![]() ![]() ![]() ![]() An important characteristic of multiplatform storytelling is its focus on setting instead of specific plots or characters, as the setting can ‘’sustain multiple interrelated characters and their stories,’’ (Jenkins, 2007), which is important for the world-building aspect of transmedia. Transmedial storytelling has revolutionized the way audiences interact with narratives, making them so interesting and exciting that emotional attachment to the fictional universe and its characters is almost inevitable. Each franchise entry needs to be self-contained so you don't need to have seen the film to enjoy the game, and vice versa.’’ (2006, pp. In the ideal form of transmedia storytelling, each medium does what it does best-so that a story might be introduced in a film, expanded through television, novels, and comics its world might be explored through game play or experienced as an amusement park attraction. ‘’A transmedia story unfolds across multiple media platforms, with each new text making a distinctive and valuable contribution to the whole. Jenkins gives a more extensive explanation in Convergence Culture: ![]() In his article Transmedia What? he especially emphasizes that transmedia approaches are multimodal, intertextual, and dispersed (2016). On his website Jenkins describes it as a ‘’process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience’’ (2007). To describe the immense change in the way we tell and consume stories nowadays, Henry Jenkins coined the term ‘transmedial storytelling’ in his book Convergence Culture, published in 2006. Finally, I will examine how the multiplatform storytelling of the Hunger Games has led to the rise of real-life Mockingjays. Moreover, I will explain the innovative participatory websites promoting the second, third, and final movie. In this paper, I will define transmediality and discuss why the Hunger Games narrative can be considered a successful transmedial project, focusing on world-building content like exhibitions and video games. Real or not real? (Spoiler alert: yes, definitely real.) The Hunger Games narrative is one of the most clear-cut examples of transmedial storytelling. Real or not real?’’, I will now ask you that same question, only slightly altered. And like Katniss Everdeen, the main character in the Hunger Games, asked Peeta Mellark the question ‘ ’You love me. This new way of storytelling is called transmedial storytelling and is introduced by American media scholar Henry Jenkins. Some of them have taken their stories beyond the binding of books or confines of a screen, and instead introduced audiences to vast fictional worlds consisting of enormous amounts of content all scattered across different media for audiences to find. As attention spans have shrunk tremendously and mindless scrolling habits have increased, content creators are trying to find new ways to tell their stories and engage their audiences. ![]()
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