The networked reception of transmedial universes: An experience-centered approach
Keywords:transmedial worlds, networked reception, fandom, social media, user experience,
AbstractBuilding upon ten years of empirical work, this paper reflects on how to study increasingly complex user engagement with transmedial worlds. We examine our own analytical evolution from an initial aesthetic orientation to our current effort to incorporate the user´s own perspective through qualitative and quantitative studies. We argue that mapping user experience requires a sophisticated and holistic analytical approach - particularly, due to the popularity of social media platforms. We conclude the article by developing the concept of "networked reception" to characterize new kinds of transmedial world experience afforded by social media, which allow users to distribute and communicate not only the content of media texts but also their own experience and reception of transmedial world “texts”.
Bechman Petersen, A. (2007). Tværmedialitet som kommunikationsform. In A. Bechmann Petersen, & S. K. Rasmussen, På tværs af medierne (pp. 17-40). Aarhus: Ajour.
Boyd, D. (2011). Social network sites as networked publics - affordances, dynamics, and implications. In Z. Paparacharissi (Ed.), A Networked Self – Identity, Community and Culture on Social Network Sites (pp. 39-58). London: Routledge.
Bruns, A. (2007). Produsage. ACM: Proceedings of the 6th ACM SIGCHI Conference on Creativity & Cognition. ACM.
Davis, C.H. (2013). Audience value and transmedia products. In T. Storsul, & A. Krumsvik (Eds.), Media Innovations (pp. 175-190). Gothenburg: Nordicom.
Dewey, J. (1934) 2005. Art as Experience. London: Perigee.
Eco, U. (1979). The Role of the Reader. Bloomington: Indiana University Press.
Evans, E. (2011). Transmedia Television. Audiences, New Media and Daily Life. New York: Routledge.
Evans, E. (2015). Layering engagement: The temporal dynamics of transmedial television. StoryWorlds: A Journal of Narrative Studies, 7(2), 111-128.
Feldmann, V. (2005). Leveraging mobile media: Cross-media strategy and innovation policy for mobile media communication. Heidelberg: Springer.
Fiske, J. (1992). The cultural economy of fandom. In L. A. Lewis (Ed.), The Adoring Audience: Fan Culture and Popular Media (pp. 30-49). London and New York: Routledge.
Goldman, A. (2001). The Aesthetic. In B. N. Gaut, & D. Lopes (Eds.), The Routledge Companion to Aesthetics. London and New York: Routledge.
Green, J., & Jenkins, H. (2011). Spreadable media: How audiences create value and meaning in a networked economy. In V. Nightingale (Ed.), The Handbook of Media Audience (pp. 109-127). Malden: Wiley-Blackwell.
Hall, S. (1973). Encoding and decoding in the television discourse. Birmingham: University of Birmingham Centre for Contemporary Cultural Studies, Stencilled Paper no. 7.
Hills, M. (2013). Fiske’s ‘textual productivity’ and digital fandom: Web 2.0 democratization versus fan distinction? Participations, 10(1), 130-153.
Ibrus, I., & Scolari, C. (2012). Crossmedia Innovations. Berlin & New York: Peter Lang.
Iser, W. (1980). The Act of Reading. A Theory of Aesthetic Response. Baltimore: The John Hopkins University Press.
Ito, M. (2008). Introduction. In K. Vernelis (Ed.), Networked Publics (pp. 1–14). Cambridge, MA: MIT Press.
Jauss, H.R. (1982). Aesthetic Experience and Literary Hermeneutics. Minneapolis: University of Minnesota Press.
Jenkins, H. (2006): Convergence Culture: Where Old and New Media Collide. New York: New York University Press. 2006.
Klastrup, L., & Tosca, S. (2004). Transmedial worlds - rethinking cyberworld design. In CW '04 Proceedings of the 2004 International Conference on Cyberworlds. Tokyo. Washington: IEEE Computer Society.
Klastrup, L., & Tosca, S. (2009). MMOGs and the Ecology of Fiction: Understanding LOTRO as a Transmedial World. Breaking New Ground: Innovation in Games, Play, Practice and Theory. DIGRA. 2009.
Klastrup, L., & Tosca, S. (2011). When fans become players: LOTRO in a transmedial world. In T. Krzywinska, & J. Parsler (Eds.), Ring Bearers: The Lord of the Rings Online as Intertextual Narrative (pp. 46-69). Manchester: Manchester University Press. 2011.
Kozinets, R.V. (1998). On netnography: Initial reflections on consumer research investigations of cyberculture. Advances in Consumer Research, 25(1), 366-371.
McCarthy, J., & Wright, P. (2004). Technology as Experience, Cambridge, MA: MIT Press.
Purvis, S.C., & Patnaik, S. (2014). How digital conversations reinforce Super Bowl advertising: The power of earned media drives television engagement. Journal of Advertising Research, 54(4), 454-468.
Ryan, M.-L. (2013). Transmedial storytelling and transfictionality. Poetics Today, 34(3), 361-388.
Rainie, L., & Wellman, B. (2011). Networked: The New Social Operating System, Cambridge, MA: MIT Press.
Sandvik, K. (2010). Tv-fiktion som tværmedialt oplevelsesdesign: Livvagterne og CSI som eksempler. In G. Agger, & A. M. Waade (Eds.), Den skandinaviske krimi - Bestseller og blockbuster (pp. 157-172). Gothenburg: Nordicom.
Tosca, S., & Klastrup, L. (2014). Game of Thrones: Transmedial worlds, fandom, and social gaming. In M. Ryan, & J. Thon (Eds.), Storyworlds across Media (pp. 295-314). Nebraska: University of Nebraska Press.
How to Cite
Articles submitted to MedieKultur should not be submitted to or published in other journals. Articles published in MedieKultur may be used (downloaded) and reused (distributed, copied, cited) for non-commercial purposes with reference to the authors and publication host.
The authors and MedieKultur own the copyright to the published articles and reviews.