XIII, tome 15 : Lachez les chiens ! FRENCH by William Vance

By William Vance

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Com 2014). Mittell goes on to argue that the ‘balanced transmedia’ approach suggested in Jenkins’ definition, in which all elements of the crossmedia project contribute equally to the storyworld, is far from being the norm, at least in the context of the contemporary American television industry (2012–13). Rather, the dominant mode is what Jenkins terms ‘unbalanced transmedia’, with transmedia extensions encouraging interest in the parent text of the television programme, as well as providing additional revenue streams (ibid).

Early in the conference, however, it became apparent that the terms ‘transmedia’, the ‘transmedial’ and ‘transmediality’ were being deployed in wildly different ways. e. extraneous (though vital) to the world created on stage. It wasn’t that these terms were being applied incorrectly, rather that the terms themselves are liable to multiple interpretations and consequently liable to being subjectively framed by the individual or group using them. Though its meaning might seem deceptively obvious, the same is true of ‘storytelling’.

Notable among these are the transmedial extensions surrounding telenovelas in South America, which frequently use social media such as Twitter and Facebook to portray the continuing lives of fictional characters within the soap opera in question, a phenomenon anticipated by Murray (1999:254–255). Textual relations An alternative to differentiating varieties of transmedia storytelling in terms of economic, geographical or cultural relations is to explore the relationships that exist within transmedia projects on a textual level.

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