The delivery of fiction across multiple platforms is becoming an increasingly important component of the contemporary media landscape. Transmedia storytelling is no longer a mere buzzword. Content creators, seeking to expand the lifespan of their IP’s and their revenues, are looking for ways to exploit the migratory consumption patterns of today’s media users. However, to date, storytellers have been unable to fully exploit the possibilities transmedia provides. This practice-led PhD was inspired by the necessity to understand transmedia at a stage when a new grammatical language for creators is needed, as well as updated business models. Rather than examining transmedia from an exclusively theoretical standpoint, this work uses The Tower of Fables, a project created to re-launch fairytales to the hyperlinked kids of today, as a case study. Using research and subsequent assessments, this work aims to shed light on the current situation in Europe, examining the forces at play that influence the way practitioners conceive and design a fictional world meant to unfold across distinct media. Media production is always subject to external pressures, influences and constraints. This practice-led PhD offers a breakdown of the actual development phase of my native transmedia project. Every choice is backed up by a series of theories in the hope that these practical guideposts can be used by others. The finished work was then taken to the market with the intention of investigating the aesthetic and industrial implications on the creative and financing process, and ultimately to evaluate how they affect the final product. From this it was concluded that media convergence does not necessarily lead to industry convergence. This thesis formulates a case for the urgent need of the creation of formats to facilitate dialogue between creators and investors.

A storyscape is the new medium of storytelling. It originates in the model of transmedia storytelling defined by Henry Jenkins (2006a) in Convergence Culture and applied to The Matrix franchise. The storyscape medium is conceptualized from the author/designer perspective as four gestalts that create a whole from stand-alone parts. The four gestalts are mythopoeia, character, canon, and genre. This approach frames the authoring of this story-centric model in opposition to the design approaches of world-building or storyworlds. The four gestalts also provide an academic approach that unites theory and practice with a unified design vocabulary and an orientation toward the creation of a cultural and creative product that is defined as the storyscape medium. Storyscapes, such as The Star Wars franchise or the Marvel Universe, consume the lion’s share of our cultural capital (Johnson 2014). Therefore, the development of a consistent vocabulary, a design approach, and an understanding of how they create meaning and define worldviews is critical to our understanding and practice of a new medium (Dena 2009). Starting with the frame of storytelling as a practice and previous aesthetic models such as The Poetics, this research charts the evolution of the storyscape medium across topics of academic transmedia approaches, principles, affordances, and the connecting or conceptualizing principles that act as gestalts.

La llegada de la era digital ha provocado grandes cambios en los medios de comunicación como el surgimiento de las narrativas transmedia, una forma de contar historias a través de múltiples plataformas donde se requiere la participación activa del usuario. El presente artículo analiza la experiencia transmedia de la serie Stranger Things (2016) y el impacto que tiene en los consumidores al ser un producto original de una plataforma streaming: Netflix. Es un estudio de carácter cualitativo y está basada en las entrevistas y encuestas a comunidades de consumidores de la serie, así como el análisis audiovisual de cada una de las extensiones de la serie. Los resultados demuestran que el factor nostalgia usado en la serie es fundamental para el éxito de la serie y para el surgimiento de la narrativa transmedia dentro de este. Además, la narrativa transmedia permite una interacción más cercana de la audiencia con la serie, así como la fidelización hacia estas extensiones transmediáticas y en consecuencia, la creación de distintas comunidades virtuales en donde los usuarios comparten y crean más contenido a partir de sus propias ideas. / The arrival of the digital era has brought about major changes in the media, such as the emergence of transmedia narratives, a way of telling stories through multiple platforms where active user participation is required. This article analyzes the transmedia experience of the Stranger Things series (2016) and the impact it has on consumers as an original product of a streaming platform: Netflix. The methodology used is qualitative in nature and is based on interviews and surveys of fans of the series, as well as individual analysis of each of the series' extensions. The results demonstrate that the nostalgia factor used in the series is fundamental for the success of the series and for the emergence of the transmedia narrative within it. In addition, the transmedia narrative allows a closer interaction of the audience with the series, as well as loyalty to these transmedia extensions and, consequently, the creation of different virtual communities where users share and create more content based on their own ideas. / Trabajo de investigación

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Jeffrey Charles Stanley is an M.F.A. Candidate in Transmedia in the Department of Art and Art History. The Artist, Jeff Stanley, Works as a cultural “hacker” and critical “terrorist” with the aid of video and the internet. The character, Jeff Stanley, plays the role of a 2010 Max Headroom, the popular 80s anti-corporate TV personality/talking head and seller of Pepsi. Media delivers people. A few deliver media. The audience is the product. Media hacking is a technique that allows an artist, or anti-artist, to change the game and fight back. An artist practice can be open to technology, yet remain powerful, and culturally and socially relevant. Jeff Stanley is a virtual AI, a person, and a corporate entity. With this new holy trinity, the combined efforts as a person, a virtual AI, and a corporation will provide the enhancement an artist needs today. Art and its methods must evolve as the playing field evolves. Technology defines the 21st century artist. / text

En transmediaberättelse kan beskrivas som ett berättande som sker över flera separata tekniska medier, där varje enskilt mediums innehåll kan stå självständigt, men i läsningen tillsammans bildar en större sammanhållen berättelse. De enskilda mediumen kan vara icke-berättande, interaktiva, uppmuntra till medskapande och vara helt valfria både vad gäller ordningen de konsumeras i och att ta del av över huvudtaget. En sådan berättelse, eller snarare berättelsekonsumtion ställer krav på en analysmodell. Uppsatsens syfte är att att beskriva användarens förhållande till berättelsebeteenden i det pågående transmediaberättandet, avseende tolkning och påverkan av produktionen. I studien genomfördes en explorativ litteraturstudie inom flera olika ämnesområden och resultatet har sammanställts i en beskrivande modell för berättelseprocessen. Modellen inkluderar en ny begreppsapparat, som inte utgår från vilken typ av produktion det handlar om. Den skildrar användarens förhållande till de berättelsestimuli som finns i olika framställningar och hur dessa genom tolkning sammanfogas till sammanhållande berättelser. Modellen berör även skapandet och medskapandet av sådana framställningar. Modellen prövas på ett exempel med samspel mellan en distinkt icke-berättande och en berättande komponent i form av en actionfigur och dess förpackningstext. Exemplet illustrerar hur actionfiguren utan att på något sätt själv vara en berättelse ändå besitter berättelsestimuli som gör att den passar in i den större transmediaberättelsen. Skaparen har planterat berättelsestimuli, men det är läsarens uppgift att knyta samman och genom sin föreställning omvandla en rad stimuli till en faktisk berättelse.

En este trabajo de investigación se busca investigar de qué forma se vienen planteando y desarrollando la introducción del mundo audiovisual a través de esta nueva narrativa, los fashion films, en la publicidad y la acogida que esta tiene. Para poder entender de una manera adecuada, se realizará una estrategia metodológica de enfoque cualitativo para el cual se utilizarán guías de análisis de contenido y entrevistas. También, consultará a diferentes autores que hablen acerca de este tema, así como también acerca de los conceptos que un fashion film abarca y que nos ayudarán a entender porque son una opción tan usada por distintas marcas y tan bien recibidas por el público. Asimismo, nos centraremos en un caso en específico: la campaña Tender Stories de Tous. Todo lo anterior, con la finalidad de que más audiovisuales vean en este rubro de lo audiovisual con la publicidad una oportunidad no solo una ventana para mostrar su creatividad y trabajo sino como un campo laboral en el que se pueden desenvolver. / This research work seeks to investigate how they are posing and developing the introduction of the audiovisual world through this new narrative, fashion films, advertising and the reception that it has. To be able to understand in an adequate way, different authors will be consulted that speak about this topic, as well as about the concepts that a fashion film covers and that will help us to understand why they are an option so used by different brands and so well received by the public. We will also focus on a specific case: the Tous Tender Stories campaign. All of the above, with the aim that more audiovisuals see in this area of ​​the audiovisual with advertising an opportunity not only as a window to show their creativity and work but as a work field in which they can develop. / Trabajo de investigación

El presente trabajo analiza el tema sobre la narrativa transmedia y el prosumidor en una serie mundialmente conocida como lo es: Game of Thrones. Es esta investigación trataremos los conceptos principales de los términos: “narrativa transmedia” y “prosumidor”. Se explicarán en dichos conceptos para informar al lector de estos nuevos significados que se ve en el nuevo medio audiovisual. En adición a ello, se hablará sobre los “nuevos medios”, mostrándoles las nuevas plataformas que se han ido creando a lo largo del tiempo y el motivo por el que estas mismas son tan atractivas para la audiencia. Finalmente, se describirá a los “nuevos consumidores”, donde se muestran a las diferentes audiencias y la creación de estas mismas. Todas estas definiciones se relacionan de manera directa con el tema de investigación, que involucra identificar el rol del prosumidor por medio de la experiencia transmedia ha logrado que la serie sea un éxito mundial. / The present study analyzes transmedia storytelling and prosumers in Game of Thrones, a world-famous series. This research will cover these two main concepts to inform readers about the new notions existing in modern audiovisual media. In addition to this, the concept of “new media” will be explained, showing new platforms that have been created over time and the reason why they are so attractive to audiences. Finally, the study will describe “new consumers” by presenting different types of audiences and their emergence. All these concepts are directly related to the research topic, which implies identifying the prosumer’s role through the transmedia experience that led the series to worldwide success. / Trabajo de investigación

Abstract This dissertation suggests that historical presentations should be understood as literary worlds. It studies how they are engaged with in the current media environment. The concept of a world offers a novel way of analysing how presentations are identified as being specifically historical presentations. In the case of the traditional written history, the identification of historical worlds is determined by contrasting their implied world-state at the present moment against the actual world’s world-state at the present moment with the help of counterfactual heuristics. This is done because the evidence of any e.g. past events can only be evaluated in the present as the past itself is inaccessible. The dissertation approaches the evaluation of history from a presentist point of view. It is argued that within the digital media environment, historical presentations are intuitively interpreted as incomplete presentations or as fragments of a larger whole. The functioning of historical presentations is examined as part of a large media network. History’s availability through a variety of media is then analysed through the concepts of transmedia and remediation. It is concluded that history is necessarily mediated and that the current media environment is changing how history is being engaged with. / Tiivistelmä Väitöskirja ehdottaa, että historiallisia esityksiä tulisi käsitellä kirjallisina maailmoina. Samalla tarkastellaan, kuinka historiallisia esityksiä kohdataan nykyisessä digitaalisessa mediaympäristössä. Maailmojen tarjoama käsitteellinen viitekehys antaa mahdollisuuden analysoida, kuinka historialliset esitykset tunnistetaan juuri historiallisiksi (eikä joksikin muuksi). Perinteisen kirjoitetussa muodossa esiintyvän historian tunnistamisen analyysin kohdalla esitetään, että historiallisten maailmojen implikoidun nykyhetken maailmantilaa verrataan kontrafaktuaalisen heuristiikan avulla aktuaalisen maailman nykyhetken maailmantilaan. Historiallisten väitteiden tueksi esitettävää todistusaineistoa on mahdollista arvioida vain nykyhetkessä, koska meillä ei ole pääsyä itse menneisyyteen. Näin ollen historiallisia maailmoja ei voida verrata suoraan aktuaaliseen menneisyyteen. Väitöskirja lähestyykin siis historian arviointia presentistisestä näkökulmasta. Väitöskirjassa esitetään myös näkemys, jonka mukaan nykyinen mediaympäristömme toimii siten, että se ohjaa meitä intuitiivisesti käsittelemään kaikkia historiallisia esityksiä epätäydellisinä sirpaleina, jotka näyttävät vain välähdyksen suuremmasta kokonaisuudesta. Historialliset esitykset nähdäänkin analyysissa osana laajempaa verkostoitunutta mediaa. Tämä laajennetaan transmedia-analyysiksi siitä, kuinka historiaa kohdataan ja levitetään populaarissa mediassa. Tämän pohjalta esitetään näkemys, jonka mukaan historia on välttämättä välittynyttä ja nykyinen mediaympäristö on muuttamassa suhdettamme historiallisiin esityksiin.

El presente trabajo de investigación tiene como objetivo lograr analizar en primer lugar cómo es que han cambiado los hábitos de lectura en los jóvenes de hoy en día con la aparición de la narrativa transmedia y los nuevos medios digitales. Además de ello se pretende investigar si este tipo de contenido y formación de universos narrativos puede influir de alguna forma en los hábitos de lectura y asimismo poder lograr un acercamientos en los que aún no poseen este hábito de lectura desarrollado. / This research work aims to achieve analysis in the first place on how reading habits have changed in young people today with the emergence of transmedia narrative and new digital media. In addition to this, it is intended to investigate whether this type of content and formation of narrative universes can influence reading habits in some way and be able to achieve an approach in those who do not yet have these developed reading habits. / Trabajo de investigación