#TRANSMEDIA STORYTELLING MOVIE#
#TRANSMEDIA STORYTELLING SERIAL#
#TRANSMEDIA STORYTELLING SERIES#
#TRANSMEDIA STORYTELLING TV#
#TRANSMEDIA STORYTELLING FREE#

On the other hand, and from a poststructuralist perspective, Murray (2011) argues that fidelity is the point from which most adaptations should depart.

#TRANSMEDIA STORYTELLING TV#

Another indicator of great impact within the sphere of pop culture is that many of the most pirated TV shows of the century are also transmedia adaptations from novels into TV series, e.g., with the recent examples of Game of Thrones (2011-2019) or House of the Dragon (2022-ongoing). From then onwards, the number of screen adaptations skyrocketed to the point of having multiple adaptations as the highest-grossing productions of all time, some of them being Avengers: Endgame (2018) or Joker (2019).

#TRANSMEDIA STORYTELLING MOVIE#

This phenomenon of transmedia adaptation appeared much earlier than many may expect: indeed, the first ever fully adapted story was Cinderella (1899) by Georges Méliès, adapted to the movie screen from the Grimm Brothers’ story collections.

#TRANSMEDIA STORYTELLING SERIES#

Practically everyone has heard of big franchises such as The Lord of the Rings (2001-2003), Harry Potter (2001-2011), The Hunger Games (2012-2015), Twilight (2008-2012), and most importantly Marvel and DC cinematic series being adapted from novels or comics. New style of storytelling, which feeds on the codes peculiar to the period and is expressed as transmedia storytelling, enables consumers to shape media content and media as they wish through creating a deep, overreaching, and participative plot language and narration model and in this sense, necessitates a detailed analysis.Literary texts, mostly novels, adapted into films or TV shows represent a large part of the entertainment which circulates, especially in Western cultures. Social media platforms, which are actively used by these consumers in their daily lives, play an important role regarding realizing these desires, reaching new contents, and the efforts to re-create and share the new content. These consumers, who are new subjects of the new period, do not do with consumption of the product presented by media as audiences they have desire to participate in the story and to be one of the creators of it. The change of media perception and media consumption habits led the passive and isolated consumers of previous periods to give way to social consumers who are interested in interaction and sharing. The profile of individual -consumer- of the new world is different. It hints its effects on economic, political, and cultural lives by breaking the taboos considering its nature as a technological concept. In fact, convergence, as a concept, is pushing the limits day by day. For these reasons, the present age is considered as the age of convergence. They are accepted as an important part of daily routine.

These tools, which are mediating the change of culture production mechanisms, increase the parameter of functionality by incorporating into people and tuning to each other. In modern period communication tools that are shaped under the dominance of postmodern images, mean more than being means of communication and play a more effective role compared to the past. The information communication technology developing in today’s world brings about new and different communication opportunities.

#TRANSMEDIA STORYTELLING SERIAL#

To make this argument, this chapter sketches the basic aspects of a political economy of serial mass culture and discusses the example of Disney's transmedial 'Marvel Cinematic Universe,' an ongoing franchise built around a series superhero blockbuster films.

#TRANSMEDIA STORYTELLING FREE#

It furthermore argues that complex transmedial entertainment franchises rely on a combination of different serialization practices to engage viewers regularly and across media, and that this form of intensified serial engagement is central for the solicitation and exploitation of what Tiziana Terranova has called 'free labor'-i.e., the unpaid and voluntarily work of media audiences that functions as a form of free promotion for the series and franchises that encourage it. It suggests that the recent trend towards sequelization, franchising, and transmedia storytelling is best understood as a formal and medial politics of activation aimed at the mobilization of consumers.

This paper discusses the prominence of serialization practices in contemporary Hollywood blockbuster cinema from the vantage points of political economy and seriality studies.

Transmedia storytelling