Spreadable Media: Creating Value and Meaning in a Networked Culture. Henry Jenkins, Sam Ford, and Joshua Green. New York: New York University Press, 2013. 352 pp. $29.95 cloth.

A landing gear (10), including an elongate axle (16a) pivotally (18) connected to a bogie beam (14), the landing gear further including a locking device (30) for locking the axle at a substantially fixed orientation with respect to the bogie beam, the locking device including first and second barrier arms (32c, 34c) that are movable between a first configuration, in which they define a barrier so as to maintain the axle in the substantially fixed orientation with respect to the bogie beam, and a second configuration, in which the axle may pivot about the bogie beam.

A landing gear

Why the Book and the Internet Will Merge (Hugh McGuire)

For creative writers, transmedia storytelling represents the opportunity to craft stories across a diverse narrative ecology often made up of print and digital elements. Increasingly, this requires writers to move beyond linguistic narrative renderings, and embrace the semiotic affordances and limitations of numerous media. While contemporary research highlights the importance of multimodality as a facet of transmedia storytelling, little research has focussed on the ways creative writers might approach such an undertaking. This paper examines several transmedia texts characterised by the role multimodality plays in establishing a narrative that, while dispersed across media, maintains narrative cohesion despite the different modal capacities of the media used. Through considering the factors required in continuing narrative consonance, including character and representation, the paper examines iterative multimodality as a framework for understanding how creative writers leverage narrative modes and interaction within and across media.

/pdf/iterative-multimodality-an-exploration-of-approaches-to-19vaero4hh.pdf

Iterative multimodality: An exploration of approaches to transmedia writing

In this chapter, Graves considers the lasting cultural influence of Joss Whedon’s Buffy the Vampire Slayer through the lens of textual genealogy, tracing contemporary intertextual and metatextual references to the show that situate BtVS as an enduring parent text. In particular, the chapter focuses on the close genealogical ties between BtVS and the long-running Supernatural, which strongly features not only a generic debt and a narrative structure that is directly influenced by BtVS, but also contains both a deep intertext with and myriad references to the Buffyverse. Additionally, an exploration of Supernatural’s extra- and paradiegetic expansions clearly situates Supernatural as a direct paratextual and transmedial analogue to Whedon’s show, further illustrating BtVS’s lasting significance.

The Transtextual Road Trip: Buffy the Vampire Slayer, Supernatural, and Televisual Forebears

Over the last decade, the traction gained by transmedia storytelling (TS) in increasingly varied academic disciplines, and in the practice of storytellers, has led to a rupturing of the boundaries between discursive territories and narrative practices. The rupturing force, as it were, can be seen as the influence of emerging networked technologies, and the widening gyre of convergence culture on the practice of storytelling, and the resulting attempts to understand the critical value of works experimenting in this space. In the absence of a robust framework that accounts for interdisciplinary, intersecting, and experimental practices that are often mobilised in TS works, this paper asserts that TS is best understood as a philosophical lens through which the nexus of text and technology, narrative and network, might be mediated, pulling into focus the liminality at intersecting storytelling practices and the networks which allow the telling to occur. The practice of creative writing, in particular,...

Between the network and the narrative: transmedia storytelling as a philosophical lens for creative writers

Over the last decade, the traction gained by transmedia storytelling (TS) in increasingly varied academic disciplines, and in the practice of storytellers, has led to a rupturing of the boundaries between discursive territories and narrative practices. The rupturing force, as it were, can be seen as the influence of emerging networked technologies, and the widening gyre of convergence culture on the practice of storytelling, and the resulting attempts to understand the critical value of works experimenting in this space. In the absence of a robust framework that accounts for interdisciplinary, intersecting, and experimental practices that are often mobilised in TS works, this paper asserts that TS is best understood as a philosophical lens through which the nexus of text and technology, narrative and network, might be mediated, pulling into focus the liminality at intersecting storytelling practices and the networks which allow the telling to occur. The practice of creative writing, in particular, benefits from this framing, as it encourages innovation in a field where interest in large scale film and television properties overshadow much of the significant work being conducted by creative writers.

Between the network and the narrative: Transmedia storytelling as a philosophical lens for creative writers

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Between the network and the narrative: transmedia storytelling as a philosophical lens for creative writers

Between the network and the narrative: Transmedia storytelling as a philosophical lens for creative writers

Iterative multimodality: An exploration of approaches to transmedia writing