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Showing 1 to 2 of 2 (0.059 seconds)Spelling suggestions: "subject:"transmedia storyworlds"" "subject:"transmedia storyworld""
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Evolution of Storytelling in Transmedia Storyworlds : Free Will and the Force in Different Star Wars AdaptationsColantoni, Lorenzo January 2022 (has links)
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>
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Plotting HorrorHeuer, Thomas 06 May 2019 (has links)
Die Entwicklungsschübe der modernen Medien im 20. Jahrhundert haben die Wechselbeziehungen zwischen den Künsten, den Medien, den Sinnesmodalitäten, den verbalen und nonverbalen Ausdrucks- und Zeichenprozessen verstärkt und erweitert. Im Zuge dieser Entwicklungen sind Genre- und Formatfragen über das disziplinäre Interesse einzelner Kunst- und Medienwissenschaften hinaus ins Aufmerksamkeitsfeld einer vergleichenden Medienästhetik und -dramaturgie ge-rückt.
Aufbauend auf den Erkenntnissen von Kalisch 2014, 2016 und den Überlegungen Gaudreaults 2009 zu einer Unterscheidung zwischen Narration und Monstration, ist es gelungen ein Modell zur Analyse von Werken unter dem Ausgangspunkt von Dramaturgie und Präsentationsstruktur herauszubilden, das für jedwedes dramaturgisch motiviertes und fiktionales Werk verwendet werden kann, unab-hängig vom Medium. Als Mittel zur Verdeutlichung der Thesen wird Horror als ästhetische Kategorie definiert, die einen direkten Einfluss auf die narrativen Strukturen eines Werkes besitzt, was den narrativ-monstrativen Doppelcharakter von Werken belegt und ferner verdeutlicht, dass Erzählung und Formung eines Werkes untrennbar verbunden sind. Die Dualität von Dramaturgie und Präsenta-tionsstruktur wird in der Formung eines Werkes offenbar. Um dies zu verdeutli-chen, werden im Verlauf der Arbeit kursorisch Beispiele von Werken mit Schre-ckensinhalten diskutiert und analysiert.
Basierend auf diesem Modell wird eine Diskussion des Themenkomplexes von Intermedialität und Transmedialität im Spannungsverhältnis zur Komparistik der Künste durchgeführt. In der Folge wird eine Ästhetik des Schreckens diskutiert und anhand von ästhetischen Wertungskategorien aufgezeigt. Abschließend werden drei narrativ-motivierte Konzeptionen für dramaturgisch angetriebene Schre-ckensinszenierungen aufgeführt, die zur Kategorisierung von Werken angewendet werden können: düstere Präfiguration, düstere Konfiguration und düstere Manifestation. / The development in modern media during the 20th century (from movies over television to the hybrid forms of audiovisual and textual media in the internet) reveals interdependencies between art, media, the modalities of senses, the verbal and nonverbal dictions and semiotic processes that have evolved and expanded themselfes. According to this progress the interest in art and media studies should achive a collective interest in the changes of genre and formats, instead of a sepa-rated observation of only single disciplines.
Following the Prolegomena on a comperative drama of media by Eleonore Ka-lisch (Kalisch 2014) and the thougts of André Gaudreault on Narration and Mon-stration (Gaudreault 2009) this thesis bulids a system to analyse works of fiction (e. g. movies, pictures, literature, video games). This system allows to analyse and compare works of fiction based on drama and presentation structure. The horror genre is used to show the mechanics of this system. Horror has a direct influence on the narrative structure of a work and manifests a duality of narration and mon-stration (Kalisch 2016), that binds drama and presentation to each other and shows the necessity of a separated consideration on both aspects. The duality of drama and presentation reveals itself during the modeling of a work of fiction.
Build on the system the discourse is open to discuss intermetiality and transmedi-ality and their influence on the field of interest. Furthermore, an aesthetic of hor-ror is defined by evaluation categories of aesthetic indicators. In the end three types of narrativ driven concepts of horror are revealed and discussed: gloomy pre-figuaration, gloomy configuration and gloomy manifestation.
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