The purpose of this thesis is to take a more profound and nuanced look into the effects of diversity in transmedia storytelling (also known as transmedia narrative or multiplatform storytelling) on society, more specifically, how the representation in these stories affect the minority groups that interact with transmedia. This thesis investigates the depiction of minority groups in transmedia storytelling and the influence of identifiable characters and plotlines. The research and following interviews I have engaged in will encapsulate into a screenplay set in a fictional court that offers the discourse of "forced diversity" within the transmedia narrative: whether or not this exists and is necessary for the success of telling a story across multiple platforms. By exploring the human condition in both the documentary and the screenplay, I conclude in a critical reflection accompanying the creative works that the inclusion of minorities in transmedia is vital to its success. When creators include minorities in transmedia, audiences can draw connections that are more personal to them; they can participate in the symbolic "hero's journey" with the character in the story. By further diversifying transmedia works, intellectual properties' appeal is widened to a broader audience, allowing for potential success, both economically and socially, that transcends both domestic and international borders. I further conclude that failures with diversification efforts have detrimental socioeconomic consequences that could impact both transmedia and its audiences.

Made available in DSpace on 2014-12-17T15:08:35Z (GMT). No. of bitstreams: 1 YuriBA_DISSERT.pdf: 1060818 bytes, checksum: 6f235d80bea42245711a85d0c7f3ec49 (MD5) Previous issue date: 2014-06-06 / The transmedia storytelling is a phenomenom recently conceptualized theoretically (JENKINS, 2009), arising from ficcional mediatic products and disseminated as well by the use on other fields. This search aims to analyze how the transmedia storytellings can be applied to journalism on the basis of an specific genre, the reporting. To that, take as reference theoretical developments performed by brazilian authors (FECHINE et al., 2011, 2012, 2013), on the basis of televisive fiction, which culminated on concepts as transmediation and transmedia contents and deepened the comprehension and the research in this area. Thenceforth, this study propone a problematization and apropriation of this theoretic support for the journalism field, using, for that, a comprehension of journalistic production on a speech level, as well as its social practices (newsmaking). The empiric research also take two different paths. First, analyze a group of reportings, in which there is transmediation, in order to verifying the configuration of the transmedia phenomenom - more specifically of the transmedia storytelling - and its particularities to journalism. Then, develops an investigation, based on the etnographic method, of the productive routine on the special reporting section of the Jornal do Commercio (Recife/PE), aiming to investigate the conditions of transmediation in this range and the practices that favor and difficult the employment of transmedia storytelling. The result are, therefore, compared and related, with the goal of providing multidimensional view of the phenomenom / A narrativa transm?dia se trata de fen?meno de recente conceitua??o te?rica (JENKINS, 2009), surgida a partir da an?lise de produtos midi?ticos ficcionais e disseminada tam-b?m por meio da aplica??o em outros campos. Esta disserta??o busca analisar como as narrativas transm?dias podem ser aplicadas ao jornalismo tendo por base um g?nero espec?fico, a reportagem. Para isso, se referencia em desdobramentos te?ricos realizados por autores brasileiros (FECHINE et al., 2011, 2012, 2013), tendo por base a fic??o te-levisiva, que resultaram em conceitos como transmidia??o e conte?dos transm?dias e aprofundaram a compreens?o e a pesquisa na ?rea. A partir da?, o trabalho prop?e uma problematiza??o e apropria??o de tal suporte te?rico para o campo do jornalismo, se utilizando, para isso, de uma compreens?o do fazer jornal?stico tanto ao n?vel discursivo (CHARAUDEAU, 2009a) como de suas pr?ticas sociais (newsmaking). A pesquisa em-p?rica tamb?m faz um duplo percurso. Primeiro, analisa um conjunto de reportagens nas quais existe transmidia??o, de modo a verificar a configura??o do fen?meno transm?dia e mais especificamente da narrativa transm?dia e suas peculiaridades no jornalismo. Em seguida, desenvolve uma investiga??o, baseada no m?todo etnogr?fico, das rotinas produtivas do setor de reportagens especiais do Jornal do Commercio (Recife/PE), com o objetivo de apurar as condi??es em que se d? a transmidia??o nesse ?mbito e as pr?ti-cas que favorecem e dificultam o emprego da narrativa transm?dia. Os resultados s?o, assim, comparados e relacionados, com o objetivo de proporcionar uma vis?o multidi-mensional do fen?meno

The aim of this study is to compare how transmedia narrative transportation theory (TNT) can be used on social plattform by influencers to how they are doing it. Social platforms are a relatively new phenomenon that is constant evolving both technical and how it´s used by the society. It therefore needs more and deeper research on the subject for increased and broader understanding. Our study investigates solely social platforms where the TNT theory has not previously been implemented.  During the studies we used a netnographic approach to observe two influencers who uses different types of social media platforms to connect with stakeholders in different ways. Our aim of this study is to answer the question “How do influencers use social platforms and can it compare to TNT in their interactions with stakeholders and what value this generate?”.  What our study reveals is that social platforms with their design and several functions creates a space for communication and interaction, which is a basis for influencers to achieve stakeholder engagement and co-creation of meaning. Both influencers who we observed during the study, works with social platforms in a way that can be compared to how TNT is used. Our study also shows that an influencer with a storyworld that share stories with a clearer start, climax and ending, generate more stakeholder engagement.

This study offers insights into the motif of monstrous corporality in a transmedia environment, through the vampire and zombie characters. Different narratives of corporeal transformation surround us constantly. On one hand, discourses of self-improvement in late modernity (Giddens 1991/2008) and ‘makeover culture’ (Johansson, 2006; 2012; Miller, 2008; Weber, 2009) demand a ‘creation of self’ through change and development, often in relation to physical appearance and bodily traits. On the other hand, numerous narratives of monstrosity and bodily change through destruction are also evident. This study takes on this double focus on corporality, against the backdrop of a late modern mediascape that has enabled people to imagine lives and possibilities different from their own through electronic mediation (Appadurai, 1996). As narratives now move between media platforms, new dimensions are brought to the imaginary, as different platforms interact differently with audiences. The aim of the study is to examine monstrous corporality in popular culture both in relation to media texts and audience practices through analyzes of representation, consumption and performance. The study examines medial and corporeal transformation through: concrete bodily change (the monstrous body), shifts between media platforms (transmedia) as well as the transmission of affect between media material and viewer (embodied spectatorship). These dimensions are explored in four empirical chapters, which examine two television series (True Blood and The Walking Dead) through textual analyses, the promotion of these series, audience participation (in online fora) and also participatory practices (Live action role play and zombie walks) through focus group interviews. The results indicate that the theme of monstrous corporeal change in TB and TWD reflects corporeal change in late modernity in several ways. Both transformations are focused on ‘before’ and ‘after’ and change of the monstrous body is connected to particular traits or parts of the body, which are also prominent in makeover culture narratives, such as skin, teeth and weight (appetite). The televisual narrative offers representations of bodily interiors and bodily harm that affect the viewers in a physical way, through an embodied spectatorship. The analyses of transmedia environments connected to the series indicate that the promotion of the programs use dimensions that emphasize the corporeal address, by bridging the gap between diegetic and actual reality. This is done through media environments (posters, websites and the like), and by introducing diegetic elements as actual, tangible objects in the actual reality of potential viewers. The analyses of posts on televisionwithoutpity.com show that participants use forum discussions as strategies to prolong and widen the media experience, and share it with others. Interviews with larpers and participants in zombie walks indicate that practices that stage the monstrous, also function as deepened embodied narrative experiences. Performances such as larps and zombie walks are interpreted as both conscious acts, and as strategies to handle unconscious performative (Butler, 1991/2006) dimensions of late modernity. Taken together, the zombie and vampire embody the pressures, risks and paradoxes connected to late modern makeover culture, and the mediated form they are presented through, tie them closer to those who engage in narratives about them.

Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels et audio‐visuels. La version intégrale du mémoire [de la thèse] a été déposée à la Division de la gestion des documents et des archives / Des convergences technologiques, économiques et socio-culturelles ont contribué à favoriser, depuis la fin du siècle dernier, le déploiement à grande échelle de représentations d’univers, réels comme fictionnels, sur de nombreux médias et plateformes. Des pratiques de création et de consommation médiatique renouvelées sont ainsi apparues autour d’objets médiatiques que, faute d’autres termes, on a pu un temps qualifier de nouveaux médias. Le transmédia s’est inscrit dans cette dynamique de médias non plus envisagés comme des entités stables, mais comme des flux aux contours changeants, poreux. Représentant l’avenir de notre rapport aux médias et au monde pour certains, mort-né pour d’autres, le transmédia, ou plutôt le transmédiatique, a fait l’objet de nombreux fantasmes et d’un certain nombre d’études qui sont loin d’avoir fait le tour de la question. Cette recherche propose de poser les bases théoriques d’une réflexion dépassionnée sur les phénomènes transmédiatiques. Ils seront essentiellement envisagés dans leur dimension fictionnelle, telle qu’elle est pensée par des créateurs d’univers diégétiques, c’est à dire d’univers habitables et navigables par un personnage et, in-fine, par un.e interprète, c’est à dire un.e lecteur-spectateur-auditeur-joueur-interacteur. C’est en se transportant physiquement ou en pensée dans ces univers, par l’entremise de modalités médiatisées construisant le Texte transmédiatique, que créateurs et interprètes participeront éventuellement d’une diégétisation transmédiatique, dont il s’agira de comprendre la nature, les tenants et les aboutissants. C’est ainsi que nous préciserons les termes de médias, plateformes, modalités et diégèse qui nous seront utiles afin d’appréhender comment, dans ce contexte de convergences, se déploient différents types de diégétisations transmédiatiques. Ces dernières seront alors envisagées comme des processus impliquant trois instances, soient les créateurs, les Textes transmédiatiques et les interprètes, se déployant paradoxalement sur des territoires se situant parfois à côté ou en dehors des médias et/ou de leur propre Texte. Enfin, nous ne manquerons pas de souligner les défis et les enjeux soulevés par ces déploiements diégétiques tous azimuts. / Since the end of the last century, technological, economic and socio-cultural convergences have helped to promote the large-scale deployment of representations of universes, real and fictional, on many media and platforms. Renewed media creation and consumption practices have thus emerged around media objects that, in the absence of other terms, could for a time be described as new media. Transmedia has become part of this media dynamic, no longer seen as stable entities, but as flows with changing, porous contours. Representing the future of our relationship with the media and the world for some, stillborn for others, transmedia has been the subject of many fantasies and a number of studies that are far from complete. This research proposes to lay the theoretical foundations for a dispassionate reflection on transmedia phenomena. They will essentially be considered in their fictional dimension, as conceived by creators of diegetic universes, i.e. universes that can be inhabited and navigated by a character and by an interpreter, i.e. a reader-spectator-listener-player-interactor. It is by transporting oneself physically or in thought into these universes, through mediatized modalities constructing the Transmedia Text, that creators and interpreters will eventually participate in a transmedia diegetization, the nature, ins and outs of which will have to be understood. We will define the terms media, platforms, modalities and diegesis that will be useful to us in order to understand how, in this context of convergences, different types of transmedia diegetization are deployed. The latter will then be considered as processes involving three instances, namely creators, transmedia Texts and interpreters, paradoxically unfolding in territories that are sometimes located next to or outside the media and/or their own Text. Finally, we will highlight the challenges and issues raised by these all-out diegetic deployments.

En la actualidad, según la revista digital Puro Marketing, el tiempo promedio que una persona dedica al consumo de contenido digital es de aproximadamente 7 horas al día.1 La importancia de los medios digitales y el poder de influencia que tiene sobre las personas es notable; del mismo modo, los creadores de contenido. Entre los más destacables están los llamados influencers que por medio de estrategias de contenido logran fidelizar a las masas mediante su liderazgo y generar confianza por medio de plataformas de difusión digitales.[Salto de ajuste de texto][Salto de ajuste de texto]Para la presente investigación, se estudiará la relación entre la narrativa transmedia como estrategia para la construcción de la celebrity Kylie Jenner como influencer. [Salto de ajuste de texto][Salto de ajuste de texto]El enfoque de la investigación fue cualitativo, en donde se realizó un estudio de análisis de contenido enfocado en las apariciones televisivas con mayor relevancia de la celebrity/influencer y, además, las publicaciones de contenido en redes sociales referidas a dichos programas. / Currently, according to the digital magazine Puro Marketing, the average time a person spends consuming digital content is approximately 7 hours a day. The importance of digital media and the power of influence it has over people is remarkable; Similarly, content creators. Among the most notable are the so-called influencers who, through content strategies, manage to retain the masses through their leadership and generate trust through digital dissemination platforms.[Salto de ajuste de texto] For this research, the relationship between the transmedia narrative will be studied as a strategy for the construction of the celebrity Kylie Jenner as an influencer.[Salto de ajuste de texto] The focus of the research was qualitative, where a content analysis study was carried out focused on the television appearances with the greatest relevance of the celebrity / influencer and, in addition, the content publications on social networks referring to said programs. / Trabajo de investigación

En el presente trabajo de investigación se analizará la capacidad que tiene la música para expandir sus relatos a diferentes pantallas con la finalidad de que los músicos y artistas que se encuentran en el medio, como también los que están ingresando, se interesen por nuevas alternativas en cuanto a generar contenido para su público. El objeto de estudio para esta investigación es el exitoso grupo de Kpop BTS y se analizará la estrategia transmedia de la banda abordando los conceptos de narrativa transmedia, intertextualidad, prosumidores y todo lo que implica ser parte de la cultura fan. En cuanto a la metodología del proyecto, se realizará un análisis de contenido tanto de la banda como del material generado por los fans; por último, se analizará la experiencia de usuario en el relato de las piezas musicales de BTS mediante entrevistas semiestructuradas. / In this research work, the capacity of music to expand its stories to different screens will be analyzed in order that the musicians and artists who are in the middle, as well as those who are entering, are interested in new alternatives of generating content for their audience. The object of study for this research is the successful kpop group BTS and the transmedia strategy of the band will be analyzed, addressing the concepts of transmedia narrative, intertextuality, prosumers and everything that implies being part of the fan culture. Regarding the methodology of the project, a content analysis of both the band and the material generated by the fans will be carried out; finally, the user experience in the story of BTS's musical pieces will be analyzed through semi-structured interviews. / Trabajo de investigación

La presente investigación analiza el papel de la gráfica transmedia detrás del álbum-objeto de la banda BTS y su impacto en el comportamiento del consumidor latinoamericano. Todo esto en base a la hipótesis que los consumidores fanáticos del álbum objeto de BTS en Latinoamérica adquieren este producto influenciados por la gráfica transmedia, la conceptualización detrás del diseño del mismo álbum y diversos factores externos. Para abordar esta investigación, que implica a un grupo humano y a la vez a objetos, se realiza una investigación cualitativa, que incluye trabajo de análisis visual, bibliográfico y de campo, tomando como base las diferentes variables de investigación. Como principales resultados, se identificó cuatro etapas gráficas reflejadas en las portadas de los álbumes de la serie Love Yourself de BTS, transmitiendo el proceso de crecimiento en la juventud mediante el amor propio. Este proceso, expresado a través de una línea volátil, crea el hilo conector entre el significado conceptual y visual de todo el proyecto. Se concluye que la gráfica transmedia detrás del álbum-objeto de BTS sí influye en el comportamiento del consumidor, pero este también se ve afectado por diversos factores culturales y sociales como el fenómeno Hallyu, la influencia del comportamiento colectivo de los fandoms, el poder adquisitivo del público objetivo y la conexión emocional estrecha que mantienen las fanáticas con sus ídolos. / This research analyzes the role of transmedia graphics behind the material album of the band BTS and its impact on the behavior of the Latin American youth consumer. All this based on the hypothesis that the fanatic consumers of the material album of BTS in Latin America acquires this product influenced by the transmedia graphics, the conceptualization behind the design of the album itself and various external factors. To address this research, which involves a human group and also objects, a qualitative research is being carried out, which includes visual, bibliographic and field analysis work, based on the different research variables. As main results, four graphic stages reflected in the album covers of the BTS Love Yourself series were identified, conveying the process of growth in youth through self-love. This process, expressed through a volatile line, creates the connecting thread between the conceptual and visual meaning of the entire project. It is concluded that the transmedia graphics behind the BTS material album does influence consumer behavior, but this is also affected by various cultural and social factors such as the Hallyu phenomenon, the influence of the collective behavior of fandoms, the acquisitive power of the target audience and the emotional connection fans have with their idols. / Trabajo de investigación

El presente trabajo analiza los elementos de la representación del adolescente en los videoclips de la narrativa transmedia de la boyband surcoreana TXT. Con el reciente aumento de la popularidad de las boybands y girlbands surcoreanas en Latinoamérica, especialmente en jóvenes adolescentes, nace la duda si se repetirá el fenómeno que alguna vez One Direction logró. La segregación existente entre Pop Occidental y el K-Pop como industria se basa en la interactividad que mantienen con sus fandoms. Sin embargo, es la representación de la narrativa dentro de la conceptualización de la banda lo que permite la vinculación profunda del fandom con los grupos. Hoy en día la difusión de la narrativa transmedia en la industria musical popular coreana ha aumentado, especialmente en las nuevas generaciones y, en este contexto, se ha diversificado. Es por ello que cada narrativa existente contiene matices que difieren del otro, convirtiéndose así en el valor añadido que posee su universo transmedia. Gracias a esta narrativa no solo son capaces de empatizar con su fandom a través del planteamiento de una historia más cercana a la realidad; sino que mantinenen su propósito inicial: aumentar su popularidad. / This work analyzes the elements of the adolescent's representation in the transmedia narrative video clips of the South Korean boyband TXT. With the recent rise in popularity of South Korean boy bands and girl bands in Latin America, especially among young teenagers, the question arises as to whether the phenomenon that One Direction once achieved will be repeated. The existing segregation between Western Pop and K-Pop as an industry is based on the interactivity they maintain with their fandoms. However, it is the representation of the narrative within the conceptualization of the band that allows the deep connection of the fandom with the groups. Nowadays the diffusion of the transmedia narrative in the Korean popular music industry has increased, especially in the new generations and, in this context, it has diversified. That is why each existing narrative contains nuances that differ from the other, thus becoming the added value of its transmedia universe. Thanks to this narrative they are not only able to empathize with their fandom through the approach of a story closer to reality; Rather, they keep their original purpose: to increase their popularity. / Trabajo de investigación

El siguiente articulo aborda el webtoon coreano desde una perspectiva gráfica, tiene como objetivo explicar el papel de los códigos visuales en la narrativa crossmedia del webtoon coreano, corroborando la hipótesis de que los códigos visuales contribuyen al webton debido a la estandarización de estos. Se realizaron un muestreo no probabilístico, entrevistas y análisis semiótico. Los principales resultados se basan en los códigos visuales de los personajes y su estandarización y se concluye que de esa manera los códigos visuales contribuyen a la narrativa crossmedia del webtoon. / The following article addresses the Korean webtoon from a graphic perspective, its objective is to explain the role of visual codes in the crossmedia narrative of the Korean webtoon, corroborating the hypothesis that visual codes contribute to the webtoon due to their standardization. Non-probability sampling, interviews and semiotic analysis were carried out. The main results are based on the visual codes of the characters and their standardization, and it is concluded that in this way the visual codes contribute to the crossmedia narrative of the webtoon. / Trabajo de investigación