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This book examines the mediated shift in the contemporary human
condition, focusing on the ways in which we synthesise with media
content in daily life, essentially transmediating ourselves into
new forms and (re)creating ourselves across media. Across an
international roster of essays, this book establishes a
transdisciplinary theory for the ‘transmedia self’, exploring
how technological ubiquity and digital self-determination combine
with themes and disciplines such as celebrity culture, fandom,
play, politics, and ultimately broader self-conception and
projection to inform the creation of transmedia identities in the
twenty-first century. Specifically, the book repositions
transmediality as key to understanding the formation of identity in
a post-digital media culture and transmedia age, where our lives
are interlaced, intermingled, and narrativised across a range of
media platforms and interfaces. This book is ideal for scholars and
students interested in transmedia storytelling, cultural studies,
media studies, sociology, philosophy, and politics.
Around the globe, people now engage with media content across
multiple platforms, following stories, characters, worlds, brands
and other information across a spectrum of media channels. This
transmedia phenomenon has led to the burgeoning of transmedia
studies in media, cultural studies and communication departments
across the academy. The Routledge Companion to Transmedia Studies
is the definitive volume for scholars and students interested in
comprehending all the various aspects of transmediality. This
collection, which gathers together original articles by a global
roster of contributors from a variety of disciplines, sets out to
contextualize, problematize and scrutinize the current status and
future directions of transmediality, exploring the industries,
arts, practices, cultures, and methodologies of studying convergent
media across multiple platforms.
Today's convergent media industries readily produce stories that
span multiple media, telling the tales of superheroes across
comics, film and television, inviting audiences to participate in
the popular universes across cinema, novels, the Web, and more.
This transmedia phenomenon may be a common strategy in Hollywood's
blockbuster fiction factory, tied up with digital marketing and
fictional world-building, but transmediality is so much more than
global movie franchises. Different cultures around the world are
now making new and often far less commercial uses of
transmediality, applying this phenomenon to the needs and
structures of a nation and re-thinking it in the form of cultural,
political and heritage projects. This book offers an exploration of
these national and cultural systems of transmediality around the
world, showing how national cultures - including politics, people,
heritage, traditions, leisure and so on - are informing
transmediality in different countries. The book spans four
continents and twelve countries, looking across the UK, Spain,
Portugal, France, Estonia, USA, Canada, Colombia, Brazil, Japan,
India, and Russia.
Tracing the industrial emergence of transmedia
storytelling-typically branded a product of the contemporary
digital media landscape-this book provides a historicised
intervention into understandings of how fictional stories flow
across multiple media forms. Through studies of the storyworlds
constructed for The Wizard of Oz, Tarzan, and Superman, the book
reveals how new developments in advertising, licensing, and
governmental policy across the twentieth century enabled historical
systems of transmedia storytelling to emerge, thereby providing a
valuable contribution to the growing field of transmedia studies as
well as to understandings of media convergence, popular culture,
and historical media industries.
Tracing the industrial emergence of transmedia
storytelling-typically branded a product of the contemporary
digital media landscape-this book provides a historicised
intervention into understandings of how fictional stories flow
across multiple media forms. Through studies of the storyworlds
constructed for The Wizard of Oz, Tarzan, and Superman, the book
reveals how new developments in advertising, licensing, and
governmental policy across the twentieth century enabled historical
systems of transmedia storytelling to emerge, thereby providing a
valuable contribution to the growing field of transmedia studies as
well as to understandings of media convergence, popular culture,
and historical media industries.
An accessible introduction to the world of The Walking Dead, this
book looks across platforms and analytical frameworks to
characterize the fictional world of The Walking Dead and how its
audiences make use of it. From comics and television to social
media, apps, and mobile games, utilizing concepts derived from
literary studies, media studies, history, anthropology, and
religious studies, Matthew Freeman examines the functions and
affordances of new digital platforms. In doing so, he establishes a
new transdisciplinary framework for analyzing imaginary worlds
across multiple media platforms, bolstering the critical arena of
world-building studies by providing a greater array of vocabulary,
concepts, and approaches. The World of The Walking Dead is an
engaging exploration of stories, their platforms, and their
reception, ideal for students and scholars of world-building, film
and TV studies, new media, and everything in-between.
This book brings genre back to the forefront of the current
transmedia trend. Genres are perhaps the most innately transmedial
of media constructs, formed as they are from all kinds of
industrial, technological and discursive phenomena. Yet, few have
considered how genre works in a multiplatform context. This book
does precisely that, making a uniquely transmedial contribution to
the study of genre in the age of media convergence. The book
interrogates how industrial, technological and participatory
transformations of digital platforms and emerging technologies
reshape workings of genre. The authors consider franchises such as
Star Wars, streaming platforms such as Netflix, catch-up services
such as ITV Hub, creative technologies such as virtual reality, and
beyond. In setting the stage for the revival of genre theory in
contemporary transmedia scholarship, this book pushes forward
understandings of multiplatform media and the emerging form and
function of genre across contemporary culture.
This guidebook, aimed at those interested in studying media
industries, provides direction in ways best suited to collaborative
dialogue between media scholars and media professionals. While the
study of media industries is a focal point at many universities
around the world - promising, as it might, rich dialogues between
academia and industry - understandings of the actual methodologies
for researching the media industries remain vague. What are the
best methods for analysing the workings of media industries - and
how does one navigate those methods in light of complex deterrents
like copyright and policy, not to mention the difficulty of gaining
access to the media industries? Responding to these questions,
Industrial Approaches to Media offers practical, theoretical, and
ethical principles for the field of media industry studies,
providing its first full methodological exploration. It features
key scholars such as Henry Jenkins, Michele Hilmes, Paul McDonald
and Alisa Perren.
Today's convergent media industries readily produce stories that
span multiple media, telling the tales of superheroes across
comics, film and television, inviting audiences to participate in
the popular universes across cinema, novels, the Web, and more.
This transmedia phenomenon may be a common strategy in Hollywood's
blockbuster fiction factory, tied up with digital marketing and
fictional world-building, but transmediality is so much more than
global movie franchises. Different cultures around the world are
now making new and often far less commercial uses of
transmediality, applying this phenomenon to the needs and
structures of a nation and re-thinking it in the form of cultural,
political and heritage projects. This book offers an exploration of
these national and cultural systems of transmediality around the
world, showing how national cultures - including politics, people,
heritage, traditions, leisure and so on - are informing
transmediality in different countries. The book spans four
continents and twelve countries, looking across the UK, Spain,
Portugal, France, Estonia, USA, Canada, Colombia, Brazil, Japan,
India, and Russia.
Around the globe, people now engage with media content across
multiple platforms, following stories, characters, worlds, brands
and other information across a spectrum of media channels. This
transmedia phenomenon has led to the burgeoning of transmedia
studies in media, cultural studies and communication departments
across the academy. The Routledge Companion to Transmedia Studies
is the definitive volume for scholars and students interested in
comprehending all the various aspects of transmediality. This
collection, which gathers together original articles by a global
roster of contributors from a variety of disciplines, sets out to
contextualize, problematize and scrutinize the current status and
future directions of transmediality, exploring the industries,
arts, practices, cultures, and methodologies of studying convergent
media across multiple platforms.
Star Wars has reached more than three generations of casual and
hardcore fans alike, and as a result many of the producers of
franchised Star Wars texts (films, television, comics, novels,
games, and more) over the past four decades have been
fans-turned-creators. Yet despite its dominant cultural and
industrial positions, Star Wars has rarely been the topic of
sustained critical work. Star Wars and the History of Transmedia
Storytelling offers a corrective to this oversight by curating
essays from a wide range of interdisciplinary scholars in order to
bring Star Wars and its transmedia narratives more fully into the
fold of media and cultural studies. The collection places Star Wars
at the center of those studies' projects by examining video games,
novels and novelizations, comics, advertising practices, television
shows, franchising models, aesthetic and economic decisions, fandom
and cultural responses, and other aspects of Star Wars and its
world-building in their multiple contexts of production,
distribution, and reception. In emphasizing that Star Wars is both
a media franchise and a transmedia storyworld, Star Wars and the
History of Transmedia Storytelling demonstrates the ways in which
transmedia storytelling and the industrial logic of media
franchising have developed in concert over the past four decades,
as multinational corporations have become the central means for
subsidizing, profiting from, and selling modes of immersive
storyworlds to global audiences. By taking this dual approach, the
book focuses on the interconnected nature of corporate production,
fan consumption, and transmedia world-building. As such, this
collection grapples with the historical, cultural, aesthetic, and
political-economic implications of the relationship between media
franchising and transmedia storytelling as they are seen at work in
the world's most profitable transmedia franchise.
An accessible introduction to the world of The Walking Dead, this
book looks across platforms and analytical frameworks to
characterize the fictional world of The Walking Dead and how its
audiences make use of it. From comics and television to social
media, apps, and mobile games, utilizing concepts derived from
literary studies, media studies, history, anthropology, and
religious studies, Matthew Freeman examines the functions and
affordances of new digital platforms. In doing so, he establishes a
new transdisciplinary framework for analyzing imaginary worlds
across multiple media platforms, bolstering the critical arena of
world-building studies by providing a greater array of vocabulary,
concepts, and approaches. The World of The Walking Dead is an
engaging exploration of stories, their platforms, and their
reception, ideal for students and scholars of world-building, film
and TV studies, new media, and everything in-between.
Helen meets with James in a quiet field somewhere far from the
city. Years later, she meets with Marcus in a crowded restaurant in
Los Angeles. These two goodbyes explore the process of losing the
people we love, and how we remember the people we don't.
Dramatic Comedy / 5m, 3f Approximate running time: 1 hour and 45
minutes, no intermission. Various settings, some real, some
imaginary, in Pennsylvania When Gordon's wife vanishes, the only
clue to her whereabouts is a bookmark in dog-eared copy of
Traveling to Montpelier. With little help to be found at work, from
his son, or from the police, Gordon takes off to a rural bookstore
to find some answers. His journey brings him to the town of
Cornersville, in the wilds of Pennsylvania. Through a fractured
narrative that is half-mystery and half-memory, we learn about
Gordon's marriage, his relationship with his son, his work-life and
his wife's bizarre entanglements with a mysterious stranger. We
learn, too, about the nature of the landscape unique to the play: a
magical universe with physics and laws that can both free the
characters from their own stifling identities, and trap them as
well. Synchronicity, dreams, and alchemy combine in this
exploration of what it means to be able to - and unable to -
change. At turns both scathingly funny and disturbingly compelling,
When Is A Clock features Freeman's celebrated deconstruction of
American culture - which has been called "nonviolent, though as
savage as any slasher film" by the NY Times.
Darkness Never Far is an exploration into the thoughts and feelings
of an individual who has visited the darkest places of the human
heart. Fortunately, the author has now returned to teach the rest
of us important lessons about human love and longing. Matthew
Freeman was my patient many years ago-and I wondered then whether
he would find the peace and happiness every person deserves. After
reading Darkness Never Far, it is apparent that he is still seeking
that peace. Matthew's latest book of poems takes us on a journey
through the streets of St. Louis, so that we can look through his
eyes at women, men, authority, medicine, hopelessness, and hope.
--From the introduction by John G. Csernansky, M.D.
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