Please enable JavaScript.

Coggle requires JavaScript to display documents.

Transmedia narratology and transmedia storytelling (Three discourses on…

- - - - Manifested by fan fiction, remixes, amateur movies, and participation in cosplay events
    - - Manifested by online discussion groups and by comments on Amazon
  - - - The purpose of transmedia storytelling is to ‘monetise’ intellectual property by spreading it across as many media as possible because each medium has its own devotees and increases the size of the audience.
      - The value of an intellectual property is entirely a function of its popular success
    - - The role of the transmedia designer is to create and encourage more content for satisfying the desire of the audience. It can create more attention and consumption
    - - The consumers are invariably fans, a term that suggests fanatic and uncritical devotion to storyworlds
    - - Traditional media become more interactive and participatory in order to survive
- - - - The parts fit together into a whole, and this whole is more than the sum of its parts
      - The many components are held together by a common frame, which we may call a storyworld.
    - - Extension
        
        which adds new stories to the fictional world while respecting the facts established in the original
      - Modification
        
        which changes the plot of the original narrative, for instance by giving it a different ending
      - Transposition
        
        which transports the plot into a different temporal or spatial setting
- - - - EX. culturally recognised forms of expression, such as music, dance, painting, sculpture, literature, comics and computer games
      - Concerns the creation of information out of diverse semiotic substances
    - - EX. TV, radio, the Internet and the various delivery systems made possible by digital technology
      - Concerns the transmission of information