Transmedial Worlds in Everyday Life [electronic resource] : Networked Reception, Social Media, and Fictional Worlds.
Klastrup, Lisbeth.| Call Number | 303.48/33 |
| Author | Klastrup, Lisbeth. |
| Title | Transmedial Worlds in Everyday Life Networked Reception, Social Media, and Fictional Worlds. |
| Publication | Milton : Routledge, 2019. |
| Physical Description | 1 online resource (217 p.) |
| Notes | Description based upon print version of record. |
| Contents | Cover; Half Title; Title Page; Copyright Page; Dedication; Table of Contents; List of Illustrations; Preface; Chapter 1: Introduction; 1. Introduction; 2. Foundations of Transmedial Worlds; 3. Methods: Studying Engagement with Transmedial Worlds; 4. Appropriations; 5. Connections; 6. Evaluation; 7. Lifetimes; Notes; References; Chapter 2: Foundations of Transmedial Worlds; Early Foundational Work on Transmediality and Transmedial Products; Franchise-centric Transmedial Research; Medium-centric Transmedial Research; Narrative-centric Transmedial Research; Character-centric Transmedial Research Japanese Media-mix ResearchA Holistic Approach to Transmediality: A Transmedial World Theory; What Is a Transmedial World?; The Elements of a Transmedial World; Foundational Characters; Instantiations or Adaptations; Transmedial Worlds and Genre; Networked Reception and a Transmedial World Experience Model for the Social Media Age; Notes; References; Chapter 3: Methods: Studying Engagement with Transmedial Worlds; Textual; Qualitative Audience Studies; A Final Reflection on TMW Methodology; Notes; References; Chapter 4: Appropriations; A Model of Transmedial Experience Anticipating and ConnectingInterpreting and Reflecting; Appropriating and Recounting; Transmedial Desires and Platforms; Case Study: Appropriating Otome Games; Notes; References; Chapter 5: Connections; Social Life and Social Media; Memes as Cultural Expression; Memes as Communication; Life as I Know It: The World Seen through TMW Memes; Categories of TMW Meme Content; #Relatablememes: Life through the Eyes of TMWs; Memetic Phrases and Generic Conventions; Notes; References; Chapter 6: Evaluation; Transmedial Audiences as Cultural Critics; The Collective Reception of SKAM Kosegruppa DK as Collective Theatre CriticsConcluding Remarks; Notes; References; Chapter 7: Lifetimes; The First Encounter; A History of Nostalgia and Its Discontents; Media and Nostalgia; Nostalgia and the Self; The Social Dimension of Media Nostalgia; Notes; References; Chapter 8: Concluding Remarks; Transmedial World Experiences Are Always Situated; Transmedial Worlds Are More Than a Refuge; Transmedial Worlds Reconnect Us to Our Past; Transmedial Worlds Are a Language/Toolkit toTalk about the World; Transmedial Reception Is Always Multiple; You Cannot Escape from Transmedial Worlds |
| Summary | In this pioneering new book, authors Klastrup and Tosca explore the many ways that transmedial worlds are present in people's everyday life, proposing a new theory of (trans)media use for the digital age. People are not only reading, watching and playing in fictional worlds like never before, but also using them to reflect about their lives through Facebook, Twitter, Youtube and other channels, commenting on their marriages or their life at the office, analyzing current news, or reminiscing on the role these worlds played in their childhood. The book's unique methodological approach combines an aesthetic and literary perspective that looks closely at the different fictional universes, with an empirical user perspective that builds upon 15 years of sustained work on transmediality. The result is a theory that covers both the personal, experiential dimension of fictional worlds and the social dimension of sharing with each other. A fascinating and contemporary examination of media worlds and their communities, this book offers students and scholars of fandom, media, cultural and reception studies a new theoretical and methodological framework, through which to understand the phenomenon of transmedial worlds, and people's engagement with them. |
| Added Author | Tosca, Susana Pajares. |
| Subject | Digital media Social aspects. Social Media. INTERPERSONAL COMMUNICATION. SOCIAL SCIENCE / Media Studies |
| Multimedia |
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$a Cover; Half Title; Title Page; Copyright Page; Dedication; Table of Contents; List of Illustrations; Preface; Chapter 1: Introduction; 1. Introduction; 2. Foundations of Transmedial Worlds; 3. Methods: Studying Engagement with Transmedial Worlds; 4. Appropriations; 5. Connections; 6. Evaluation; 7. Lifetimes; Notes; References; Chapter 2: Foundations of Transmedial Worlds; Early Foundational Work on Transmediality and Transmedial Products; Franchise-centric Transmedial Research; Medium-centric Transmedial Research; Narrative-centric Transmedial Research; Character-centric Transmedial Research
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$a Japanese Media-mix ResearchA Holistic Approach to Transmediality: A Transmedial World Theory; What Is a Transmedial World?; The Elements of a Transmedial World; Foundational Characters; Instantiations or Adaptations; Transmedial Worlds and Genre; Networked Reception and a Transmedial World Experience Model for the Social Media Age; Notes; References; Chapter 3: Methods: Studying Engagement with Transmedial Worlds; Textual; Qualitative Audience Studies; A Final Reflection on TMW Methodology; Notes; References; Chapter 4: Appropriations; A Model of Transmedial Experience
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$a Anticipating and ConnectingInterpreting and Reflecting; Appropriating and Recounting; Transmedial Desires and Platforms; Case Study: Appropriating Otome Games; Notes; References; Chapter 5: Connections; Social Life and Social Media; Memes as Cultural Expression; Memes as Communication; Life as I Know It: The World Seen through TMW Memes; Categories of TMW Meme Content; #Relatablememes: Life through the Eyes of TMWs; Memetic Phrases and Generic Conventions; Notes; References; Chapter 6: Evaluation; Transmedial Audiences as Cultural Critics; The Collective Reception of SKAM
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$a Kosegruppa DK as Collective Theatre CriticsConcluding Remarks; Notes; References; Chapter 7: Lifetimes; The First Encounter; A History of Nostalgia and Its Discontents; Media and Nostalgia; Nostalgia and the Self; The Social Dimension of Media Nostalgia; Notes; References; Chapter 8: Concluding Remarks; Transmedial World Experiences Are Always Situated; Transmedial Worlds Are More Than a Refuge; Transmedial Worlds Reconnect Us to Our Past; Transmedial Worlds Are a Language/Toolkit toTalk about the World; Transmedial Reception Is Always Multiple; You Cannot Escape from Transmedial Worlds
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$a In this pioneering new book, authors Klastrup and Tosca explore the many ways that transmedial worlds are present in people's everyday life, proposing a new theory of (trans)media use for the digital age. People are not only reading, watching and playing in fictional worlds like never before, but also using them to reflect about their lives through Facebook, Twitter, Youtube and other channels, commenting on their marriages or their life at the office, analyzing current news, or reminiscing on the role these worlds played in their childhood. The book's unique methodological approach combines an aesthetic and literary perspective that looks closely at the different fictional universes, with an empirical user perspective that builds upon 15 years of sustained work on transmediality. The result is a theory that covers both the personal, experiential dimension of fictional worlds and the social dimension of sharing with each other. A fascinating and contemporary examination of media worlds and their communities, this book offers students and scholars of fandom, media, cultural and reception studies a new theoretical and methodological framework, through which to understand the phenomenon of transmedial worlds, and people's engagement with them.
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| Summary | In this pioneering new book, authors Klastrup and Tosca explore the many ways that transmedial worlds are present in people's everyday life, proposing a new theory of (trans)media use for the digital age. People are not only reading, watching and playing in fictional worlds like never before, but also using them to reflect about their lives through Facebook, Twitter, Youtube and other channels, commenting on their marriages or their life at the office, analyzing current news, or reminiscing on the role these worlds played in their childhood. The book's unique methodological approach combines an aesthetic and literary perspective that looks closely at the different fictional universes, with an empirical user perspective that builds upon 15 years of sustained work on transmediality. The result is a theory that covers both the personal, experiential dimension of fictional worlds and the social dimension of sharing with each other. A fascinating and contemporary examination of media worlds and their communities, this book offers students and scholars of fandom, media, cultural and reception studies a new theoretical and methodological framework, through which to understand the phenomenon of transmedial worlds, and people's engagement with them. |
| Notes | Description based upon print version of record. |
| Contents | Cover; Half Title; Title Page; Copyright Page; Dedication; Table of Contents; List of Illustrations; Preface; Chapter 1: Introduction; 1. Introduction; 2. Foundations of Transmedial Worlds; 3. Methods: Studying Engagement with Transmedial Worlds; 4. Appropriations; 5. Connections; 6. Evaluation; 7. Lifetimes; Notes; References; Chapter 2: Foundations of Transmedial Worlds; Early Foundational Work on Transmediality and Transmedial Products; Franchise-centric Transmedial Research; Medium-centric Transmedial Research; Narrative-centric Transmedial Research; Character-centric Transmedial Research Japanese Media-mix ResearchA Holistic Approach to Transmediality: A Transmedial World Theory; What Is a Transmedial World?; The Elements of a Transmedial World; Foundational Characters; Instantiations or Adaptations; Transmedial Worlds and Genre; Networked Reception and a Transmedial World Experience Model for the Social Media Age; Notes; References; Chapter 3: Methods: Studying Engagement with Transmedial Worlds; Textual; Qualitative Audience Studies; A Final Reflection on TMW Methodology; Notes; References; Chapter 4: Appropriations; A Model of Transmedial Experience Anticipating and ConnectingInterpreting and Reflecting; Appropriating and Recounting; Transmedial Desires and Platforms; Case Study: Appropriating Otome Games; Notes; References; Chapter 5: Connections; Social Life and Social Media; Memes as Cultural Expression; Memes as Communication; Life as I Know It: The World Seen through TMW Memes; Categories of TMW Meme Content; #Relatablememes: Life through the Eyes of TMWs; Memetic Phrases and Generic Conventions; Notes; References; Chapter 6: Evaluation; Transmedial Audiences as Cultural Critics; The Collective Reception of SKAM Kosegruppa DK as Collective Theatre CriticsConcluding Remarks; Notes; References; Chapter 7: Lifetimes; The First Encounter; A History of Nostalgia and Its Discontents; Media and Nostalgia; Nostalgia and the Self; The Social Dimension of Media Nostalgia; Notes; References; Chapter 8: Concluding Remarks; Transmedial World Experiences Are Always Situated; Transmedial Worlds Are More Than a Refuge; Transmedial Worlds Reconnect Us to Our Past; Transmedial Worlds Are a Language/Toolkit toTalk about the World; Transmedial Reception Is Always Multiple; You Cannot Escape from Transmedial Worlds |
| Subject | Digital media Social aspects. Social Media. INTERPERSONAL COMMUNICATION. SOCIAL SCIENCE / Media Studies |
| Multimedia |