Adaptation in the Age of Media Convergence

This collection considers new phenomena emerging in a convergence environment from the perspective of adaptation studies. The contributions take the most prominent methods within the field to offer reconsiderations of theoretical concepts and practices in participatory culture, transmedia franchises, and new media adaptations. The authors discuss phenomena ranging from mash-ups of novels and YouTube cover songs to negotiations of authorial control and interpretative authority between media producers and fan communities to perspectives on the fictional and legal framework of brands and franchises. In this fashion, the collection expands the horizons of both adaptation and transmedia studies and provides reassessments of frequently discussed (BBC’s Sherlock or the LEGO franchise) and previously largely ignored phenomena (self-censorship in transnational franchises, mash-up novels, or YouTube cover videos)

Adaptation in the Age of Media Convergence

This collection considers new phenomena emerging in a convergence environment from the perspective of adaptation studies. The contributions take the most prominent methods within the field to offer reconsiderations of theoretical concepts and practices in participatory culture, transmedia franchises, and new media adaptations. The authors discuss phenomena ranging from mash-ups of novels and YouTube cover songs to negotiations of authorial control and interpretative authority between media producers and fan communities to perspectives on the fictional and legal framework of brands and franchises. In this fashion, the collection expands the horizons of both adaptation and transmedia studies and provides reassessments of frequently discussed (BBC’s Sherlock or the LEGO franchise) and previously largely ignored phenomena (self-censorship in transnational franchises, mash-up novels, or YouTube cover videos)

Tangible user interfaces : past, present and future directions

In the last two decades, Tangible User Interfaces (TUIs) have emerged as a new interface type that interlinks the digital and physical worlds. Drawing upon users' knowledge and skills of interaction with the real non-digital world, TUIs show a potential to enhance the way in which people interact with and leverage digital information. However, TUI research is still in its infancy and extensive research is required in or- der to fully understand the implications of tangible user interfaces, to develop technologies that further bridge the digital and the physical, and to guide TUI design with empirical knowledge. This paper examines the existing body of work on Tangible User In- terfaces. We start by sketching the history of tangible user interfaces, examining the intellectual origins of this field. We then present TUIs in a broader context, survey application domains, and review frame- works and taxonomies. We also discuss conceptual foundations of TUIs including perspectives from cognitive sciences, phycology, and philoso- phy. Methods and technologies for designing, building, and evaluating TUIs are also addressed. Finally, we discuss the strengths and limita- tions of TUIs and chart directions for future research

Makerspace Models and Organizational Policies for Technological Inclusion

In the early part of the 21st Century, discourses about the “Creative Economy” rose to prominence resulting in educational, economic, and policy initiatives supporting what became known generically as “makerspaces.” As interdisciplinary sites where arts, technology, design, and entrepreneurship meet, makerspaces were heralded as transformational organizational models for learning and innovation. This dissertation explores the social arrangements opened and foreclosed by makerspaces through ethnographic case studies of how different institutions introduced and adapted makerspace models from 2013-2019. Using a communicative ecology approach (Foth & Hearn, 2007), this study interrogates the structures and practices that shape participant experience of these collaborative media, technology, and design spaces, analyzes the construction of “maker literacies,” and traces the broader evolution of technology access concerns in the U.S. This study thereby contributes to the research literature on social production practices, technological literacy, and technological inequality as well as offering recommendations for similar initiatives. The Maker Movement refers to the early 2000s rise in visibility of Do-It-Yourself (DIY) “making” activities aided by the advent of publications such as Make magazine, online communities such as Instructables, in-person meetups called Maker Faires, and localized communities of practice in makerspaces. Unfortunately, many of the independent makerspaces that were opened during the height of The Maker Movement from 2011-2016 have since closed due to leadership issues, funding shortfalls, and other organizational challenges. As of 2019, libraries, universities, schools, and museums are the most common places to find makerspaces. Rather than a unique phenomenon, makerspaces are conceptualized here as an evolution and re-branding of community access points for social inclusion like that of the community technology centers (CTCs) that arose throughout the U.S. when policy concerns for “digital divides” were at their height. Examining these spaces from a communication perspective as part of a longer history of technology access initiatives reveals how emerging technologies continually reorganize activities and influence priorities for organizations with social inclusion goals. Through in-depth case studies of three makerspaces in Massachusetts with different institutional ties—a community access media center, a public library, and an economic/community development project—this study explores the contributions of makerspaces to local ecologies with special attention to how media and technological literacies are enacted in makerspace initiatives. In particular, the study documents how policies and practices shape participation through questioning the impetus for creating a makerspace and what activities are recognized and valued in these spaces. The study also explores the sustainability of initiatives concerned with media and technological literacies amidst the changing terrain of digital inequality in the U.S. While political and economic transformations in the U.S. continually change access initiative priorities, interrogating discourses related to digital inequality, creativity, and innovation are still important for supporting equitable community development. A fuller understanding of the promises and pitfalls of the makerspace approach will enrich our understanding of social values related to technology and may be used to inform media and technological literacy initiatives

Exploring multimodal narratives created through play and talk by children in a Reception Class: the stories children imagine

This study looks at the narratives young children create and, using Propp's narrative theory, investigates their structure. The study considers how children create and tell these stories and with what content. It addresses the multimodal approaches children employ to generate and share stories, and the use of collaborative talk in the development of narrative. This teacher-researcher study is a small-scale ethnographic case study of Reception children in a small city independent school, conducted predominantly during the Covid-19 lockdown period. Data were obtained through observation, record keeping and conversations with the children. This study centred around a small group of children and the stories they created independently and collaboratively. All passionate storytellers, they were keen to weave, elaborate and imaginative stories using a plethora of modes, sometimes telling them to themselves, other times to an audience. This research found that children can adopt a range of techniques that work alongside the verbalised story, from image to role-play, all of which work together to help tell the complex and imaginative stories children are able to produce. Applying Propp’s theory offered some understanding of the content of the stories created and showed that narratives created by children frequently follow the structure he proposed. Through the analysis of these narratives, it was clear that many of Propp’s narrative elements were evident in the stories transcribed here. It became apparent, however, that Propp’s theory did not allow for understanding or recognition of the multimodal approaches that the children applied to the telling and creating of their stories: Propp only explained part of the story. For these children, creating a drawing alongside, using props or acting out their stories were part of the process of creating a story and held as much importance to the children as the narrative itself

A theory of the transmedia franchise character

In contemporary media landscapes characterised by technological, industrial, and cultural convergence, transmedia fictional practice, that is, the generation of multiple texts, products and experiences across multiple media outlets cohered by a common narrative reality, cast of characters, or entertainment brand, is in the ascendancy. This thesis begins from the observation that although transmedia practice is coterminously beginning to receive more and more critical attention, there remains much work to be done theorising the “total entertainment” experiences (Grainge, 2008: 11) it produces in fictional terms. It identifies a particular need for further critical investigation of how transmedia fictional practice interacts with the design, development, and representation of character. It takes as its fundamental starting principle the assumption that transmediality can be defined and operationalised as a particular modality of fiction, producing particular orientations and operations of meaning and representation, and that the trans-textual, trans-medial extension of a fiction can be identified and delineated as a fictional practice. In dialogue with existing critical work organised by the concept of transmedia storytelling, and industrial discourses and practices of cross-platform production, I conceptualise and define the object of study of this thesis as the practice of transmedia franchising, of which transmedia storytelling is positioned as a sub-genre. The thesis comprises an original theory of the transmedia franchise character as a fictional object, situated in a poetics of transmedia franchising as a fictional practice. It proposes conceptual tools, theoretical frameworks, and critical positions for understanding and analysing the processes of meaning and representation that build up a picture of a character as it is franchised across texts and media, and how they are shaped and influenced by key contextual factors. The six chapters map six core features of the transmedia franchise character as a fictional object, each then providing a granular elaboration of some of the formal, operational, functional, and critical implications of these features. Chapter One engages the problem of the instability of “the text” as critical concept and material artefact relative to transmedia franchise fiction; Chapter Two theorises the franchise character as extensible, designed to anticipate, sustain and generate serial development and representation across multiple texts; Chapter Three presents transmedia franchising as an art of multiplicity, and explores how it builds up a picture of character through setting in play dialogues between rewrites, reimaginings, and alternate versions; Chapter Four focuses on the multimediality of the franchise character specifically; Chapter Five discusses how paratextual material interpolates into and contributes to the actualisation of the franchise character; and Chapter Six explores the franchise character as site and technology of participation, interactivity, and immersion in the franchise world

Specialised Languages and Multimedia. Linguistic and Cross-cultural Issues

none2noThis book collects academic works focusing on scientific and technical discourse and on the ways in which this type of discourse appears in or is shaped by multimedia products. The originality of this book is to be seen in the variety of approaches used and of the specialised languages investigated in relation to multimodal and multimedia genres. Contributions will particularly focus on new multimodal or multimedia forms of specialised discourse (in institutional, academic, technical, scientific, social or popular settings), linguistic features of specialised discourse in multimodal or multimedia genres, the popularisation of specialised knowledge in multimodal or multimedia genres, the impact of multimodality and multimediality on the construction of scientific and technical discourse, the impact of multimodality/multimediality in the practice and teaching of language, the impact of multimodality/multimediality in the practice and teaching of translation, new multimedia modes of knowledge dissemination, the translation/adaptation of scientific discourse in multimedia products. This volume contributes to the theory and practice of multimodal studies and translation, with a specific focus on specialized discourse.Rivista di Classe A - Volume specialeopenManca E., Bianchi F.Manca, E.; Bianchi, F

Harnessing Hollywood Hype: Film Marketing Meets the Challenges and Opportunities of the 21st Century

Marketing is a vital commercial activity and source of competitive advantage within the Hollywood film industry, serving to create, circulate and translate symbolic meaning around a film and its ancillary products, construct and target key audience segments, guide audience expectations and viewing choices, and mitigate financial risk. Marketers thus play an increasingly central role in all stages of the filmmaking process. To examine the often overlooked structures and practices of Hollywood’s marketing arm, this study adopts a media industry studies approach, employing interviews, fieldwork, and textual analysis to explore the social, technological, organizational, economic, and spatial forces that shape the contemporary context of Hollywood marketing materials’ creation. In the early 21st century, Hollywood studios face profound challenges and opportunities wrought by the dual forces of globalization and digitization. In response, marketers have developed a novel view of their audience: as increasingly global and empowered. Globalization and digitization are thus treated as centrifugal forces, diffusing production and meaning-making capabilities across geographic space and media platforms, and threatening the centralized control traditionally held by Hollywood studios. Marketers are incentivized to embrace these decentralizing forces and the cultural labor now provided by third party marketing agencies, international distributors, and audiences. However, Hollywood studios’ institutional inertia, risk aversion, and inclination to maintain firm control of their marketing messages and intellectual property preclude a whole-hearted embrace of these changes. Studio marketers thus act with deep ambivalence toward these outside players, attempting to capitalize on their cultural labor while simultaneously acting to circumscribe their power

Playful Materialities

Game culture and material culture have always been closely linked. Analog forms of rule-based play (ludus) would hardly be conceivable without dice, cards, and game boards. In the act of free play (paidia), children as well as adults transform simple objects into multifaceted toys in an almost magical way. Even digital play is suffused with material culture: Games are not only mediated by technical interfaces, which we access via hardware and tangible peripherals. They are also subject to material hybridization, paratextual framing, and processes of de-, and re-materialization