Transmedia Narratives: between the new industrialization of mythology and collaborative creation

Coord. by Domingo Sánchez-Mesa (dsanchez@ugr.es)
and Jordi Alberich-Pascual (jalberich@ugr.es)


As both the actual number of transmedia productions and the academic bibliography are indicating, the attention and interest on transmedia cultural practices has grown exponentially during the last years. However, the fact that there is still too much confusion concerning the limits and specificity of transmedia communication also proves that definition, terminological and conceptual clarification and dissemination of prototypes and models of transmedia narratives are needed (Jenkins 2009, 2011; Scolari, 2013; Ryan 2014, 2016; Sánchez-Mesa / Baetens 2015, 2017; Sánchez-Mesa / Alberich/ Rosendo 2016). Likewise, a special focus on transmedia literacy is also expected for a more efficient, critical and responsible production, distribution and participation in transmedia narratives and transmedia worlds as prototypical contents of convergence culture (Jenkins, 2006)

Side by side the millionaire products of digital infoentertainment and Hollywood´s crossmedia franchises, various species of independent transmedia production have proliferated lately. These storyworlds and narratives, fictional and non-fictional, convey more social and critical kinds of interest which are also being subject of study for the research project Nar-Trans (http://www.nar-trans.com/). In fact, some of the most innovative and complex creative projects, above all from the perspective of the prosumers communities, are taking place within the sphere of the so-called transmedia activism.

The influence of the free software movement principles as of the various open source code initiatives have favored the emergence of new production models, increasingly meaningful in digital societies. The analysis and systematization of such emergent tendencies gathered under the labels of crowdsourcing and crowdfunding meets a wide filed of implementation within the framework of entrepreneurial culture. The progressive level of users’ participation though communities of collaborative creation demands a proper optimization for this productive mode to be successful in the new digital Spanish and European society and economy.

A need for specific maps of transmedia practices on the basis of a sustained work on transmedia archeology and cultural analysis of the oscillation between intermediality and transmediality (Baetens / Sánchez-Masa 2015) is al so emerging at the academic level. This task will result in the establishment of models and repertoires as well as of a theoretical and institutional ground for future experimentation. With this respect, this issue invites to identify new or hardly studied cases in the Hispanic media cultures, considering that transmedia storytelling has gained a relevant development in Latin American countries.

    Thematic Lines (Hispanic context)

  • Intermediality, transmediality & adaptations
  • Social activism & transmedial narratives
  • Crowdsourcing, transmedial collaborative creation
  • Videogames & transmedialization
  • Non fiction territories: transmedia documentary (webdoc)
  • Literature & transmediality
  • Performativity & transmediality. Possibilities of a transmedial theatre
  • Transmedia storytelling & comics
  • Transmedia, Art & Big Data

Researchers who wish to collaborate with an article in this monographic can send it to redaccion@pasavento.com. Deadline for submissions: February 15th, 2019. Articles should follow the instructions provided for our authors, available at our website.