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Television advertising is an important channel through which brands create equity, based on the brand associations that consumers derive from viewing television advertisements (TV ads). This study examines how these associations' effect on brand authenticity may depend on how brand-related information is received through multiple media channels. The entity-referent correspondence framework conceptualises brand authenticity along three dimensions of truthfulness. Based on a national panel involving food brands, this study indicates that TV ad-related brand associations strongly influence brand authenticity, depending on consumer social brand engagement and brand scandal awareness. In turn, brand authenticity reinforces brand equity by improving brand clarity and uniqueness. Our findings provide insights to assist advertisers design TV advertising campaigns that create authentic brands. [ABSTRACT FROM AUTHOR]

The study examines the convergence of virtual reality (VR), metaverses and immersive advertising (IP), employing discourse analysis, case studies and a documentary review to generate a taxonomy. It elucidates the role of Information and Communication Technologies (ICTs) in advertising today, with a particular focus on metaverses. It also highlights how new generations are adopting immersive narratives and how transmedia advertising and advertainment are effective. It is proposed that IP can enhance transmedia strategies, with particular emphasis on the immersion afforded by VR, the sociability of metaverses, and the advantages of engagement and personalisation. However, technical obstacles such as ergonomics and market fragmentation are also identified [ABSTRACT FROM AUTHOR]

Various studies have analysed the news media's participation in debates generated in the public digital sphere represented by social media, particularly X (formerly Twitter) and Instagram. Some of these debates have gained strength and become authentic movements linked to certain social struggles, such as feminism. Similarly, the so-called 'environmental hashtivism' or 'eco-hashtivism' is acquiring increasing importance in the context of this digital sphere. In view of this, the focus of this article is the distinctive area of public radio and television channels in Europe to examine the transmedia action #EKIN_klima, developed by the Basque public audiovisual corporation Euskal Irrati Telebista (EITB). The study of this pioneering initiative allows us to understand just how the eco-activism actions of the public news media can help to reposition it within the hybrid media system and contribute to the modernisation of its social function, along the lines of other actions, such as those carried out by the BBC against disinformation. In this way, it has been noted that the environmental issue is not only something to be included in the news media agenda, but also an opportunity for the public news media to legitimise its social and innovative character through transmedia branding actions. [ABSTRACT FROM AUTHOR]

The concept of transmediation might be one of the most influential intellectual tools for studying, discussing and fostering innovative phenomena across fields of study. One could argue that the term itself is self-explanatory. Etymologically, it suggests a transition (to go across) between different media but the concept of transmediation has been shaped both by the somewhat historically lax definition of media and the disciplines that have adopted the term. And while the looseness of media gives transmediation a potential for interdisciplinarity, the siloed nature of academic disciplines could have, at the same time, hindered such potential. In this paper, we introduce a framework for transmediation based on an analysis of the use and evolution of the concept and our own explorations over the last few years. This framework aims to provide a common language and a set of conceptual prompts to explore the notion of transmediation further. [ABSTRACT FROM AUTHOR]

The Wizard of Oz (1939) is one of the most often referenced, if not the most often referenced, text within US popular culture. The MGM classic starring Judy Garland has largely eclipsed L. Frank Baum's vast universe of Oz and original book, as the songs ("Somewhere Over the Rainbow"), phrases ("We're not in Kansas anymore"), and visual iconography (ruby slippers) of the film are regularly alluded to – and have taken on a life of their own. This not only raises The Wizard of Oz to mythic status, but it also allows for these references to serve as signifiers immediately understandable to a US-American audience, in what can be called "palimpsestic transmediality," building on the theories of Gérard Genette, Marie-Laure Ryan, and Henry Jenkins. To illustrate this phenomenon, the article provides a close reading of the Apple TV+ series Ted Lasso (2020–23), where The Wizard of Oz is used to illustrate the titular protagonist's journey of personal growth, and thus connects it to a televisual fantastic. [ABSTRACT FROM AUTHOR]

The present article proposes to analyze the transmedia capacity of VTubers, content creators, independent or under agencies, who interact with the audience via a virtual 2D or 3D avatar generated by computer graphics and controlled by human movement capture. For the course of this work, through the perspective of a marketing strategy composed of collective construction, the analysis found an opportunity to prove that, through the use of moe sentiments, kawaii aesthetics, and incentives towards the participative culture of other social actors, VTubers have the ability to expand their media market beyond that of their original live streams in media platforms. To prove such a hypothesis, case studies of the current portfolio of cultural products from Hololive, one of the biggest international VTuber agencies, and of the consumer/fan productions of these content creators under the Hololive brand were promoted. Other than proving the initial hypothesis, the results show that the agency’s interface with the consumers/fans, constructed via providing infrastructural and financial incentives by the company, takes it to promising corporate results, indicative that such actions represent the birth of a new transmedia perspective.

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Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuaderno de Pedagogia Universitaria is the property of Pontificia Universidad Catolica Madre y Maestra and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Various studies have analysed the news media’s participation in debates generated in the public digital sphere represented by social media, particularly X (formerly Twitter) and Instagram. Some of these debates have gained strength and become authentic movements linked to certain social struggles, such as feminism. Similarly, the so-called ‘environmental hashtivism’ or ‘eco-hashtivism’ is acquiring increasing importance in the context of this digital sphere. In view of this, the focus of this article is the distinctive area of public radio and television channels in Europe to examine the transmedia action #EKIN_klima, developed by the Basque public audiovisual corporation Euskal Irrati Telebista (EITB). The study of this pioneering initiative allows us to understand just how the eco-activism actions of the public news media can help to reposition it within the hybrid media system and contribute to the modernisation of its social function, along the lines of other actions, such as those carried out by the BBC against disinformation. In this way, it has been noted that the environmental issue is not only something to be included in the news media agenda, but also an opportunity for the public news media to legitimise its social and innovative character through transmedia branding actions.

The paper discusses the changes in humor that have occurred since the advent of the internet, in the past quarter of a century. The cognitive mechanisms that produce humor have not changed. However, since 2000, roughly when the Internet 2.0 (social web) is said to have started, there have been some minor changes at the level of slang, and especially the introduction of emojis, emoticons, and emotes. At the discursive level, the introduction of large group conversations (polylogues) is a major difference. Internet humor tends to be short. Probably the most significant innovation of humor since 2000 is the introduction of memes (“image macros” i.e., images plus text) and meme cycles (i.e., groups of memes that are thematically or formally related). Another interesting phenomenon is the blurring of the distinction between online satirical texts and fake media, to the point that it is sometimes hard to distinguish between parodies, actual news stories, and constructed stories (fake news). This has contributed in part to the widespread use of humor as a cover to spread white suprematist or neonazi propaganda. Another significant change is the advent of the participatory culture of social media, where the users (the audience of traditional media) become prod- users (i.e., they produce the media themselves), taking advantage of the affordances of the media. Yet another change is the blending of mirth and embarrassment, two emotions that were considered incompatible until “cringe humor” became popular in internet humor. In particular, the paper focuses on transmedial humor. Humor is found to be a transmedial constant, however the inter semiotic translation process required to transfer the text from one modality to another is found to affect in small but not indifferent ways the humor itself. _________________________________________________ Resumen Questo articolo discute i cambiamenti dall’avvento della rete (internet), a partire dal 2000. I meccanismi cognitivi dell’umorismo non sono cambiati, ma ci sono stati alcuni cambiamenti nello slang, e l’introduzione di emoji, emotes, ed emoticons. Al livello de discorso, si nota l’avvento di conversazioni tra gruppi larghi. I testi comici tendono alla brevità. La maggiore novità è stata l’avvento dei memes (“image macros”) che consistono di immagini spesso con testo sovrapposto e dei cicli di meme, cioè gruppi di meme connessi tematicamente o formalmente. Altro fenomeno interessante è la perdita di distinzioni tra le notizie fasulle (fake news) e la satira, al punto che a volte è difficile distinguere tra di loro. Questo ha contribuito parzialmente all’uso di materiale comico da parte di gruppi neonazisti e di estremisti della destra per celare e diffondere la loro propaganda. Un altro cambiamento è l’avvento della cultura participatoria su internet (social media) in cui i consumatori di media ne diventano produttori, utilizzando appieno le “affordance” dei media. Un altro cambiamento ancora è la commistione dell’allegria e dell’imbarazzo, due emozioni che erano considerate incompatibili, prima dell’avvento del “cringe humor.” L’articolo riconcentra particolarmente sulla transmedialità. Il comico è una constante transmediale, tuttavia la traduzione intersemiotica necessaria a trasferire il testo da un medium a un altro influenza in maniera minore ma non indifferente il comico stesso. Parole chiave: Transmedia ; Umorismo ; Traduzione intersemiotica ; Internet; Memes

The development of media and digital competences among the new generations is a requirement for their democratic participation in today's technological society. This article takes an approach to young people's perception of their own media competence, based on their comments on the use and sense of consumption of social media. The results of 14 focus groups (N= 83) of young people from three Spanish regions between 12 and 18 years of age are presented. Based on two theoretical models, a content analysis considering gender and age was carried out using Atlas.Ti software. The results indicate a greater presence of the Interaction dimension among girls and of Production and Dissemination among boys, and in general a familiarisation with preventive measures on safety on the networks and a review of the media diet, up to the age of 12-13. The adolescents themselves identify how, from this age onwards, the use of social networks is amplified and point out difficulties in self-management well into the university stage (18 years old). Although the participants show a high level of knowledge of social media marketing strategies and influencers' "authenticity" tactics, they recognise that they are driven by the search for entertainment and a need for approval from their peers in the digital space. Based on the results, we identify the need for further research in the period between 12-13 and 14-16 years of age in relation to the paradox between adolescents' conviction of their expertise in certain dimensions of media competence and their poorly reflective and critical consumption. [ABSTRACT FROM AUTHOR]

The development of media and digital competences among the new generations is a requirement for their democratic participation in today's technological society. This article takes an approach to young people's perception of their own media competence, based on their comments on the use and sense of consumption of social media. The results of 14 focus groups (N= 83) of young people from three Spanish regions between 12 and 18 years of age are presented. Based on two theoretical models, a content analysis considering gender and age was carried out using Atlas.Ti software. The results indicate a greater presence of the Interaction dimension among girls and of Production and Dissemination among boys, and in general a familiarisation with preventive measures on safety on the networks and a review of the media diet, up to the age of 12-13. The adolescents themselves identify how, from this age onwards, the use of social networks is amplified and point out difficulties in self-management well into the university stage (18 years old). Although the participants show a high level of knowledge of social media marketing strategies and influencers' "authenticity" tactics, they recognise that they are driven by the search for entertainment and a need for approval from their peers in the digital space. Based on the results, we identify the need for further research in the period between 12-13 and 14-16 years of age in relation to the paradox between adolescents' conviction of their expertise in certain dimensions of media competence and their poorly reflective and critical consumption. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Transmedia storytelling and social media platforms have emerged as crucial strategies for mobilizing content, cultivating followers, and addressing the challenge of diminished public engagement with museums. Conversely, the development of digital content and the extension of interaction across diverse platforms are adopted as measures to engage younger demographics and serve as educational initiatives. The potential of transmedia storytelling and social media to facilitate the dissemination of knowledge and promote societal change is highlighted through the creation of innovative content infused with scientific significance. [ABSTRACT FROM AUTHOR]

This research examines the second season of the transmedia children's series Irabazi Arte! in relation to promoting empowerment and gender equality (Sustainable Development Goal 5). Irabazi Arte!, broadcast on Basque public television (EITB), is produced entirely in Basque and its central storyline is women's football. Using a mixed methodology, it will be analysed if and how gender equality is promoted in its transmedia universe and if it has the potential to have an impact on its young audience. A quantitatively and qualitatively positive representation of SDG 5 is found. This transmedia narrative fits the characteristics of the Generation Alpha and contributes to the progress of gender equality through educommunication, promoting equality in the Generation Alpha. [ABSTRACT FROM AUTHOR]

Dans un environnement numérique caractérisé par un foisonnement de productions transmédiatiques, l'univers de Carmilla: The Webseries (Hall and Simpson 2014–2016) et de sa suite The Carmilla Movie se distingue par le phénomène culturel qu'engendre auprès des audiences queer ce remaniement de l'oeuvre classique de Sheridan Le Fanu (1872). Peu d'études s'étant penchées sur la websérie et aucune encore sur sa conclusion cinématographique, cet article propose une analyse comparative de leurs caractéristiques formelles afin de dégager les expérimentations stylistiques queers encouragées par la transmédialité et la remédiation. Si la websérie renouvèle, en recourant au numérique, les caractéristiques des débuts de la télévision comme la vie domestique, l'illusion du direct et l'accent sur les dialogues, le film retourne au fini plus léché du cinéma classique, sans toutefois tourner le dos à sa propre excessivité stylistique. Cette divergence s'incarne dans le contrôle du regard filmique opéré ou non par les personnages, particulièrement dans la représentation de leur intimité sexuelle de femmes lesbiennes. In a digital environment characterized by the proliferation of transmedia productions, the franchise Carmilla: The Webseries (Hall and Simpson 2014–2016) and its sequel The Carmilla Movie (Maybee 2017) stand out by the phenomenon it has generated with queer audiences by revamping Sheridan Le Fanu's classic novella (1872). Considering that few studies have examined the webseries, and none have delved onto its cinematic conclusion, this article proposes a comparative analysis of their formal qualities to identify the queer stylistic experiments encouraged by trans-media and remediation. While the webseries refurbishes characteristics of early television with a digital twist, such as the domestic settings, the illusion of broadcasting and the emphasis on dialogues, the film returns to the more polished look of classical cinema, albeit without fully disavowing the webseries' excessive style. This divergence is exemplified in the control (or lack thereof) of the filmic gaze by the characters, noticeably in the depiction of their sexual intimacy as lesbians. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Abant Social Sciences / Abant Sosyal Bilimler Dergisi is the property of Journal of Abant Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El objetivo de este artículo es describir una experiencia de cocreación de narrativas biográficas en el marco del plan de Vinculación con el Medio (VcM) del Magíster en Comunicación Digital y Transmedia (MCDyT), para transitar del espacio privado e íntimo a la conversación pública y común con habitantes de Valparaíso. A través de la lectura colectiva de Imaginarios de mujeres latinoamericanas se realizó una actividad con un grupo de dirigentas vecinales de los cerros del Barrio Almendral de la ciudad-puerto, cuyo diseño consideró cuatro etapas claves: (1) experiencia simétrica en la puesta en escena para la presentación en el soporte web de la publicación; (2) lectura en voz alta, por parte de las asistentes, de relatos biográficos de dicho texto, entrelazando voces diferentes; (3) la conversación guiada sobre historias comunes de las asistentes; y (4) la construcción de nuevas narrativas desde la experiencia biográfica a través de la metáfora del árbol de la vida, que permite categorizar sentimientos, experiencias y metas de vida, de manera amigable y no invasiva. Los resultados de la actividad permiten inferir que la lectura y escritura biográficas, mediante un diseño transmedia, establece vínculos en el territorio mediante el reconocimiento de la otredad y de las propias emociones de las participantes; asimismo, que la divulgación académica con organizaciones comunitarias es necesaria y significativa si se logra una relación simétrica para la transferencia de saberes entre representantes sociales y académicas.

Dado el protagonismo que han alcanzado las marcas en la sociedad, convertidas en vehículos de comunicación de las compañías con los ciudadanos a través de un diálogo emocional y positivo, la publicidad está sufriendo una profunda restructuración hacia planteamientos interdisciplinares desde la transmedialidad al advertainment. En este escenario, el branded content se posiciona como una herramienta esencial para transmitir los valores de las empresas a través de un discurso aspiracional utilizado para fidelizar a la audiencia. La investigación utiliza un método de trabajo basado en el análisis de contenido comparativo a partir de siete estudios de caso con el fin de reconocer los elementos que determinan los valores de branded content. Las piezas son descritas a partir de un cuadro de valores que establecerán después una serie de elementos comunes a través de los cuales hacer la comparación entre ellas para elaborar un mapa de elementos que conforme la importancia del storytelling. Se demuestra la configuración de una publicidad asentada en la comunicación aspiracional, donde las marcas dialogan con diferentes formatos audiovisuales hibridando sus contenidos, mensajes y canales y explorando las particularidades del branded content como concepto fundamental de una necesaria renovación de la mirada publicitaria convencional.

Se analiza el caso de The Rocky Horror Picture Show en sus aspectos crossmedia y transmedia, haciendo un recorrido por las distintas producciones que han surgido a lo largo de más de cuatro décadas de exhibición. El caso evidencia la posibilidad de la expansión de un universo narrativo a través de la participación activa del público, aún antes del desarrollo masivo de los medios digitales de comunicación. La interacción del público y la obra, especialmente a través del guión complementario interactivo creado por la audiencia, ha generado un diálogo entre producciones crossmedia y transmedia del mismo tenor que el diálogo entre autores y prosumidores, el cual se mantiene vigente aún en la actualidad.

The modern media sphere is changing under the influence of socio-cultural, technical, technological and media processes. The article studies such a phenomenon of the media sphere as transmedia, which is characterized by the nonlinearity and hybridity of audiovisual forms. It is a new key feature of the media sphere and makes significant changes to screen art. As a result of the research, foreign theory and practice of forming the design of transmedia projects have been studied. The possibilities of using foreign experience in Russian conditions have been determined. Recommendations given for conducting a transmedia project in various areas have been, including improving the transmedia narrative in its basic concept using a systematic approach. The developed recommendation and methodological base for the formation of the design of transmedia projects has been practice-oriented. This method is aimed at solving problems, at the practical implementation of this approach to the implementation of transmedia projects. The recommendations demonstrate the need for narrative knowledge within the framework of a transmedia narrative, allowing users to engage and be motivated by a transmedia narrative, rather than simply distributing content through media channels. The possibility of using classical elements of an integrated approach to the formation of the design of a transmedia narrative in the transmedia approach has been investigated.

I will tackle serial appropriations of Shakespeare’s Macbeth in The Wire (David Simon, 2002–2008) and Breaking Bad (Vince Gilligan, 2008–2013). Both complex TV series recast Macbeth in the context of narcocapitalism. Rather than constituting an alternative to mainstream capitalism, narco-capitalism maintains the American and global socioeconomic orders as depicted in both series. Paying attention to what will be defined as Shakespeare’s archive, it will be shown that traces from Macbeth are reactivated in The Wire and Breaking Bad. Shakespeare’s archive is formed by traces of Shakespeare’s dramatic and narrative sources, quartos, folios, later editions and adaptations. This corpus displays verbal and non-verbal features of Shakespeare’s oeuvre. Taken together, traces and reenactments of Shakespeare highlight the multifarious and competing ways in which Shakespearean appropriations sail through the depth and length of complex TV. To illustrate this, I will use archive theory, transmedia theory and narcocapitalism as lenses of analysis. This framework helps explain archival strategies employed for Shakespearean appropriation within the social context of both series. The results reveal that Shakespeare’s archive in both works leads to an ambivalent ethical assessment of the potentialities of narco-capitalism.

Peter Kunze’s book Staging a Comeback: Broadway, Hollywood, and the Disney Renaissance is a (overwhelmingly) well-researched study of the transmedial migration of popular narratives in the 1980s and the 1990s. Focused on Disney’s appropriation of the Broadway integrated musical (H. Ashman, A. Menken), the study demonstrates how the musical theatre conventions improved the quality of Disney’s main product — the animated film. Kunze engages in close reading of an extended episode from the history of cultural production (the Disney Renaissance), showing the complexity and unpredictability of various media convergences. For instance, the book reconfigures the roles of managerial and creative labourers behind the Disney transformation, wittily (and convincingly) bringing to the forefront 1982 as annus mirabilis, which triggered immense changes in the cultural sector. After discussing Disney's appropriation of the musical Broadway, the book reveals how the updated animated musical comes back to the theatrical stage and transforms ‘respectable’ Broadway by alternative styles and agendas (Julie Taymor’s The Lion King). Apart from other sources, the research uses hardto- access archival materials, the author's interviews with the practitioners and their entourage.

In an era of unprecedented consumer access to media and the tools to control narrative delivery, speed, and exposure to transmedia content, there is no longer the illusion of a cohesive narrative managed by a recognized singular author or unified authorial voice. Instead, consumers carve their own trajectories through brand narratives. Our multimethod inquiry of television series viewing, based on a combination of interviews, diaries, video recordings followed by member-check interviews and online forum analyses, identifies two key forces that guide narrative navigation: how consumers manage a text's gravitational pull and its permeability to transmedia content. We find that consumers shape their own trajectories by adopting and/or moving between nine documented narrative positions. This more nuanced understanding of narrative consumption in a transmedia environment offers new insights for the study of narrative brand spaces and brand storytelling. [ABSTRACT FROM AUTHOR]

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This paper concerns with the importance of traditional and extra-academic sources of knowledge in the configuration of historical culture of Spanish adolescents. To conduct the research, a descriptive phenomenological approach has been designed by analyzing the responses of forty-eight students to a semi-structured interview in which they had to choose 5 characters of contemporary history and indicate the origin of the information. The results show the high coincidence about who are historical significant characters: males and politicians, coincident with other studies conducted in Spain and other countries of the near sociocultural context. The degree of coincidence can be considered as a homogeneous image of the historical culture of the participants. In that sense, there is a high rate of coincidence in the source where this vision of history is mainly generated: the history classroom. The information obtained leads us to confirm the need to reflect on the important stereotypes generated after many decades of formal history teaching with contents far from a necessary critical review. For this reason, it is necessary to reorient the teaching of history to provide a better critical reasoning about how the past is used to understand current societies (ontological perspective) along with how we know about the past (epistemological perspective). [ABSTRACT FROM AUTHOR]

ados incluyen el análisis de la adaptación de cuentos clásicos en diferentes medios, el uso de las tecnologías en la educación literaria, y la importancia de los cuentos clásicos en la cultura y la vida cotidiana. [Extracted from the article]

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Copyright of Revista Luciérnaga - Comunicación is the property of Politechnico Colombian Jaime Isaza Cadavid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

I will tackle serial appropriations of Shakespeare’s Macbeth in The Wire (David Simon, 2002–2008) and Breaking Bad (Vince Gilligan, 2008–2013). Both complex TV series recast Macbeth in the context of narcocapitalism. Rather than constituting an alternative to mainstream capitalism, narco-capitalism maintains the American and global socioeconomic orders as depicted in both series. Paying attention to what will be defined as Shakespeare’s archive, it will be shown that traces from Macbeth are reactivated in The Wire and Breaking Bad. Shakespeare’s archive is formed by traces of Shakespeare’s dramatic and narrative sources, quartos, folios, later editions and adaptations. This corpus displays verbal and non-verbal features of Shakespeare’s oeuvre. Taken together, traces and reenactments of Shakespeare highlight the multifarious and competing ways in which Shakespearean appropriations sail through the depth and length of complex TV. To illustrate this, I will use archive theory, transmedia theory and narcocapitalism as lenses of analysis. This framework helps explain archival strategies employed for Shakespearean appropriation within the social context of both series. The results reveal that Shakespeare’s archive in both works leads to an ambivalent ethical assessment of the potentialities of narco-capitalism. [ABSTRACT FROM AUTHOR]

This research article examines the transformation of pop-punk from bands to solo artists and how the genre regained popularity due to new popular personalities and the transmedia engagement in social media and with established media. Through a three-pronged approach, this study adopts phenomenological, theoretical, and empirical perspectives to understand the transition and regained popularity fully. The phenomenological angle delves into the case studies of musicians, revealing key factors behind the shift to solo artists in pop-punk. Theoretical explanations contextualize the phenomenon within broader cultural frameworks, considering industry and transmedia dynamics, audience preferences, and technological advancements. Empirical evidence, including statistical data from social media profiles, quantifies the impact of the shift. This study contributes to a comprehensive understanding of pop-punk's transformation, offering an exploration of its past, present, and future within the ever-evolving music industries and transmedia landscapes. [ABSTRACT FROM AUTHOR]

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In this article, we consider the notion of entangled stories to account for ways that young people assemble stories in generative ways. We draw on Tim Ingold's theorising of lines, movement, and storied knowledge to account for the visible/material and invisible/immaterial entanglements that happen when young people design multimodal storied worlds and illustrate these entanglements through three school projects in Canada, Norway, and Chile. Literacy studies and the learning sciences have made important contributions to understanding the complexities of meaning-making practices with digital technologies across formal and informal contexts. Yet, there is still work to be done to describe, extrapolate, and theorise digital-material practices and trajectories that young people engage in when they design and craft multimodal compositions. [ABSTRACT FROM AUTHOR]

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The proliferation of franchise-driven consumption has created a social paradigm where branded symbols are overproduced across an endless array of consumer products. As a paradigm dependent on generating ever-more growth, we argue that transmedia production facilitates social modes which are inherently damaging to the environment. This is accomplished through an examination of the media mix of Japanese animation firm Studio Ghibli, who despite praise from critics and educators for their deeply nuanced environmentalist themes, have heavily commodified their works through plastic merchandise and tourist destinations. While this research demonstrates the studio had already broadly adopted media mix promotion by the early aughts, following the studio's 2014 hiatus in film production, we show a distinct rise in transmedia communication and production of goods made of non-renewable resources. In light of this, we discuss the commodification of Ghibli's themes as a product of recuperation, adding to discussions of capitalism's penchant for co-opting its opposition. Of this instance, we examine the industrial dynamics that led to this specific increase, the cultural-economic paradigms of media mix that frame commodification as a natural extension of texts – despite dissonant values – and consider how contemporary media ecologies may offer any hope of imagining genuinely environmentally conscious societies. [ABSTRACT FROM AUTHOR]

This article engages with differences of experiences generated by transmedia migration of filmic content in artist-filmmaker Albert Serra's two-channel installation Personalien and feature film Liberté (2019). Made from the same raw footage, the films were seen as iterations of one fictional world. How is diegesis transformed by Serra's distinct negotiation of viewers' patience and perversity at the museum and the film theatre? Responding to this issue requires retrieving Anne and Etienne Souriau's concept of diegesis. Diegesis was exported to narratology and semiotics, though the notion was soon robbed of its relevance: its equal sensitivity to medial environments, circumstantial conditions of experience, and modulations of fictional existence. Reintegrating diegesis within Souriau's multilayered and intensive ontology of filmic universes is of renewed interest in times of cinematic relocation, when cinematic experiences are reactivated in new contexts. Artists' moving-images require us to give due weight to the ontic thickness of film. What environments do each experience configurate? Which operations are required in the theatre and the museum? Will viewers support the existence of Serra's precarious worlds? Resituating diegesis within Souriau's philosophy of instauration, I address intermedial differences in Personalien and Liberté and reflect on logical and metaphysical disparities. [ABSTRACT FROM AUTHOR]