Transmedia är ett brett ämne. Den här textanalysen undersöker designen av nio olika versioner av Alice i Underlandet med hjälp av kvalitativ data, med fokus på hur transmedial karaktärsdesign utvecklats historiskt och över olika former av media, samt om det går att utröna vilka karaktärsdrag som ändras mest/minst mellan de olika adaptionerna. Varje version av Alice gås noggrant igenom och analyseras jämte med originaltexten samt de andra adaptionerna, och gemensamma egenskaper som nyfikenhet, envishet och impulsivitet identifieras. Den här textanalysen bidrar till att fylla en lucka i forskningen om att bättre förstå transmedial karaktärsdesign och dess utveckling. Framtida arbeten som kan var intressant att fortsätta med är att göra en mer socialt och samhälleligt komplex analys som har fokus på etnicitet, genus samt social/ekonomisk klass, något som den här analysen inte inkluderar. / <p>Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.</p>

Online fandoms are capable of various feats; from influencing the TV shows they watch to funding half-baked convention scams, Tumblr fandoms in particular are infamous across the internet. Their chaotic and intense nature simultaneously leads to intense bouts of creative activity, pumping hundreds of thousands of fan works into the Tumblr ecosystem every year. In November of 2022, the Tumblr community collectively invented a fake Martin Scorsese movie named Goncharov, creating massing amounts of fanart, fanfiction, memes, and posts for a “lost piece of media” that never actually existed. While existing studies have focused on the construction of identity through Tumblr fan communities, or the experiences of LGBTQ social media users on Tumblr, there is little to no research on individual fandom events that affect Tumblr as an entire community. In turn, this study aims to answer the following questions: 1) “How did Goncharov fans collaboratively tell and maintain a cohesive story through the production of transmedia Tumblr posts?” 296 transmedia posts produced by the Goncharov fandom were analyzed by a framework developed around an adapted approach to Critical Discourse Analysis (CDA). Additional theories were incorporated into later analysis, including discussion of transmedial storyworlds, narrative transportation, and collaborative storytelling. The results suggested that the Goncharov fandom was more committed to providing context about its invented nature, rather than committing to a strong sense of immersion. Furthermore, its posts resulted in cases of accidental narrative transportation while simultaneously lacking character and story consistency.

This master thesis aims to identify the production processes within the contemporary creative industries, and in particular one field of culture and media production called transmedia. This thesis focuses on one particular aspect of transmedia – interactivity and participation. The questions that are investigated are: How does transmedia producers use interactivity? Does transmedia and interactivity change the production conditions for producers, and if so, how and why? The aim of this thesis is to get an understanding of the working conditions within the context of transmedia for producers and in extension for the consumers. Through this, the intention is also to create a better understanding of the role of transmedia within the contemporary creative industries.The methods used to examine this are based on qualitative research interviews with six transmedia producers and participatory observations of the documentary film project Ghost Rockets. By using a theoretical framework based on interactivity, participation, Marxist theories and Critical Theory this thesis comes to the conclusion that transmedia producers strive for interactivity but that full interactivity rarely is achieved. The use ofinteractivity and transmedia also leads to changing working conditions for both producers and consumers. These changes include a blurring of the roles of producers and consumers and that both producers and consumers are working for free.

Denna uppsats undersöker samarbetet mellan varumärkena Wrexham AFC, Ryan Reynolds, Rob McElhenney, Disneykoncernen, FX och TikTok i TV-serien Välkommen till Wrexham. Målet är att analysera hur varumärkessamarbetet bland de olika varumärkena integreras i narrativet utan att påverka tittaren negativt. Genom att tillämpa Robert Plutchiks teorier om emotioner analyseras strategierna som TV-serien använder för att sammankoppla de olika varumärkena i narrativet för att rättfärdiga varumärkeskollaborationerna. Vidare granskas hur TV-serien använder transmediala berättarmöjligheter genom samarbetet med huvudsponsorn TikTok. Analysen visar att integrationen av TikTok som plattform, för att vidga Wrexham AFC:s narrativ, tar vara på många men inte alla av Henry Jenkins principer för transmedialt berättande. TV-serien använder därtill ett tydligt emotionsbaserat berättande samt Reynolds och McElhenney för att överbrygga potentiella konflikter mellan de involverade varumärkenas värderingar. Reynolds och McElhenney mänskliga och kommersiella varumärken tillåter även TV-serien att använda en mer Hollywood-inspirerad stil trots det dokumentära formatet, vilket kan bidra till att den integrerade reklamen accepteras. Studien kan därmed bidra till en fördjupad förståelse för hur varumärken och produktionsbolag kan samarbeta för lyckade TV-produktioner med varumärkeskollaborationer.

The objective of this research is to investigate how transmedia storytelling (TS) can impact the reading proficiency of ESL students. The declining reading comprehension levels among 15-yearold students in Sweden has raised concerns, which is a trend observed in many other countries. This study explores whether TS can be an effective approach to support language development for reading comprehension during this critical stage of education. The research was conducted in two phases, using qualitative mixed methods. In Phase 1, sixteen ESL teachers from eight countries completed questionnaires, and in Phase 2, five ESL teachers in Sweden were interviewed. Both phases aimed to understand the challenges faced by teachers in teaching reading, the strategies they use to address these issues, and their use of multimedia tools. The study also investigates whether TS can improve reading comprehension and if ESL teachers are aware of this strategy. The study findings demonstrate that ESL teachers encounter various difficulties, such as managing diverse classroom dynamics, finding suitable reading materials for students with different comprehension levels, and motivating disinterested students. Teachers are using multimedia tools, including creative writing, film adaptations, trivia games, and role-playing to overcome these challenges. Despite their efforts, the decline in reading proficiency continues. Additionally, the research reveals that most ESL teachers are not familiar with TS as a method, but are interested in learning about its potential benefits. TS is an innovative approach that allows students to read a book and use digital tools they are familiar with to create their unique stories. Therefore, it has the potential to enhance reading comprehension and language skills among ESL students.

I processi di digitalizzazione e convergenza hanno avuto un forte impatto sulle modalità di produzione, distribuzione e fruizione dei contenuti audiovisivi. Ma tale impatto non si è limitato ai suddetti ambiti. Fenomeni come il transmedia storytelling, le narrazioni distribuite, l’intertestualità, l’ibridazione delle forme discorsive, l’integrazione di elementi di game-playing all’interno di strutture narrative tradizionalmente lineari, e la crescente rilevanza del world-building all’interno del processo creativo di una storia dimostrano che il cambio di paradigma non sta avvenendo solo a livello delle strutture economiche, produttive e comunicative, ma anche a livello narratologico. Scopo di questa ricerca è mappare tale cambio di paradigma, approfondendo in modo particolare l’emergere delle forme narrative transmediali. / The processes of digitalization and media convergence have had a major impact on the procedures of production, distribution and reception of audiovisual content. However, the impact has not been limited to those areas. The emergence of cultural phenomena such as transmedia storytelling, distributed narratives, intertextuality, the hybridization of forms of discourse, the integration of elements of game-playing within the traditionally linear narrative structures, and the growing importance of world-building within the story development process attest that the paradigm shift is not only occurring at an economical, industrial and communicational level, but also at a narratological one. The aim of this research is to map this paradigm shift, with particular focus on the emergence of transmedia narrative forms.

La siguiente investigación tiene como objetivo analizar el uso de los elementos narrativos a través de los programas de los famosos podcasts peruanos Moloko y Sin Paltas, y las estrategias discursivas que lleva a los podcat al éxito en las plataformas digitales y streaming, las cuales han sido un escenario fundamental para su desarrollo. Para llevar a cabo esta investigación se van a presentar e identificar qué estrategias narrativas son las más utilizadas en los podcasts, comparando estrategias de comunicación y elementos narrativos en los podcasts elegidos. Luego se identificarán las diferencias que existen en el discurso narrativo de Moloko podcast y Sin Paltas podcast, para así explicar la interacción y la relación con sus seguidores y oyentes. Para el desarrollo de esta investigación se utilizará el método cualitativo, aplicando un paradigma de investigación de carácter interpretativo y naturalista, en base a la recolección y análisis de datos obtenidos a través de la audición de los podcasts emitidos en situaciones y fechas trascendentes. Los resultados de esta investigación indican que los podcasts son una nueva forma de comunicación cómo desarrollo de la era digital. Los podcasts se han convertido en una herramienta versátil, libre de parámetros estipulados, donde sus elementos y el discurso narrativo, dejan de lado a las grandes cadenas de comunicación, para apostar por los medios de comunicación independientes. / The following research aims to analyze the use of narrative elements through the programs of the famous Peruvian podcasts Moloko and Sin Paltas, and the discursive strategies that lead the podcasts to success in digital and streaming platforms, which have been a fundamental scenario for their development. To carry out this research, we will present and identify which narrative strategies are the most used in podcasts, comparing communication strategies and narrative elements in the chosen podcasts. Then, the differences that exist in the narrative discourse of Moloko podcast and Sin Paltas podcast will be identified, in order to explain the interaction and relationship with their followers and listeners. For the development of this research, the qualitative method will be used, applying an interpretative and naturalistic research paradigm, based on the collection and analysis of data obtained through the listening of podcasts broadcasted in transcendent situations and dates. The results of this research indicate that podcasts are a new form of communication as a development of the digital era. Podcasts have become a versatile tool, free of stipulated parameters, where its elements and narrative discourse, leave aside the big communication chains, to bet on independent media. / Trabajo de investigación

We are currently witnessing the transformation of media landscape since transmedia contents affect the strategy of distributors, producers, and television broadcasters. This new phenomenon has multidisciplinary overlap, so we encounter with different interpretations and terminology in this discourse. The master thesis Transformation of distribution of audiovisual content in transmedia context has two main objectives. Its primary aim is to unify the basic terminology for media, audiovisual, and distribution discourse based on academic literature. The secondary aim is to explore the strategies of 3 largest domestic terrestrial TV broadcasters through formal analysis. The practical part is divided in 2 sections. The first one is focused on how TV stations have implemented transmedia extensions in the context of audience immersion and broadcasters branding in their distribution strategies. The second examines whether there is true transmedia content for original shows and storyworlds in their production. It is just a matter of time before these changes in distribution strategies will affect TV broadcasters. Transmedia extentions are associated with a creative process since ancient times but we could not realize their existence. Keywords transmedia, crossmedia, transmedia storytelling, convergence,...

Actualmente vivimos en una época globalizada, en donde los usuarios han cambiado la manera de relacionarse con el contenido que se presenta en las plataformas. Por este motivo, los medios tradicionales han evolucionado para hacer frente a las nuevas necesidades del público, creando contenidos transmedia. Es por ello que el presente trabajo analiza el rol del documental interactivo Proyecto Quipu como un agente de transformación social. El objetivo de esta investigación es poder analizar cómo se desarrolló el documental interactivo Proyecto Quipu y si este logró crear una comunidad participativa en el mundo virtual para generar un cambio positivo en la sociedad. Para poder cumplir con lo planteado es necesario realizar un estudio cualitativo, ya que esta investigación se basa en la percepción de los usuarios. Las técnicas de producción de datos a utilizar serán el análisis de contenido y un estudio etnográfico. Esta investigación busca analizar la creación de contenido interactivo con un trasfondo social y que este pueda generar cambios dentro de la sociedad. Como resultado de la investigación, se hallaron algunas posibles variables que se deben tener en cuenta para llegar a formar una comunidad virtual que cumpla objetivos de transformación social. / Nowadays we live in a globalized era, where users have changed the way they relate to the content presented on platforms. For this reason, traditional media have evolved to meet the new needs of the public, creating transmedia content. This paper analyzes the role of the interactive documentary Quipu Project as an agent of social transformation. The objective of this research is to analyze how the interactive documentary Quipu Project was developed and if it succeeded to create a participatory community in the virtual world to generate positive change in society. In order to achieve the stated, it is necessary to carry out a qualitative study, since this research is based on the perception of the users. The data production techniques to be used will be content analysis and an ethnographic study. This research seeks to analyze the creation of interactive content with a social background and that it can generate changes within society. As a result of the research, some possible variables were found that must be taken into account in order to form a virtual community that achieves the objectives of social transformation. / Trabajo de investigación

Le jeu sérieux semble une piste pertinente pour ouvrir le musée à un jeune public et fournir une présentation originale des œuvres, tirant partie des possibilités des outils numériques. Des propositions existent déjà mais, à ma connaissance, sans réflexion globale sur la nature et les objectifs de ces jeux : quel type de jeu construire pour les musées ? Quelles expériences sont recherchées par les visiteurs joueurs ? Comment leur procurer à la fois une expérience satisfaisante de jeu et de visite ?L'étude que j'ai menée ici, à partir de l'analyse de travaux des projets de médiation numérique auxquels j'ai participé, d'études académiques sur les jeux sérieux et l'expérience des visiteurs et des joueurs et de mon expérience professionnelle dans le domaine de la médiation et du développement informatique, apporte des réponses à ces différentes questions. Elle propose la notion de "jeu de visite", adapté à un public plus différencié et en conçoit une modélisation autour de la notion de "mission adaptable". Elle permet une modification dynamique des constituants du jeu et de son contexte d'exécution, en fonction de l'expérience recherchée par et pour le visiteur joueur. / Serious games seem a relevant proposition for a more open offer for young audience and a more creative works' presentations taking advantages of the opportunities of digital technologies. Such proposition already exist but, as far as I know, what they should be exactly has never been studied. What kind of games are the more appropriate for museums ? Which experiences do gaming visitors expect ? How to manage their satisfaction about their visit and about playing a real game ? These are the questions this PhD thesis contribute to answer.I based my reflection and my proposals on the analyse of projects devoted to cultural mediation in which I participated, on the research studies about serious games, visitors and gamers experience and on my professional background in cultural mediation and software engineering. I propose the notion of "visit game", appropriate for a more differentiated public, and build a model of this type of game around the concept of "adaptable mission". It allows to dynamically modify its components and its context of execution, depending on the experience expected by and for the gaming visitor.