, but also to the reflexion and analysis, which establish new forms as an object of study. The methodological and conceptual apparatus applied and tested with the media and forms of expresion in the predigital era is constantly examined nowadays by the transmedia narratives. In this text and basing our experience in the most recent fictional production, we do refer to a key concept for the transmediatic narration development: the serialized form, precisely as the way of structuring and organizing the narration are reformulated in a new complex media context, and this way, the generated tensions caused by these narratives, by both the demands asociated to categories of consumption related to a traditional medium which has not changed basically its consolidated protocols in the analogical era, and by the new ways of access and usage of the contents encouraged by the new technologies.

Ever since Henry Jenkins published his oft-cited article on “Transmedia Storytelling” in Technology Review (2003), transmediality has become a crossroads and a meeting place for researchers from different disciplines (Media Studies, Narratology, Visual Arts, Marketing, Comparative Literature, Semiotics, Theatre and Performance Studies, Game Studies, Sociology, etc.) as well as authors and the public that are involved in the emerging forms of multiplatform and distributed story creation, production and participation that such transmediality involves. Likewise, intermediality, with the phenomenon of adaptations at its core, crossmedia franchises and new theories on storyworlds, also form part of the space for reflection, discussion and the intersection of digital arts, communication media and interactive technologies that are put forward in this volume of Artnodes. The articles that make up this edition convey the complexity and variety of perspectives and objects of study and the need to revise or rebuild the methods and theoretical and critical tools that are used to construct cultural practice in the digital paradigm.

• The world of new media has inevitably changed teachers' and students' attitude towards information. Data of all kinds and from any scientific field are easily available at any time. Nevertheless, isolated data have nothing to do with knowledge. We refer to »knowledge« when an interdependence of information has a particular significance in defined conditions. How to use and connect this information is one of the primary issues teachers have to engage with since they are still the main organisers of the educational process. Taking into account the objectives of his/her explanations, he/she chooses certain relevant contents, and connects them, striving for an in-terdisciplinary view of the world that makes sense and gives sense to his/ her explanations, all in an attempt to motivate students in their approach to knowledge. This article presents research in which the participants, future art teachers, had to answer a questionnaire that required comparing artistic compositions and compositions present in nature. Almost half of them could not find proper examples, even though the participants were students who should have been able to manage contents from both fields. Understanding how art follows nature is an important goal within the education of future art teachers. Difficulty in connecting data, transferring knowledge, giving meaning to images and understanding visual and verbal discourse seem to be a persistent problem in many aspects of their education. Possible strategies to improve the situation using transmedia narratives are presented in the conclusion.

Resumo Vivemos em uma sociedade multissemiótica, cada vez mais inserida em uma cultura participativa, colaborativa e digital. Os textos não são apenas verbais, nem o conhecimento é de propriedade individual, assim, espera-se que os materiais produzidos pelos professores se encontrem inseridos no contexto da nova ecologia midiática e corrobore à superação da educação bancária. Diante do exposto, esta pesquisa analisou materiais digitais produzidos por docentes das redes pública e privada, durante a pandemia da COVID-19, com o objetivo de identificar os tipos de letramentos demonstrados pelos professores. A metodologia deste estudo foi de natureza qualitativa, sob a perspectiva do estudo de caso exploratório e descritivo, com a fundamentação de autores como. Os dados foram coletados a partir de um questionário semiestruturado. Constatamos que os professores entrevistados demonstram um desenvolvimento de letramentos midiáticos e digitais, sem, contudo, demonstrar letramento transmidiático. Portanto, não encontramos indícios da participação e engajamento dos alunos, na produção dos materiais digitais. Além disso, há a prevalência do ensino remoto transmissivo, caracterizando-se com uma atualização digital da educação bancária.

From a narratological perspective this paper argues that Ricardo Piglia's posthumous book Los casos del comisario Croce offers readers a theoretical project on transmedia narratives and storytelling. The reading of Los casos del comisario Croce as a transmedial narrative centers in two aspects: 1) Piglia's use of a text written by Marx on productivity and the professions as a threshold for his transmedial narration; 2) binging engagement from the transmedial logic used for characterizations and the transmedial whodunit structure logic.

The concept of transmedia storyworlds unfolding across complex serial narrative structures has become increasingly important to the study of modern media industries and audience communities. Yet, the precise connections between transmedia networks, serial structures, and narrative processes often remain underdeveloped. The dispersion of potential story elements across a diverse collection of media platforms and technologies prompts questions concerning the function of seriality in the absence of fixed instalments, the meaning of narrative when plot is largely a personal construction of each audience member, and the nature of storytelling in the absence of a unifying author, or when authorship itself takes on a serial character. This special issue opens a conversation on the intersection of these three concepts and their implications for a variety of disciplines, artistic practices, and philosophies. By rethinking these concepts from fresh perspectives, the collection challenges scholars to consider how a wide range of academic, aesthetic, and social phenomena might be productively thought through using the overlapping lenses of transmedia, seriality, and narrativity. Thus, the collection gathers scholars from life-writing, sport, film studies, cultural anthropology, fine arts, media studies, and literature, all of whom find common ground at this fruitful crossroads. This breadth also challenges the narrow use of transmedia as a specialized term to describe current developments in corporate mass media products that seek to exploit the affordances of hybrid digital media environments. Many prominent scholars, including Marie-Laure Ryan and Henry Jenkins, acknowledge that a basic definition of transmedia as stories with extensions and reinterpretations in numerous media forms includes the oldest kinds of human expression, such as the ancient storyworlds of Arthurian legend and The Odyssey. Yet, what Jenkins terms " top-down " transmedia—that is, pre-planned and often corporate transmedia—has received a disproportionate share of scholarly attention, with modern franchises like The Matrix, the Marvel universe, and Lost serving as common exemplars (Flanagan, Livingstone, and McKenny; Hadas; Mittell; Scolari). Thus, many of the contributions to this issue push the boundaries of what has commonly been studied as transmedia as well as the limits of what may be considered a serial structure or even a story. For example, these papers imagine how an autobiography may also be a digital concept album unfolding in reverse, how participatory artistic performances may unfold in unpredictable instalments across physical and digital space, and how studying sports fandom as a long series of transmedia narrative elements encourages scholars to grapple with the unique structures assembled by audiences of non-fictional story worlds. Setting these experimental offerings into dialogue with entries that approach the study of transmedia in a more established manner provides the basis for building bridges between such recognized conversations in new media studies and potential collaborations with other disciplines and subfields of media studies.

This paper analyzes the design, creation and diffusion of transmedia content based on the production of young university students enrolled in the Bachelor’s Degree in Social Education. Following a brief introduction on the role of transmedia literacy and the culture of convergence within formal education institutions in general, the relationships between the use of transmedia narratives and educational innovation in higher education institutions are discussed. The study analyzes the transmedia creation process at two levels of analysis: 1) through a description of the instruments of mediation of learning used in the educational design (guided participation); and 2) by analyzing the possibilities of transmedia narratives as strategies of collective creation to promote digital literacy in the hyperconnected society. The methodological design combines narrative research with digital ethnography, followed by the description of the main results derived from the analysis of the elaboration and production of the transmedia content by the students. Finally, the conclusions defend the opportunity of transmedia education to generate processes of technological and social mediation that not only recognize the learning and tacit knowledge that students form in the hyperconnected society but also its possibilities for social empowerment among university students.

Espen J. Aarseth defined in his work Cybertext: Perspectives on Ergodic
Literature (1997) ergodic literature as one in which “a non-trivial effort is required to allow the reader to pass through the text”. Based on the analysis of a representative body of narratives found within the ergodic spectrum, this article aims to bring order to the classification of ergodic narratives; and contribute to the development of two possibilities of this type of narrative: transmedial and raccontian. Transmedial ergodic literature takes into account the new media and the latest technologies available to the teleuser in order to transform his limited role from decision making to an acting role in the narrative, becoming an off-stage character. The raccontian proposal is characterized by the application of alterations in the hidden layer of a storyline using the Schrödinger cat effect. Ergodic decision-making dynamics are applied in racconto
scenes (Rondolino and Tomasi 1995) to manipulate the timeline prior to the story world’s starting point. This allows a greater diversification of outcomes by varying elements that usually remain inflexible and truncated. Two proposals that therefore affect different areas of transmedia communication, as we will demonstrate in this
article.

Interactivity with users represents a key feature of transmedia storytelling. This research revolves around the way viewer engagement influences the content of an interactive Web series-namely, Si fueras tú. The series used a strategy based on social networks to encourage viewer participation in the decisions of the protagonist. Research uses a mixed study methodology that includes (1) an analysis of turning points, (2) an analysis of characters, (3) content analysis based on viewers' comments on social media, and (4) in-depth interviews with project managers to illuminate the process of building the transmedia strategy. Findings confirm that audience participation influences the content of the fiction series, albeit in a limited way, with the main aim being to retain the audience as part of the marketing strategy.

Recently, a peculiar narrative configuration has developed and is spreading through the internet culture and new media. Characterised by a specific representation of the individual growth process, Apeiron narratives find their origin in pen & paper role-playing games, but it is only after the development of digital games and the diffusion of the Japanese cultural codex through the contemporary mediascape that they have become a coherent, autonomous and viral phenomenon. In the following pages, this narrative configuration will be described through a series of paradigmatic examples; its roots will be traced back to the peculiar traits of role-playing games, and the importance of recent digital adaptation will be highlighted. Finally, I will describe its diffusion beyond the domain of fictional text, hinting at possible environments for its diffusion.

El presente artículo propone la posibilidad de un teatro transmedia, analizando para ello el desarrollo de obras a partir del universo ficcional re-presentado en escena y que, en ocasiones, desembocan en obras de carácter parateatral o paratexual, siguiendo las definiciones de Patrice Pavis. Para ilustrar estas ideas, se expone el caso de Teatro Kamikaze en torno a la obra Misántro-po, centrándose especialmente en la labor desarrollada de forma conjunta con el Lab de RTVE. Además de la representación escénica originaria, se analizan la edición de la adaptación por Miguel del Arco, los videos promocionales en YouTube, una galería fotográfica, el uso de Twitter y Facebook, o una pieza de video en 360º. Estaríamos ante un ejemplo de expansión transmedial del tipo "bola de nieve", según la definición de Domingo Sánchez-Mesa y Jan Baetens, donde todas las prácticas analizadas contribuyen de diferente manera al carác-ter performativo de la expansión. Esto es especialmente notable en el caso del video de 360º, que aproxima la experiencia del visionado de la obra en realidad virtual a lo teatral. Pero, aun así, esto no es teatro, en cuanto todo está inscrito de forma inalterable en la banda sonora y visual, y sin capacidad de interacción, disolviendo el aquí y ahora propio de la escena. Abstract: This paper provides the possibility of thinking in a Transmedia Theatre through the analysis of the development of works from the fictional universes created on stage, resulting in paratheatrical or paratextual pieces of art, in line with the definition by Patrice Pavis. For illustrating these ideas, we expose the

In recent years, the creation and development of transmedia projects has become fairly evident, in which it is possible the production of more immersive and vast narratives, by the conception of many different contents for multiple platforms. As a way to make the user more involved in the whole story, it can be introduced gamification strategies, promoting a bigger interaction between the audience and the various contents, as well as between it’s users.
With this project, it has been identified, through multiple case studies, which gamification strategies were used in relevant projects and in which way they contributed for a bigger participation in the narratives that these strategies are included. Then, it was created a transmedia project, Anamnesis, in which gamification strategies were implemented, as a way to verify if the aforementioned strategies contributed for a higher user’s involvement. By conducting interviews, it was confirmed that the users felt more involved with the narrative and more motivated to follow it when gamification strategies were introduced in the project. Therefore, and considering the gamification
strategies that were implemented, advantages in the use of transmedia projects were identified.

The article "Silmarillion"—J. R. R. Tolkien’s Allotopia From Ardological Perspective aims at outlining the methodology for studying Tolkien’s world-building project without the need of acknowledging the text-centered reading paradigm. Having differentiated tolkienology, as text-focused, philological studies, from ardology, understood as world-building studies, Maj deconstructs the use of Tolkienian’s “subcreation” in literary theory as far too indebted in the metaphysics of presence to establish a neutral framework for studying the process of constructing a fictional reality. With the examples from "Silmarillion"—perhaps the best instance of modern mythography, in no way resembling the narrative arc of a prototypical fantasy novel—the author builds up on the notion of “allotopia” as the world independent insofar to create its own ontologies, topographies, languages, philosophy, history, literature, art, or even physical artifacts—without the need of anchoring the overall creation in a metaphysical paradigm. Correspondingly, the text offers an insight to a number of theories in postclassical narratology or postmodern philosophy that may help in understanding the scale of Tolkien’s solemn contribution to the art of fantastic world-building.

This book examines how television has been transformed over the past twenty years by the introduction of new viewing technologies including DVDs, DVRs and streaming services such as Netflix, Hulu and Amazon Prime. It shows that these platforms have profoundly altered the ways we access and watch television, enabling viewers to pause, rewind, record and archive the once irreversible flow of broadcast TV. JP Kelly argues that changes in the technological landscape of television has encouraged the production of narrative forms that both explore and embody new industrial temporalities. Focusing on US television but also considering the role of TV within a global marketplace, the author identifies three distinct narrative temporalities: “acceleration” (24; Prison Break), “complexity” (Lost; FlashForward), and “retrospection” (Mad Men).  Through industrial-textual analysis of television shows, this cross-disciplinary study locates these narrative temporalities in their socio-cultural contexts and examines connections between production, distribution, and narrative form in the contemporary television industry.

Este trabajo se articula en torno al debate contemporáneo en el que los nuevos medios audiovisuales se asumen como herramientas para la construcción de una memoria histórica moderna a través de nuevas formas de producción audiovisual, como son las narrativas transmedia. Para llegar hasta esta última cuestión el texto participa de una actualización de las ideas de Walter Benjamin –y no solo– sobre la memoria por medio de pensadores como Didi-Huberman y, así, haciendo convergencia de la ideas de ambos, atender al caso concreto de la memoria histórica en España, donde recordar lo ocurrido durante la Guerra Civil española y el franquismo, supone un desencuentro teórico entre los postulados del pensador berlinés y la normativa conocida como Ley de memoria histórica.

The objective of this work is to contribute to studies about the grotesque aesthetic in rock'n'roll and the use of different media platforms as a means of poetic styling and creating new narratives converge to Viver até Morrer. The grotesque as a visual representation of the anxieties and contradictions of an age full of constant daily shocks that the people is exposed challenge institutionalized social models through the aesthetics. The transmedia exhibition of the work provides an expansion of the fictional imaginary narratives through interconnections from different platforms and media languages such as animated film, the music video, comics and music.

If each medium should do what it does best in order to deliver its part of the narrative in a transmedial production, then the emphasis on games should be placed on the experience resulting from the ludic agency provided by their game mechanics rather than from narrative elements adapted from other non-interactive narrative media. However, research thus far is limited to gauging player experience resulting solely from a single play session, in terms of the game mechanics, the social context of the game, and various aspects of engagement and immersion. No assessment of the consistency of the resulting user experience relative to other narrative media components of the transmedia production is considered and, while the game may be enjoyable and immersive, it can be in conflict with the overarching narrative. This paper thus proposes a validation analysis of a standard UX questionnaire in terms of transmedial consistency, by carrying out a PCA of the questionnaire scores against a coded semi-structured interview. The latter analyses the perceived consistency of the gameplay experience with the narrative experience of other instalments from the same transmedial world. Should this prove to be invalid, criteria to be measured by a new questionnaire are hereby proposed.

Este texto surge no âmbito de um projeto de investigação de doutoramento e tem como objeto o conceito de narrativas transmédia. Constituindo uma primeira reflexão baseada na revisão da literatura, propomo-nos aqui definir o conceito, descrever algumas experiências que ajudam à sua compreensão e bem assim, mostrar as potencialidades desta abordagem para o desenvolvimento de novos cenários de ensino e aprendizagem. O objetivo é compreender de que maneira poderão as narrativas transmédia contribuir para a inovação das práticas pedagógicas dos professores e para a transformação da realidade escolar com o intuito de tornar a escola num espaço mais significativo, inovador e empreendedor. Esta técnica de contar e mergulhar em histórias com recurso nomeadamente às ferramentas Web 2.0 já está a ser amplamente utilizada para filmes, televisão e publicidade, começando também a interessar e a ser estudada no âmbito educacional dadas as suas potencialidades para a inovação na educação.
Palavras-chave: Narrativas transmédia, educação, práticas pedagógicas, Web 2.0

The paper aims to outline the narrative universe of the New Testament as a transmedial storyworld in a diachronical perspective to ask in a second step how exactly this universe is actualized and adapted in contemporary culture. For this purpose it focuses on Jesus action figures, a category of artifacts related to the New Testament that has not been studied yet. The paper suggests that these action figures should be seen as interactive media, which must be understood as satellites in the overall structure of the corresponding storyworld.