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Today, viewers consume audiovisual products in the form of fragments, in any place and at any time of day. A plurality of screens, as points of interaction with media “worlds”, relocates the film-going experience (Casetti, 2010). Producers don’t just create stories or characters, they now design worlds (fictional worlds, character worlds, alternative worlds...) and they are increasingly distributing the experience of these worlds across multiple media channels, creating transmedial experiences (Jenkins, 2006), comparable to ecosystems. In this context, often described as a digital “convergence” (since the beginning of the internet era, cf. De Sola Pool, 1984, Negroponte, 1995), the viewer’s experience is not limited to mere “consumption.” Spectators become explorers and, in turn, world builders. Thus, fictional worlds are constantly expanded and remixed by fans and ordinary viewers alike who, both online and offline, rewrite, parody and pay homage to stories and characters. Social networks encourage viewers to exchange “shorts quotes” of movies with friends. These various “poaching” activities (Michel De Certeau, 1990; Henry Jenkins, 1992) contribute to rewriting the values and meanings of the original texts, expanding them and, at the same time, functioning as catalyzers for communities, suggesting new ways to “read” contemporary society, contemporary spectatorship and media production practices. This conference seeks to use the notion of world and world-building as a starting point to revisit and reconsider media theories (in film, television, visual culture, cultural studies, literature, etc.), and move beyond traditional notions of communication.
A major trend in contemporary narrative production is the rejection of an aesthetics that proclaims the inseparability of text, world and narrative. The traditional formula “one text, one world, one story” is challenged on one side by the phenomenon of transmedia storytelling, and on the other by texts that that contain many worlds and
Inhabiting a narrative ecosystem is a distributed and diversified experience, that generate participation, urging for new consumption. Narration does not have a unique irradiation centre anymore, but it tends to develop along different routes.
Video game has become over the years an essential media in the creation of fictional worlds. These digital realms offer interactive and immersive experiences that transform the way we consume these worlds.
While much has been written about “immersion”, it is only the first step in the experiencing of an imaginary world. This paper explores the experience by going further into the process, with the additional liquid metaphors of absorption, saturation, and overflow, and examines not only the effects that each of these processes or stages has on the world’s
The general question addressed is whether fan culture can--as oral-derived epic at its best--be the means of real political and ethical innovation. The participative nature of both fan culture and oral tradition invites this parallel.
Mankind, probably throughout all its history, has tried to understand the world. In these attempts, the concept of the world itself has often changed. For thousands of years there had been countless descriptions—driven by religious, philosophical, nationalistic, artistic, even personal, beliefs—about its origins, features, structure, fate.
La communication vise à interroger les problèmes méthodologiques et épistémologiques que pose l’observation sociologique du panorama audiovisuel contemporain.
In this paper I’ll begin by tracing the historical context for world-building as enactment of fandom, primarily by constructing an arc between the golden age of cinephilia and the current state of transmediaphilia.
Abstract will be available soon
This paper revisits a concept from Fan Cultures (Hills 2002): ‘hyperdiegesis’. I defined the term there as a textual quality inciting fans’ involvement in cult media.