Transmedia and the Vagueness of Narrative Structure

2019 ◽  
pp. 167-189
Author(s):  
Ahmet Oktan
Keyword(s):  
Motion Pictures ◽  
Narrative Structure ◽  
Harry Potter ◽  
Star Trek ◽  
Television Series ◽  
Hunger Games ◽  
Star Wars ◽  
The Hunger Games ◽  
The Matrix ◽  
Game Of Thrones

This chapter focuses on the types of transformations that transmedia applications cause on the narrative structure of motion pictures and television series. Since different methods are used to construct the story as a transmedia narrative in different films or series, as many works as possible are included in the study to make more accurate determinations. In this context, examples of Star Trek, The Godfather, The Matrix, Star Wars, Harry Potter, The Hunger Games, Shrek, Madagascar, Lost, Game of Thrones, Medcezir, and Vatanım Sensin have been examined in terms of their narrative structure. In these works, the condition of the parts constituting the story universe compared to the main narrative, the elements that enable the construction of new narratives related to the main narrative in different media, fictionalization of the elements such as story lines, characters, spaces, atmosphere, and sound, the methods that are used for the transition among stories, etc. have been examined.

It’s About Faith In Our Future

2017 ◽  
Author(s):  
Michael Jindra
Keyword(s):  
Popular Culture ◽  
Western Culture ◽  
Harry Potter ◽  
Star Trek ◽  
Entertainment Industry ◽  
Television Series ◽  
Religious Traditions ◽  
Star Wars ◽  
Cultural Themes

This chapter examines the fandom that has grown up around the Star Trek movies and television series, arguing that the entertainment industry also creates meanings that begin to function in religious ways for consumers of popular culture. Popular culture has become an independent producer of mythical narratives, a reflection of cultural themes and a producer of new ones. Though often using indirect religious themes and imagery (as in Star Wars or Harry Potter), the narratives and messages have been formally cut off from the religious traditions that have dominated Western culture over the centuries. In other words, parts of popular culture have taken their place alongside the mainstream religious traditions, ideologies, and narratives that have guided people's lives.

scholarly journals Juvenile Literary Hypertextual Fanfiction: evolution, analysis and educational possibilities

2019 ◽  
Vol 11 (2) ◽  
pp. 241
Author(s):  
Anastasio García-Roca ◽  
José Manuel de Amo
Keyword(s):  
Temporal Evolution ◽  
Harry Potter ◽  
Formal Learning ◽  
Hunger Games ◽  
Evolution Analysis ◽  
Fan Communities ◽  
Learning Contexts ◽  
The Hunger Games ◽  
Literary Practices ◽  
The Relationship

In this work we analyse the evolution of fanfictions related to four of the most popular current fandom series: Harry Potter, Twilight, The Hunger Games and Divergent. This is a descriptive investigation wherein the temporal evolution of fanfic production is studied. The research focuses mainly on the relationship between the periods of greatest creative fanfiction activity and the publishing of the different books of the respective series, their transmedia expansion and film adaptations, among others. The study has allowed us to observe that these fan communities are generally ephemeral, although strongly united by ties of affinity, as well as being creative and active. The results obtained suggest that these vernacular literary practices are the source not only of motivation, but also of a formative process of reading and writing that can be planned and developed in formal learning contexts

scholarly journals Børnelitteratur i udbrud. Transmediale bevægelser i nutidig børnelitteratur

2016 ◽  
Vol 31 (75) ◽  
Author(s):  
Sarah Mygind
Keyword(s):  
Children's Literature ◽  
Children’S Literature ◽  
Harry Potter ◽  
Hunger Games ◽  
Transmedia Storytelling ◽  
The Hunger Games ◽  
Contemporary Media ◽  
Narrative Mode ◽  
Entertainment Products ◽  
Point Of Departure

“Children’s Literature Erupting. Transmedia Movements in Contemporary Children’s Literature”The rise of large transmedia storytelling systems such as Harry Potter, The Hunger Games and Game of Thrones suggests that transmedia storytelling is the most important narrative mode of our time. However, transmedia storytelling also exists and works on other scales. This article focuses on a growing transmedia storytelling practice that has remained underexposed as such in the field of research due to the dominance of the large transmedia franchises. This practice is indeed related to transmedia storytelling but it also challenges existing theories. With a number of different media publications all named The Numberlys produced by Moonbot Stu- dios as its point of departure, the article explores the underlying structures, relations and mechanisms in and between these publications in order to elucidate aesthetic consequences of the transmedial ‘eruptions’ in contemporary media entertainment products for children.

scholarly journals Trends and Themes in Contemporary Young Adult Literature

NOTIONS ◽  
2018 ◽  
Vol 9 (2) ◽  
pp. 7-12
Author(s):  
Varsha Vats
Keyword(s):  
Young Adult ◽  
Young Adult Literature ◽  
Harry Potter ◽  
Popular Media ◽  
Cultural Significance ◽  
Popular Film ◽  
Hunger Games ◽  
The Past ◽  
The Hunger Games

In the past few decades, Young Adult literature has become progressively more popular. Film makers, Television, Fans, Critics and Academics all seem to have an inclination towards the Young Adult field. The present mankind genus is more engrossed in the literature contextualizing analysis of broader trends. However, while Young Adult persist to expand, it often materialize that the corpus of texts which is taught, studied, and critically examined overlap with texts discussed in the popular media; this has resulted in increasingly diminutive hyper canon of texts and is very often limited to the kinds of bestseller texts that make an enormous impact on popular traditions and ethnicity. To non-experts, the Young Adult class is often considered to be identical with huge blockbuster fiction titles like Harry Potter, The Fault in Our Stars, Twilight and The Hunger Games. The Young modern adult now seeks variant approaches with tangible trends in terms of theoretical importance, cultural significance, pedagogical value or amalgamation of all these approaches

Crossover

2018 ◽  
pp. 137-150
Author(s):  
Lena Hoffmann
Keyword(s):  
Media Studies ◽  
Public Discourse ◽  
Harry Potter ◽  
Late Nineteenth Century ◽  
Common View ◽  
Hunger Games ◽  
Audiovisual Media ◽  
The Hunger Games ◽  
The Common ◽  
Market Strategies

Artikelbeginn:[English title and abstract below] Twilight, Tintenherz, The Hunger Games und – auch 20 Jahre nach Erstpublikation des ersten Bandes ist an ihm kein Vorbeikommen – Harry Potter: Wir kennen sie alle, die großen kommerziellen Erfolge der Literaturbranche der Gegenwart. Seit dem durchschlagenden Erfolg von J. K. Rowlings Romanserie um den Zauberlehrling ist der Markt geradezu überschwemmt von seriellen Erzählungen, die im öffentlichen Diskurs als Fantasyerzählungen wahrgenommen beziehungsweise beschrieben werden. Deren Popularität dokumentieren seit nunmehr 20 Jahren in Deutschland die Jahresbestsellerlisten des Spiegel. Crossover Multiple Address as a Language of Intermedial PopularityThis article deals with multiple address in crossover literature and media. It focusses on the structures and strategies of multiple address, and contrasts that concept with ›double address‹ and other related terms. The concept of multiple address, and therefore of cross-over literature and media, can be properly comprehended only when analysed within the context of literary market strategies and the use of the term in public discourse. This article gives a number of examples from literature and audiovisual media, which establish multiple address as a prolific concept for literary and media studies. With the help of this concept a group of texts and other media which has emerged and developed since the late nineteenth century is rendered visible and can be identified as a distinct genre of fiction. This article therefore responds to and contradicts the common view that multiple address and crossover are synonymous with fantasy and merely catchphrases of publishers and distributors.

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