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Showing 1 to 5 of 5 (0.024 seconds)Spelling suggestions: "subject:"storyworld"" "subject:"storywork""
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POST APOCALYPTIC LITERATURE AND THE STATE: SCIENCE FICTION AND STORYWORLDSGoforth, Andrew 01 August 2017 (has links)
Mary Manjikian and other critics argue that post-911 apocalyptic Literature is anarchic, breaking away from the state through its destruction. This thesis challenges this claim, looking at the state through the abstract form presented by Deleuze and Guattari in A Thousand Plateaus to argue that while the state in its physical manifestation is indeed removed within the post-apocalyptic narrative, an internal desire for governance and a return to status-quo remains. Chapter 1 examines Cormac McCarthy’s novel The Road in relation to this theory, particularly within the interactions between the father and son, showing that through the father, an argument can be made for the characters’ wish to return to a time where a physical state existed. Chapter 2 examines the relevance of the zombie narrative in relation to other “post-911 apocalyptic Literature” to examine both where these texts and media fit in relation to the state and contemporary culture – particularly in relation to politics. Through AMC’s “The Walking Dead”, the zombie narrative not only exhibits similar tendencies for a yearning of state power, but also expands the definition of a post-apocalyptic narrative, as when the state returns, not only is the narrative altered to one of dystopian fiction, the “other” becomes more ambiguous, as the zombies begin to pose little threat, leading to political tension amongst survivors. Chapter 3 and 4 examine the return to popularity of Lovecraft-esque fiction alongside the cultural infectiousness of the zombie. Beginning with Lovecraft’s “The Call of Cthulhu” and moving to China Miéville’s novel Perdido Street Station, the thesis will conclude with an examination of eldritch horror as an alternative to the post-apocalyptic in terms of rethinking the relationship of the state in contemporary culture, and arguing that the political “other” is now viewed as monstrous and difficult to define in a manner which zombies are unable to fully represent.
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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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Transmedia Storytelling Systems in Publishing: with Focus on Fantasy FranchisesJacob, Phillip 08 November 2021 (has links)
This master thesis provides an extensive definition of transmedia storytelling systems and the fantasy genre, besides a short overview of publishing management, technology, and marketing. The focus of this master thesis is the practical relevance of transmedia storytelling systems for fantasy franchises, such as Harry Potter, Game of Thrones, or The Lord of the Rings.
This thesis results in the perceptions that potential customers indeed consume storylines across different media types. Most of them only through media types with a low degree of participation. A smaller but significant amount of the customer consumes media types with a high degree of participation. These results are findings from a survey of more than 600 consumers surveyed of selected fantasy franchises.:1 Introduction 9
2 Overview of Publishing Technologies 11
2.1 Principles of publisher’s organization 11
2.2 Cross-media publishing 12
2.2.1 Setup and Integration of a cross-media publishing system 14
2.3 Publisher’s marketing 17
2.3.1 Publishing trademarks 20
2.3.2 Selection of marketing measures 21
3 Principles of Transmedia Storytelling 23
3.1 Transmediality 23
3.2 Transmedia Storytelling 25
3.3 Storyworlds 27
3.4 Transfictionality 29
3.5 Transmedia story systems 30
3.6 Summary 32
4 Examination of the Fantasy Genre 35
4.1 Definition of Fantasy 35
4.1.1 The secondary world 36
4.1.2 Metaphysical power 38
4.1.3 The heroic element 39
4.1.4 Demarcating Fantasy from related terms and genres 40
4.1.5 Summary 42
4.2 The German Fantasy market 43
4.2.1 Fantasy in TV, films, and series 43
4.2.2 Fantasy in books 45
4.2.3 Fantasy in computer games 46
4.2.4 In conclusion 49
5 Implementation of a Survey:
Consumption of the Same Fantasy Narrative in Different Media Types 51
5.1 Methods and systematic 51
5.1.1 Description of the examples 53
5.1.2 Justification and classification 56
5.1.3 Gathering of personal data 58
5.2 Results of the survey 60
Inhaltsverzeichnis VII
6 Discussion of the Perceptions 67
6.1 Interpretation and discussion of the survey’s results 67
6.1.1 Interpretation and discussion concerning the target audience 67
6.1.2 Interpretation and discussion in terms of further media consumption 71
6.1.3 Interpretation and discussion in terms of the media type’s potential 79
6.1.4 Interpretation and discussion in terms of further results and perceptions 86
6.2 Strategic Theses for Publishing Houses and Media Agencies 88
6.2.1 Acquiring the right content 89
6.2.2 How to design a transmedia storytelling system? 91
6.2.3 After obtaining the right stories 93
6.2.4 The right publishing system 96
6.3 In conclusion 98
Bibliography 100
Source materials 102
Statistics 105
Attachement A1 107
Total Results 108
Attachement A2 117
Survey’s structure and results in Detail 118 / Diese Masterarbeit bietet neben einem kurzen Einblick in das Verlagsmanagement, allgemeine Produktionstechniken und Marketing-Strategien eine ausführliche Definition von transmedialen Storytelling-Systemen und des Fantasy-Genres. Der Schwerpunkt dieser Masterarbeit liegt auf der praktischen Relevanz von transmedialen Storytelling-Systemen für Fantasy-Franchises, wie Harry Potter, Game of Thrones oder Der Herr der Ringe. Das Ergebnis dieser Arbeit ist die Erkenntnis, dass potenzielle Kunden tatsächlich medienübergreifend Storylines konsumieren. Die meisten von ihnen jedoch nur über
Medientypen mit einem geringen Partizipationsgrad. Ein kleinerer, aber wesentlicher Teil der Rezipienten konsumiert Medientypen mit einem hohen Partizipationsgrad. Diese Ergebnisse sind Erkenntnisse aus einer Befragung von mehr als 600 Rezipienten ausgewählter Fantasy-Franchises.:1 Introduction 9
2 Overview of Publishing Technologies 11
2.1 Principles of publisher’s organization 11
2.2 Cross-media publishing 12
2.2.1 Setup and Integration of a cross-media publishing system 14
2.3 Publisher’s marketing 17
2.3.1 Publishing trademarks 20
2.3.2 Selection of marketing measures 21
3 Principles of Transmedia Storytelling 23
3.1 Transmediality 23
3.2 Transmedia Storytelling 25
3.3 Storyworlds 27
3.4 Transfictionality 29
3.5 Transmedia story systems 30
3.6 Summary 32
4 Examination of the Fantasy Genre 35
4.1 Definition of Fantasy 35
4.1.1 The secondary world 36
4.1.2 Metaphysical power 38
4.1.3 The heroic element 39
4.1.4 Demarcating Fantasy from related terms and genres 40
4.1.5 Summary 42
4.2 The German Fantasy market 43
4.2.1 Fantasy in TV, films, and series 43
4.2.2 Fantasy in books 45
4.2.3 Fantasy in computer games 46
4.2.4 In conclusion 49
5 Implementation of a Survey:
Consumption of the Same Fantasy Narrative in Different Media Types 51
5.1 Methods and systematic 51
5.1.1 Description of the examples 53
5.1.2 Justification and classification 56
5.1.3 Gathering of personal data 58
5.2 Results of the survey 60
Inhaltsverzeichnis VII
6 Discussion of the Perceptions 67
6.1 Interpretation and discussion of the survey’s results 67
6.1.1 Interpretation and discussion concerning the target audience 67
6.1.2 Interpretation and discussion in terms of further media consumption 71
6.1.3 Interpretation and discussion in terms of the media type’s potential 79
6.1.4 Interpretation and discussion in terms of further results and perceptions 86
6.2 Strategic Theses for Publishing Houses and Media Agencies 88
6.2.1 Acquiring the right content 89
6.2.2 How to design a transmedia storytelling system? 91
6.2.3 After obtaining the right stories 93
6.2.4 The right publishing system 96
6.3 In conclusion 98
Bibliography 100
Source materials 102
Statistics 105
Attachement A1 107
Total Results 108
Attachement A2 117
Survey’s structure and results in Detail 118
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Textmedierade virtuella världar : Narration, perception och kognition / Textually Mediated Virtual Worlds : Narration, perception and cognitionPettersson, Ulf January 2013 (has links)
This thesis synthezises theories from intermedia studies, semiotics, Gestalt psychology, cognitive linguistics, cognitive psychology, cognitive poetics, reader response criticism, narratology and possible worlds-theories adjusted to literary studies. The aim is to provide a transdisciplinary explanatory model of the transaction between text and reader during the reading process resulting in the reader experiencing a mental, virtual world. Departing from Mitchells statement that all media are mixed media, this thesis points to Peirce’s tricotomies of different types of signs and to the relation between representamen (sign), object and interpretant, which states that the interpretant can be developed into a more complex sign, for example from a symbolic to an iconic sign. This is explained in cognitive science by the fact that our perceptions are multimodal. We can easily connect sounds and symbolic signs to images. Our brain is highly active in finding structures and patterns, matching them with structures already stored in memory. Cognitive semantics holds that such structures and schematic mental images form the basis for our understanding of concepts. In cognitive linguistics Lakoff and Johnsons theories of conceptual metaphors show that our bodily experiences are fundamental in thought and language, and that abstract thought is concretized by a metaphorical system grounded in our bodily, spatial experiences. Cognitive science has shown that we build situation models based on what the text describes. These mental models are simultaneously influenced by the reader’s personal world knowledge and earlier experiences. Reader response-theorists emphasize the number of gaps that a text leaves to the reader to fill in, using scripts. Eye tracking research reveals that people use mental imaging both when they are re-describing a previously seen picture and when their re-description is based purely on verbal information about a picture. Mental spaces are small conceptual packets constructed as we think and talk. A story is built up by a large number of such spaces and the viewpoint and focus changes constantly. There are numerous possible combinations and relations of mental spaces. For the reader it is important to separate them as well as to connect them. Mental spaces can also be blended. In their integration network model Fauconnier and Turner describe four types of blending, where the structures of the input spaces are blended in different ways. A similar act of separation and fusion is needed dealing with different diegetic levels and focalizations, the question of who tells and who sees in the text. Ryan uses possible worlds-theories from modal logic to describe fictional worlds as both possible and parallel worlds. While fictional worlds are comparable to possible worlds if seen as mental constructions created within our actual world, they must also be treated as parallel worlds, with their own actual, reference world from which their own logic stems. As readers we must recenter ourselves into this fictional world to be able to deal with states of affairs that are logically impossible in our own actual world. The principle of minimal departure states that during our recentering, we only make the adjustments necessary due to explicit statements in the text.
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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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