From Cerisy to Oubapo

2021 ◽  
Vol 14 (1) ◽  
pp. 21-40
Author(s):  
Thierry Groensteen
Keyword(s):  
Media Environment ◽  
Cross Media ◽  
Bande Dessinee ◽  
Art Form ◽  
History Of ◽  
Early Exploration

Thierry Groensteen’s memoir recalls the intellectual ferment of colloquia held at Cerisy-la-Salle in Normandy, subsequently the venue for two conferences organised by Groensteen himself. The first, the ground-breaking Bande dessinée, récit et modernité [Comics, Narrative and Modernity] in 1987, was a key moment in the history of the theorisation of comics as art form. Groensteen’s own presentation explored the threshold of narrativity in comics, and other noteworthy contributions included those of the philosopher Henri Van Lier and Marc Avelot, whose reading of Martin Vaughn-James’s La Cage rescued this masterpiece from obscurity. This conference also laid the foundations for the Oubapo movement, the production of comics under constraint, whose later development Groensteen chronicles. The second, ‘La Transécriture’, in 1993, was an early exploration of comics as part of a cross-media environment.

From Cerisy to Oubapo

2021 ◽  
Vol 14 (1) ◽  
pp. 21-40
Author(s):  
Thierry Groensteen
Keyword(s):  
Media Environment ◽  
Cross Media ◽  
Bande Dessinee ◽  
Art Form ◽  
History Of ◽  
Early Exploration

Thierry Groensteen’s memoir recalls the intellectual ferment of colloquia held at Cerisy-la-Salle in Normandy, subsequently the venue for two conferences organised by Groensteen himself. The first, the ground-breaking Bande dessinée, récit et modernité [Comics, Narrative and Modernity] in 1987, was a key moment in the history of the theorisation of comics as art form. Groensteen’s own presentation explored the threshold of narrativity in comics, and other noteworthy contributions included those of the philosopher Henri Van Lier and Marc Avelot, whose reading of Martin Vaughn-James’s La Cage rescued this masterpiece from obscurity. This conference also laid the foundations for the Oubapo movement, the production of comics under constraint, whose later development Groensteen chronicles. The second, ‘La Transécriture’, in 1993, was an early exploration of comics as part of a cross-media environment.

scholarly journals It Only Works if it All Works: An Analysis of Integrated Marketing Communications and its Application for Enrollment Management Marketers

2020 ◽  
Vol 1 (3) ◽  
Author(s):  
Christopher Huebner
Keyword(s):  
Enrollment Management ◽  
Academic Research ◽  
Marketing Communications ◽  
Integrated Marketing Communications ◽  
Integrated Marketing ◽  
Media Environment ◽  
Cross Media ◽  
Channel Effects ◽  
Media Applications ◽  
Increased Pressure

With the challenges presented by a constricting marketplace and shifting demographics, enrollment marketers are under increased pressure to improve recruitment outcomes. To recruit, enrollment marketers must navigate an increasingly complex media environment effected by, media fragmentation, cluttered media experiences, multitasking and evolving media-related consumption behaviors, disjointed customer journeys and shorter paths to purchase. Outside of the industry, this has sparked a renewed interest in integrated marketing communications and cross-channel synergies. Drawing on a review of relevant academic research and guided by enrollment marketing needs, the author offers insight and cross-media applications to strengthen integrated marketing efforts across consumer touchpoints. With an enhanced understanding of integrated marketing communications (IMC) and cross-channel effects, practitioners can develop more effective recruitment campaigns and produce better marketing outcomes.

Case Study

2011 ◽  
pp. 291-308 ◽  
Author(s):  
Minna Pura
Keyword(s):  
Customer Relationship Management ◽  
Relationship Management ◽  
Customer Relationship ◽  
Management Tool ◽  
Mobile Advertising ◽  
Media Environment ◽  
Brand Building ◽  
Cross Media ◽  
The Right

Building a brand in the fragmenting media environment is a challenging task. Advertising should be integrated and personalized, it should utilize different channels, and reach the customer at the right place, at the right time, through the right channel, and in the appropriate context. Mobile advertising should be used as a means of creating value to the customers and serving the customers better. This paper gives an insight into the practical possibilities and pitfalls of mobile advertising as a brand building and customer relationship management tool. The case study describes how mobile advertising can be used to get the youth target group to give information about themselves to the company, and how this information can be utilized for future customer relationship management. The effectiveness of mobile advertising in a cross media context is analyzed through conversion and loyalty measures.

Anytime, Anywhere

2009 ◽  
Vol 26 (2-3) ◽  
pp. 113-138 ◽  
Author(s):  
Marc Steinberg
Keyword(s):  
Media Environment ◽  
Cross Media ◽  
Journal Issue ◽  
Multimedia Environment ◽  
The Cross

Japan's first weekly, 30-minute animated TV series, Tetsuwan Atomu (Astro Boy), is not only commonly regarded as the first instance of what is now known as `anime'; it is also regarded as the point of emergence of the commercial phenomenon of character-based merchandizing. Interesting enough, it is not so much Tetsuwan Atomu the TV series as the practice of including Atomu stickers as premiums in the candy maker Meiji Seika's chocolate packages that really ignited the character merchandizing boom. The key to the success of the stickers — along with the use of the already popular figure of Atomu — was their ability to be stuck anywhere, and seen anytime. This anytime-anywhere potential of the stickers arguably led to the new communicational media environment and the cross-media connections that characterize the anime system and the force which drives it: the character. Part historical, part theoretical, this article will explore the thesis that it was the `medium' of stickers that led to the development of the character-based multimedia environment that is a key example of — and perhaps even a precursor to — the ubiquity of media that is the theme of this journal issue.

Learning in Cross-Media Environment

2017 ◽  
Vol 12 (4) ◽  
pp. 48-57
Author(s):  
Stefano Bonometti
Keyword(s):  
Professional Development ◽  
Learning Environment ◽  
Media Environment ◽  
The Real ◽  
Cross Media ◽  
Professional Development For Teachers ◽  
Professional Development Of Teachers ◽  
Practice Gap ◽  
Media Learning ◽  
Definition Of

The aim of this paper to reflect on the definition of a cross-media learning environment by analyzing two training approaches to the professional development of teachers. The first approach centers around curricular internships as training for future teachers, the second focuses on professional development for teachers in service. The aim of the author's analysis was to identify the factors that contribute to overcoming the 'real' vs. 'online' and 'theory' vs. “practice” gap, opting for an integrated cross-media learning environment.

scholarly journals The Rubberbandits’ Guide to Satire: Absurdism and Social Commentary in a Cross-Media Environment

2021 ◽  
pp. 79-94
Author(s):  
Faye Mercier ◽  
Keyword(s):  
Political Engagement ◽  
Irish Society ◽  
Social Commentary ◽  
Media Environment ◽  
Political Issues ◽  
Cross Media ◽  
The Social ◽  
Media Forum ◽  
Critical Social

This paper argues that through an engagement with cross-media hybridity, Irish comedy duo The Rubberbandits have established a dynamic cross-media forum that aims to restore the Irish public’s capacity for critical social and political engagement. Central to this process is The Rubberbandits’ ability to use their absurdist satire as a foundational tool that can serve as the basis of this cultural forum, while also facilitating the negotiation of social and political issues across a variety of media. Given that this cultural forum exists across different media, platforms, and formats, this paper sets out to analyse the various ways in which the duo have adapted their satirical style to suit the demands of these different media forms, and what implications this process of adaption has had on their work. Beginning with an analysis of the social and critical functions of satirical comedy more broadly, this paper will then focus on the specific brand of satirical social commentary employed by The Rubberbandits, paying particular attention to the role of absurdity in their critical engagement with prominent issues facing Irish society. As this paper will demonstrate, by embracing the hybridity of the cross-media environment, all the while maintaining their absurdist satirical style, The Rubberbandits have established a dynamic and carnivalesque cross-media forum that aims to restore the Irish public’s capacity for critical social and political engagement.

scholarly journals Conceptualizing media users across media

2017 ◽  
Vol 23 (4) ◽  
pp. 378-390 ◽  
Author(s):  
Ike Picone
Keyword(s):  
Digital Media ◽  
Media Studies ◽  
Critical Reflection ◽  
Media Use ◽  
Academic Vocabulary ◽  
Media Environment ◽  
Audience Studies ◽  
Cross Media ◽  
Traditional Approaches ◽  
Made In

Many academic works and authors have added to our understanding of the changing audience dynamics that emerged with the wide adoption of digital media by exploring audiences turning into prosumers, producers, pro-ams and so on. Gradually, and rather unnoticed, another denominator seems to have entered our academic vocabulary: the user. Although widely adopted, many media scholars remain wary of this notion, as it would undermine theoretical advancements made in audience studies. At the same time, the almost natural adoption of the term in media studies indicates that ‘user’ is at least intuitively better suited than ‘audience’ to address people in relationship with media today. The article makes the case for ‘media user’ and ‘media use’ as not merely suitable terms but also as more encompassing analytical concepts, especially in light of understanding cross-media use. First, an argumentation is developed for adopting these terms by showing the analytical benefits of talking about media users when addressing people ‘floating’ across media. Subsequently, the notion of media use is grounded in both traditional approaches and recent advancements in media studies. Special attention is given to the notion of audience activity and how it translates into a cross-media environment. The article concludes with a critical reflection on both terms in relation to notions such as participation and user empowerment.

Linking Traditional TV Advertising to Internet Advertising

2011 ◽  
pp. 166-193
Author(s):  
Ling-Yu Duan ◽  
Jinqiao Wang ◽  
Wen Gao ◽  
Hanqing Lu ◽  
Jesse S. Jin ◽  
...  
Keyword(s):  
Television Advertising ◽  
Growth Potential ◽  
Mass Media Campaign ◽  
Interactive Tv ◽  
Web Based ◽  
Media Environment ◽  
Cross Media ◽  
Rich Media ◽  
The Impact ◽  
Crucial Part

Web-based technologies and interactive TV had rapidly penetrated the advertising mainstream and displace traditional forms of advertising. As most television advertising goes unnoticed, more and more advertisers attempt to communicate their stories across media platforms. The consistent spikes in usage statistics on television, Internet and mobile devices dedicatedly support the three-screen advertising in a cross media environment. Maximizing opportunities for traditional TV ads in collaborating with Internet ads will continuously improve the impact of a mass media campaign. We present the current research efforts in the field of analyzing TV ads as well as linking TV ads with relevant Internet ads. While our relationship with TV remains strong and durable, consuming media from anywhere, at any time, is a crucial part of the much broader picture of consumers utilizing rich media. How to collect correlated advertisements across multiple media platforms such as TV and Internet would see significant growth potential in cross-media marketing campaigns.

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