Temat i detta kandidatarbete beröretik, publik och agens. Med detta i åtanke har vi försökt skapa ettnytt sätt att göra en radiodokumentärpå. Vi har använt oss utav transmedialt berättande för en ideal publik. Med hjälp av olika designmetoder har vi försökt skapa ett rum där narrativet ska utspela sig i. Till EXIT-utställningenpå Blekinge Tekniska Högskolahar vi gjort en visuell utformning utav detta rum. I processens gång har vi tittat på tio förhör med en gärningsman som blev dömd och skyldig till olaga tvång och grovt olaga tvång. Resultatet av detta är en cirka 15 minuter lång modern dokumentärsom är en historisk återskapning av vad som hände under förhörentillsammans med gärningsmannen. Mycket av våra diskussioneroch vali vår designprocesshar handlat om och kring etiska beslut som har kommit att forma hur vår dokumentär för sitt narrativ.

A pesquisa aborda a representação do jornalismo na ficção de Harry Potter transmídia – sua função social e seu ethos profissional. A partir da análise de conteúdo, avaliamos os sete livros, os oito filmes e o site Pottermore que fazem parte da franquia, explorando a capacidade narrativa de cada plataforma. Definimos a série como narrativa transmídia com base em Jenkins (2009a) e, a partir de uma visão geral do enredo de Rowling, acionamos os conceitos de função social e ethos profissional que permeiam o jornalismo para pensar a representação da profissão na franquia. Mapeamos onze funções sociais da profissão no enredo de Rowling – informar; contextualizar, interpretar e explicar a realidade; motivar debate público; vigiar os poderes; orientar sobre como viver no mundo; organizar o tempo do leitor (ouvinte, espectador) na vida cotidiana; formar um presente social de referência; manter a sociedade unida; instruir e educar os leitores (ouvinte, espectador); conferir valor para pessoas, objetos e instituições; proporcionar entretenimento. Observamos também como se constrói o ethos profissional, identificando quatro perfis de jornalistas criados na história de Harry Potter – o inescrupuloso, o idealista, o profissional e o chapa-branca. As funções sociais ocupadas pela profissão variam de acordo com seu contexto na história e o ethos que cada jornalista incorpora determina como elas serão cumpridas e se serão cumpridas. As posições dos veículos e dos jornalistas se alteram com o desenrolar da história, registrando as mudanças sociais e se tornando parte delas. / This research addresses the representation of journalism in the transmedia fiction of Harry Potter - its social function and its professional ethos. Using content analysis, we evaluate the seven books, the eight films and the Pottermore site that compose the franchise, exploring the narrative capability of each platform. We define the series as a transmedia narrative as established by Jenkins (2009a) and, from an overview of Rowling's plot, applied the concepts of social function and professional ethos that permeate journalism to reflect about the representation of the profession in the franchise. We mapped eleven social functions of the profession in Rowling's story - report; contextualize, interpret and explain the reality; encourage public debate; watch the other powers; instruct people on how to live in the world; organize the reader's (listener, viewer) time in everyday life; form a social present of reference; keep society together; instruct and educate readers (listeners, spectator); lend credibility and prestige to people, objects and institutions; offer entertainment. We also observed how the professional ethos is built, mapping four journalist profiles created in the Harry Potter story – the unscrupulous, the idealist, the professional and the subdued to the government. The social functions fulfilled by journalism in the story vary according to its context in the narrative and the ethos that each journalist incorporates determines how this functions will be fulfilled and if they will be fulfilled. The positions of the vehicles and journalists change in the course of story, registering the social changes and becoming a part of them.

A pesquisa aborda a representação do jornalismo na ficção de Harry Potter transmídia – sua função social e seu ethos profissional. A partir da análise de conteúdo, avaliamos os sete livros, os oito filmes e o site Pottermore que fazem parte da franquia, explorando a capacidade narrativa de cada plataforma. Definimos a série como narrativa transmídia com base em Jenkins (2009a) e, a partir de uma visão geral do enredo de Rowling, acionamos os conceitos de função social e ethos profissional que permeiam o jornalismo para pensar a representação da profissão na franquia. Mapeamos onze funções sociais da profissão no enredo de Rowling – informar; contextualizar, interpretar e explicar a realidade; motivar debate público; vigiar os poderes; orientar sobre como viver no mundo; organizar o tempo do leitor (ouvinte, espectador) na vida cotidiana; formar um presente social de referência; manter a sociedade unida; instruir e educar os leitores (ouvinte, espectador); conferir valor para pessoas, objetos e instituições; proporcionar entretenimento. Observamos também como se constrói o ethos profissional, identificando quatro perfis de jornalistas criados na história de Harry Potter – o inescrupuloso, o idealista, o profissional e o chapa-branca. As funções sociais ocupadas pela profissão variam de acordo com seu contexto na história e o ethos que cada jornalista incorpora determina como elas serão cumpridas e se serão cumpridas. As posições dos veículos e dos jornalistas se alteram com o desenrolar da história, registrando as mudanças sociais e se tornando parte delas. / This research addresses the representation of journalism in the transmedia fiction of Harry Potter - its social function and its professional ethos. Using content analysis, we evaluate the seven books, the eight films and the Pottermore site that compose the franchise, exploring the narrative capability of each platform. We define the series as a transmedia narrative as established by Jenkins (2009a) and, from an overview of Rowling's plot, applied the concepts of social function and professional ethos that permeate journalism to reflect about the representation of the profession in the franchise. We mapped eleven social functions of the profession in Rowling's story - report; contextualize, interpret and explain the reality; encourage public debate; watch the other powers; instruct people on how to live in the world; organize the reader's (listener, viewer) time in everyday life; form a social present of reference; keep society together; instruct and educate readers (listeners, spectator); lend credibility and prestige to people, objects and institutions; offer entertainment. We also observed how the professional ethos is built, mapping four journalist profiles created in the Harry Potter story – the unscrupulous, the idealist, the professional and the subdued to the government. The social functions fulfilled by journalism in the story vary according to its context in the narrative and the ethos that each journalist incorporates determines how this functions will be fulfilled and if they will be fulfilled. The positions of the vehicles and journalists change in the course of story, registering the social changes and becoming a part of them.

Alternate reality games (ARG) are a relatively new type of game that distributes game content across several media without explicitly identifying that content as part of a game. While players benefit from this aesthetically immersive experience the type of game has the potential to cause confusion over the status of its dispersed content as real or as part of a game. This thesis offers a case study of the 2012 game. The case is contextualized within the disciplines of media studies and games studies, in a wider digital culture where the ubiquity of technology converges to user experience design. A theoretical framework based on Charles S. Peirce’s semiotic, supplemented by Erving Goffman’s frame analysis and James J. Liszka’s transvaluation theory is used to explain the ARG’s problematic relation to the experience of reality.

El cine en Latinoamérica enfrenta problemas con respecto al financiamiento y a la difusión de proyectos desde el sistema tradicional. Sin embargo, hoy, la influencia del internet, la pantalla global, la web social y la participación colectiva han cambiado los hábitos de consumo dando herramientas para poder terminar el proceso de una película. La audiencia no solo consume, también produce. Los nuevos realizadores han aprovechado este cambio para replantear el modelo de negocio y la cadena de producción a la hora de contar historias. Nacen nuevos conceptos que ayudan a esta modificación de la cadena productiva, como el crowdfunding, que modifica la forma de financiar proyectos, experiencias como la wikipeli demuestran que se puede generar una nueva forma de producción y realización, eliminando intermediario en la etapa de distribución, y por último, la transmedia y el storydoing que no solo modifican la narración sino que generan la creación de una marca que reviste al producto. Se tratará demostrar el rol de plataformas digitales vinculadas a la web social como un sistema alternativo en la cadena de producción audiovisual mediante una metodología de análisis descriptivo-cualitativo de casos de éxito, entrevistas y plataformas. / The film industry in Latin America has to deal with financial and distribution problems for projects in the traditional film system. Nevertheless, nowadays the influence of the internet, the global screen, social media, and group participation have changed consumer behavior, giving rise to new tools for the film production and viewing cycle. Audiences do not only consume, but also produce. New filmmakers have taken advantage of this change to rethink the business model, and the production chain for telling their stories. New concepts that help to transform the production chain include crowdfunding, which modifies the financing of projects, products such as the “wikipeli”, which use new methods of production and creation, without distribution intermediaries, and transmedia and storytelling, which modify narration and create a product brand. We seek to show the role of social media tools as alternative audiovisual production mechanisms through a descriptive qualitative analysis of examples of success, interviews and platforms.

Denna studie undersöker hur förmedlandet av den gamla svenska folktron kan påverkas av iscensatt autenticitet genom ett transmedialt sagoprojekt. I studien används projektet KLUB från Högskolan i Skövde som ett transmedialt sagoprojekt med folktron i fokus och deltagarna är museiarbetare och museipedagoger som alla har en förkunskap om folktro och folksägner.  Deltagarna i studien fick diskutera kring skillnaderna mellan barnanpassad information om tre folktroväsen – tomen, skogsrået och trollet – och icke anpassad information om samma tre väsen. Resultatet visar att den iscensatta autenticiteten kan påverka förmedlandet av folktron både negativt och positivt. Iscensättningen av äktheten inom folktron kan förpassa folktrons gamla syften till sagovärlden och därför kan viktiga verktyg för att förstå dåtidens människa gå förlorad. Iscensättningen kan också väcka ett intresse kring den gamla folktron hos barn och ungdomar som inte haft någon tidigare kunskap om ämnet, och på så vis även hjälpa återuppväcka en gammal berättartradition som gått förlorad.

La presente investigación tiene como objetivo mostrar las oportunidades que otorgan las narrativas transmedia frente a la publicidad tradicional. Para ello, analizaremos la importancia del prosumidor en la narrativa transmedia elaborada por la Marca Perú en su campaña publicitaria Intercambiados, y nos centraremos en uno de los principios propuestos por Henry Jenkins: la “inmersión”. Esto se debe a que la publicidad tradicional es considerada como invasiva y la mayoría de los consumidores la rechaza, por lo cual la inmersión del prosumidor en la narrativa transmedia ayuda a pasar desapercibida a la publicidad dentro de una historia. En tal sentido, nuestro análisis se desarrollará a través de un enfoque de tipo cualitativo. Asimismo, el método que se utilizará es el de la teoría fundamentada, y se realizarán entrevistas semiestructuradas a jóvenes de 20 a 25 años, que residen en Lima Metropolitana y que sean seguidores del fan page de la Marca Perú. / This research aims to show the opportunities that transmedia narratives offer compared to traditional advertising. During the study we will analyze the importance of the prosumer in the transmedia narrative elaborated by Marca Perú in its advertising campaign Intercambiados, and we will focus on one of the principles proposed by Henry Jenkins: “immersion”. This is because traditional advertising is considered invasive and most consumers reject it, which is why the immersion of the prosumer in the transmedia narrative helps to go unnoticed in the advertising of a story. In this sense, our analysis will be developed through a qualitative approach. Likewise, the method to be used is that of grounded theory, and semi-structured interviews will be carried out with young people between 20 and 25 years of age, who reside in Lima Metropolitana and who are followers of Marca Perú fan page. / Trabajo de investigación

[ES] La concepción de "dramaturgia basada en la transmedialidad", surge de la reflexión teórica alrededor de los vínculos entre la dramaturgia y la transmedialidad, intensificados durante el último siglo, a partir del cual se plantea las nociones de "transmedialidad interna" , "transmedialidad externa" y "esperiencia sensible ampliada". En base a estas nociones, se interroga obras de teatro contemporáneo puntuales provenientes de varias capitales de habla hispana, en busca de recursos de significación cuyos lenguajes estén inmersos en la "transmedialidad interna", para que sean utilizados como elementos que generen una "experiencia sensible aplicada" en el marco de la "transmedialidad externa"; actividad que permite también perfilar un proyecto práctico. / [EN] The conception "transmedia based dramaturgy" arises from theoretical reflection on the links between transmediality and dramaturgy. These links have been intensified during the last century. From wich, the notions of "internal transmediality", "external transmediality", and "expanded sensitive experience" can be raise. Based in these notions, specific contemporary theater works from various Spanish-speaking capitals are questioned. In this way, meaning resources are established in relations with the languages that are immersed in the "internal transmediality". Then, they are use as elements that generate an "applied sensory experience" within the framework of "external transmediality". This activity allows the outline of a practical project. / [CA] La concepció de la dramaturgia basada en la "transmedialitat" sorgeix de la reflexió teórica al voltant dels vincles entre la dramaturgia i la transmedialitat, intensificats durant l'últim segle, a partir del qual es planteja les nocions de "transmedialidat interna" i "transmedialitat externa" i "experiencia sensible ampliada". Basant-se en aquestes nocions, s'interroguen obres de teatre contemporàni puntuals provinents de diverses capitals de llengua hispana, a la recerca de recursos de significació i que aquests llenguatges estiguen inmersos en la "transmedialitat interna", per a que siguen utilitzats como elements que generen una "experiència sensible aplicada", en el marc de la "transmedialitat externa"; activitat que permeteix també perfilar un projecte pràctic. / Jijón De La Torre, CE. (2020). "Dramaturgia basada en la transmedialidad": reflexión teórica, devenir escénico y propuesta práctica [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/157655 / TESIS

1 Abstract Since the 1990s, two parallel international phenomena have occurred: the growth of digital communications and the growth of the non-profit sector. The latter growth has taken place globally, but is acutely visible in the Czech Republic. In the Czech Republic, the 1990s posed an interesting challenge for the growth of non-profit organisations after the fall of Communism. One communications practice which has been utilised in business, journalism and the media is transmedia storytelling, though its application has been lacking in the non- profit sector. Through the utilisation of SWOT analysis methodology, this master's thesis will see this practice extrapolated to the non-profit sector in an exploratory case study of Amnesty International groups at various levels in both the Czech Republic and the United Kingdom. From this, the work hopes to achieve a better understanding of how transmedia storytelling practices could aid an international non-profit organisation, such as Amnesty International, in the effectivity of its agenda setting and resource mobilisation - thus eliminating discrepancies between regions in campaigning and fundraising. Keywords: Agenda Setting, Amnesty International, Non-Profit Organisation, Resource Mobilisation, Transmedia Storytelling

The universe of Star Wars is an ever-expanding transmedia storyworld that comprehends entries in many different media. As it is inevitable for a very expansive universe, different authors contribute to the storyworld across different media. Moreover, each medium imposes changes in the storytelling based on its characteristics. The presence of different authors and the change in media affect how free will is portrayed in the different adaptations. The Force is an entity that characterizes the Star Wars universe and affects the free will of every living being in the storyworld. One of the main characteristics of Star Wars is the constant referencing to fate and prophecy enforced by the Force and how these entities affect free will. The concept of free will and how different boundaries affect it are portrayed differently in each media adaptation. What makes this topic interesting is the presence of a character named Anakin, whose free will is represented differently in each adaptation, and his relation to the Force also changes in the different adaptations.  Anakin is an interesting character to look at because of his constant struggles with his free will. Some of those struggles are caused by the influence the Force has on him. The same character in the same storyworld can take a very different shape in a different medium. This thesis argues that Star Wars as a transfictional transmedia storyworld changes in a way that causes an evolution in the representation of Anakin's free will and a shift in his relation to the Force. Furthermore, I argue that transmedia storyworlds, thanks to their transfictionality, hold the ability to develop significant changes in new works without leaving the original storyworld. Finally, in the conclusion of the thesis I discuss a problematic aspect of the concept of transfictionality.  The thesis is developed mainly through the use of the theory of free will by Graham McFee and with the concept of Force as law by Timothy Peters. The boundaries of the transmedia storyworld and its definition are set by Marie-Laure Ryan and Jan-Noël Thorn. Moreover, this thesis uses the theory on transfictionality as defined by Marie-Laure Ryan to develop the analysis. The primary works selected for the analysis are the movies Star Wars: The Phantom Menace, Star Wars: Attack of the Clones, and Star Wars: Revenge of the Sith. The novels taken into analysis are the novelizations of the same movies. Moreover, the movies belonging to the original trilogy are discussed as a whole and compared to the movies taken into analysis that are part of the prequel trilogy. Finally, the TV series taken into consideration is Star Wars: The Clone Wars. The primary sources selected are interesting to analyse because they portray the story of Anakin and his free will in relation to the Force. Moreover, the different media adaptations allow the discussion of the differences between the representation of free will in each media adaptation. / <p>BA thesis opposition seminar conducted in Niagara.</p>