Modern stories are the product of a recursive process influenced by elements of genre, outside content, medium, and more. These stories exist in a multitude of forms and are transmitted across multiple media. This article examines how those stories function as pieces of a broader narrative, as well as how that narrative acts as a world for the creation of stories. Through an examination of the polymediated nature of modern narratives, we explore the complicated nature of modern storytelling.

El tema a desarrollar de esta investigación se centra en el storytelling publicitario y cómo las amas de casa entre los 40 y 55 años de edad de NSE A, pueden ser parte de ello a través de la red social Instagram. El caso analizado es Maya de la Borda, (@mayasportsandfamily) una madre de familia que comparte sus aventuras familiares en Instagram, quien en menos de un año, ha logrado trabajar con marcas importantes debido al uso de elementos narrativos y una buena relación con su audiencia. El objetivo específico del estudio fue analizar, de qué manera las amas de casa como Maya de la Borda (@mayasportsandfamily), logran construir un storytelling publicitario a través de Instagram. Esta investigación es cualitativa, y se utilizaron entrevistas semi estructuradas para ahondar en las percepciones y los procesos de motivación en las participantes sobre el tema. Finalmente, el hallazgo principal, fue que las amas de casa consideran que el storytelling publicitario en Instagram es efectivo cuando la audiencia se siente parte de la comunicación mediante historias experienciales, junto con la coherencia en las marcas y el perfil de la microinfluencer. De esta manera, el storytelling publicitario lleva a un posible acción de compra en las seguidoras gracias a la exposición de una publicidad auténtica. / The topic to be developed in this research focuses on advertising storytelling and how housewives between 40 and 55 years of age from a high SES can be part of it through the social network Instagram. The case analyzed is Maya de la Borda, (@mayasportsandfamily) a mother who shares her family adventures on Instagram, who in less than a year has managed to work with important brands due to the use of narrative elements and a good relationship with her audience. The specific objective of the study was to analyze how housewives like Maya de la Borda (@mayasportsandfamily) manage to build an advertising storytelling through Instagram. This research is qualitative, and semi-structured interviews were used to delve into the perceptions and motivation processes in the participants on the subject. Finally, the main finding was that housewives consider that advertising storytelling on Instagram is effective when the audience feels part of the communication through experiential stories, together with consistency in the brands and the profile of the micro-influencer. In this way, the advertising storytelling leads to a possible purchase action in the followers thanks to the exposure of authentic advertising. / Tesis

En la actualidad, el uso del internet se ha convertido en parte de la rutina diaria de muchos, en especial en la de los jóvenes, particularmente cuando se trata de redes sociales o plataformas de streaming. Una serie que logró enlazar ambas fue Skam, una serie transmedia noruega que integró perfiles de Instagram de los personajes ficticios a su narrativa. Por ello, el presente trabajo de investigación tiene como objetivo analizar la relación del contenido transmedia de la serie noruega Skam con la generación de comunidades latinoamericanas de su fandom en redes sociales, específicamente en un grupo de fans en Facebook. Por esta razón, dentro del marco teórico se definirá la experiencia participativa de los fans con el contenido transmedia y la identificación de estos dentro del fandom. Por consiguiente, se ha utilizado una metodología de paradigma positivista con un enfoque cuantitativo, ya que se realizarán encuestas online a los miembros del grupo propuesto de Facebook, “SKAM- ALT ER LOVE” / Nowadays, the use of the internet has become part of the daily routine of many, especially young people, particularly when it comes to social media or streaming platforms. One series that managed to link the two was Skam, a Norwegian transmedia series that integrated Instagram profiles of its fictional characters into its narrative. Therefore, the following research work aims to analyze the relation of the transmedia content of the Norwegian series Skam with the generation of Latin American communities of its fandom on social media, specifically in a group of fans on Facebook. For this reason, within the theoretical framework, the participatory experience of fans with transmedia content and their identification within the fandom will be defined. Consequently, a positivist paradigm methodology has been used with a quantitative approach, since online surveys will be carried out to the members of the proposed Facebook group, “SKAM-ALT ER LOVE”. / Trabajo de investigación

El presente trabajo describe el uso que las marcas comerciales hacen del branded content en redes sociales, específicamente en Twitter, en el relato transmedia Red Monkey, un microrrelato de ficción contado por medio de hilos en Twitter desde una cuenta ficticia que describe diversos sucesos que se van desarrollando junto a la interacción con los otros usuarios, a través de diversos medios textuales y audiovisuales. Este caso se dio en España en el año 2018 y fue patrocinado por la marca Samsung. En el presente caso, se identifican los elementos que hicieron de esta historia una de las más virales e innovadoras actualmente. / This paper describes the use that brands make of branded content on social networks, specifically on Twitter, in the storytelling transmedia Red Monkey, a fictional micro-story told through Twitter threads from a fictitious account that describes various events that occur. they develop together with the interaction with other users, through various textual and audiovisual media. This case occurred in Spain in 2018 and was sponsored by the Samsung brand. In the present case, the elements that made this story one of the most viral and innovative today are identified. / Trabajo de investigación

El siguiente ensayo tiene como propósito demostrar la influencia y efecto que puede tener una herramienta de inmersión y participación comunicativa en el consumidor, como el Storytelling Transmedia; con un discurso repetido por parte de diversas marcas, como lo es el eco-amigable. La importancia de demostrar los efectos que puede tener esta estrategia de narrativa en un discurso, que en la actualidad genera desconfianza y falta de credibilidad por parte de un consumidor comprometido y preocupado, es corroborarla como una estrategia y recurso que puede ser adoptado por las marcas para generar un vehículo para transmitir las ideas de marca y ser aceptadas de manera eficiente por el público objetivo. De igual manera, se corroboraría su extrapolación a otros ámbitos publicitarios con la finalidad de tener una conversación verídica y creíble con los usuarios. / The following essay aims to demonstrate the influence and effect that a tool of immersion and communicative participation in the consumer can have, such as the Transmedia Storytelling; with a repeated speech by various brands, as is the eco-friendly trend. The importance of demonstrating the effects that this narrative strategy can have in a discourse, that currently generates distrust and lack of credibility by part of a committed and concerned consumer, is to corroborate it as a strategy and resource that can be adopted by brands to generate a vehicle to transmit brand ideas and be efficiently accepted by the target audience. Similarly, it's extrapolation to other advertising areas would be corroborated in order to have a true and credible conversation with users. / Trabajo de investigación

Det kan idag vara svårt för företag att engagera sin publik på grund av allt innehåll som ständigtpubliceras. Transmedialt berättande har kommit att bli ett begrepp som tillåter publik attinteragera med innehållet och sprida det vidare. Konceptet har kommit att bli ettmarknadsföringsverktyg för att det tillåter att kunna interagera med målgrupp och sprida ettföretags information.Tidigare exempel på transmedialt berättande appliceras i huvudsak på större företag ochproduktioner. Syftet med studien är därför att utforska transmedialt berättande sommarknadsföringsverktyg för mindre verksamheter. Detta sker genom att praktiskt utforma enkampanj tillsammans med STPLN där STPLN står som exempel för hur detta kan appliceras påen mindre verksamhet.Studien har använt sig av två kvalitativa metoder - deltagande design ochfokusgruppsintervjuer. Deltagande design är studiens primära datainsamlingsmetod och haranvänts för att låta STPLN vara en del av arbetsprocessen då dessa besitter kunskap som är avvärde för utformningen av kampanjen. Utformningsarbetet har genomförts med hjälp av bådaparternas expertis, STPLN och författarna till studien. Fokusgrupperna med berörd målgrupputvärderade det praktiska arbetet.Resultatet av studien visar på att den transmedialt berättande kampanjen för STPLN börutformas utifrån aktivt deltagande, kollektiv intelligens, interaktion och platsspecifiktberättande. Detta kan i sin tur generera spridning i och med att det tillåter användaren att varaden indirekta marknadsföraren för kampanjen. / Today it is difficult for companies to engage the audience due to the content that is constantlybeing published. Transmedia storytelling allows the user to interact with the content and to passit through. The concept has become an effective marketing tool to interact with the target groupand to spread a companys’ information.Previous examples of transmedia storytelling are mainly applied on enterprises and largeproductions. Thus, the purpose is to explore transmedia storytelling as a marketing tool forsmaller organizations. It happens by practically designing a campaign together with STPLNwhere STPLN stand as an example of how it can be applied to a smaller organization.The thesis has used two qualitative methods - participatory design and focus groups.Participatory design is the primary method and has been used to include STPLN in the processdue to their knowledge which is of value for the campaign. The practical work has beenimplemented by the expertise from both parties, the organization and the authors of the thesis.The target group then evaluated the practical work through two focus groups.The result indicates that the transmedia storytelling campaign for STPLN should be designedbased on the aspects of active participation, collective intelligence, interaction and site specificstorytelling. Subsequently this may generate in spreadability of the campaign since it allows theuser to be its indirect marketer.

This thesis seeks to respond to the existing dearth of work on practical matters of intersemiotic translation in translation studies thus far by turning to other disciplines that have explored comparable phenomena in greater depth. In particular, in the current atmosphere of media convergence and transmedia production, characterized by the ubiquity of adaptations, remakes, spin-offs, and sequels in the entertainment industry, cross-media adaptation represents one of the most common and prominent forms of intersemiotic translation. Therefore, the various fields of inquiry related to current phenomena of intersemiotic translation, including adaptation studies, film studies, fan studies, and media studies in general, offer relevant and informative models for expanding our understanding of success in intersemiotic translation. The methodology employed involves an interdisciplinary descriptive approach, using examples of cross-media adaptation found in the works of one successful intersemiotic translator, Joss Whedon. Acknowledging the contextually contingent nature of any such case study, the findings of this thesis identify all three participants in cultural production—form, producer, and audience—as active contributors in the successful production and perpetuation of intersemiotic translations. In particular, this thesis explores possible causes of success in relation to specific cross-media adaptations, proposes attributes of the successful intersemiotic translator, and examines how the reiterative behaviors of active audiences, such as rereading, reinterpretation, and rewriting, help to extend a work’s success. The capacity to inspire a continuing tradition of translation is itself a key contributing factor to the success of an intersemiotic translation and is most often performed with the collaboration of a community of interpreters. Achieving success is therefore a collective endeavor and a continual process of sustaining a work’s presence in the collective consciousness by renewing its value across temporal, cultural, and semiotic systems. Based on these findings, notions of form, production, and reception in intersemiotic translation are understood by proposing a model of convergent translation, the notion of the auteur-translator, and a collaborative understanding of the construction of a text and its significance through the afterlife of translation.

Mémoire en recherche-création. / Parmi les technologies explorées dans ce mémoire, nous pouvons compter la géolocalisation, les applications sur téléphone intelligent, les réseaux sociaux et la réalité augmentée. Nous démontrerons qu’elles offrent de nombreuses fonctions qu’il est possible d’utiliser ensemble pour créer ensuite un récit transmédial, un récit se développant sur plusieurs plateformes. La multiplicité des formes de récits, de moyens de raconter une histoire, permet aussi d’investir un univers, fictif ou pas, autrement qu’à travers un seul écran, jeu ou livre. La géolocalisation permet aussi d’ancrer l’histoire et la participante dans un espace physique. Elle peut alors modifier notre perception d’un lieu, un parc, une rue, un immeuble en lui donnant une portée narrative. Les nouveautés apportées par ces technologies et ces façons de recevoir une histoire ont de fortes potentialités pour conscientiser l’individu sans le culpabiliser face à des enjeux qui méritent notre attention urgemment. Cela inclut l’accès restreint à l’éducation dans le pays en développement comme dans l’œuvre Conspiracy For Good ou les violences faites aux femmes abordées dans l’œuvre Priya’s Shakti de Ram Devineni. La création rattachée à ce projet de recherche se concentre sur l’écologie en passant par l’histoire de Montréal. L’objectif est de donner la parole à des arbres de Montréal qui raconteraient les métamorphoses de la ville et leur influence sur la préservation de la nature. La possibilité d’interagir avec l’œuvre semble aussi une bonne piste pour pousser le public à l’action en faveur de l’enjeu abordé tant en partageant ce qu’il aura appris avec une communauté de joueurs ou en suivant les conseils donnés implicitement par l’œuvre. / Among the technologies developed in this dissertation, we will address geolocation, smartphone applications, social networks and augmented reality. The functionalities of all these digital tools can be assembled to create a transmedia narrative, a story developing on multiple platforms. The multiple kinds of narratives also allow to invest a fictional or non-fictional universe differently from only one screen, game or book. As for the geolocation, it roots the story and the spectator in a concrete physical space. Then, it can modify our perception of a place, a park, a street, a building giving it a narrative power. The functionalities brought on by these technologies and the new ways to access a story have a strong potential for raising awareness of contemporary issues without making the participant feel guilty. Some examples of issues addressed in these new kinds of narrative might be the restricted access to education in developing countries as seen in Conspiration For Good or sexist and gendered violence toward women as is the case in Ram Devineni’s Priya’s Shakti. The creation attached to this research project focuses on ecology throughout Montreal’s history. The aim is to give Montreal’s trees a voice, to let them tell us about the city’s metamorphosis and its influence on the preservation of nature. The possibility of interacting with the work also seems to be a good way of getting the audience to act in favor of the issue at hand, either by sharing what they have learned with a community of players or by following the advice implicitly given by the work.

The world wide web has gone through several distinct eras since its launch in 1989, going through the eras Web 1.0, Web 2.0, and Web 3.0. There is an upcoming era, Web 4.0, where the web will become seamlessly integrated with people's everyday life. However, creating consumer engagement across platforms has already been recognized as challenging in Web 3.0 (Dolan et al., 2016). A type of storytelling, known for creating engagement is transmedia storytelling (TS). TS is a technique of telling one single story across multiple platforms, and when enjoyed together becomes a full experience. There is limited research conducted on the relationship between TS and the web, which became the problem of this study. The purpose of this study is to explorethe research gap and it was fulfilled by asking two research questions. The first oneestablished an understanding about the relationship between TS and Web 2.0 and 3.0, tounderstand how TS evolves and adapts to the web. Based on the built foundation, the second question aimed to explore the possibilities of TS and Web 4.0, and how they could benefit from each other and grow together. To answer our research questions this paper utilised the method of a multiple-case study that examines two cases, one in Web 2.0, and one in Web 3.0. The data was manually collected, traced and broken down into instances using reverse engineering. To analyse the data, it was rebuilt with visual mapping to understand the connections, and lastly compared to the web characteristics and TS principles. Concluding the findings and analysis, it can be established that TS evolves alongside the web, utilising and adapting to the new characteristics. In Web 2.0, TS relied heavily on offline sources such as DVD’s and TV, while in Web 3.0, it existed solely online. The participatory activity also grew from Web 2.0 to 3.0, where the users were an active part of the campaign evolving in Web 3.0. TS manages to create engagement across platforms, and benefits from new technical innovations. After the individual case reports, and cross-case analysis, it could be concluded that TS has good chances of continuing to adapt in the rise of Web 4.0. This study explored the research gap further, offering valuable insight onthe topic and opening for various further research possibilities, where TS and web cancontinue being investigated.

For my thesis project for the Masters of Fine Art in Film and Digital Media, I designed and produced Evelyn Offscreen, an alternate reality game (ARG) that was facilitated by interactive performance. The goal was to create an interactive experience that allowed several players to collaboratively create story across numerous media within the field of alternate reality gaming. The approach used in Evelyn Offscreen was intended to provide a degree of creative freedom to the players that has not been demonstrated in other ARG experiences and to use digital media to capture information about the relative effectiveness of the different techniques that were employed. During the month of October 2009, Evelyn Offscreen invited players to participate in an overarching story as characters. The game existed simultaneously through several media platforms such as Ning, twitter, and blogger as well as scenes located in Central Florida where players could embody their character in a real world setting. The results revealed insights into techniques for massive collaboration of story and player reactions to this hybrid form of alternate reality gaming and interactive performance.