La communication vise à interroger les problèmes méthodologiques et épistémologiques que pose l’observation sociologique du panorama audiovisuel contemporain.
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.
Jay David Bolter’s article “Transference and Transparency: Digital Technology and the Remediation of Cinema” identifies a “cyberphobia” that emerged in films of the 1990s, just as digital technologies were gaining widespread acceptance in the industry (and, indeed, as blockbusters increasingly began to rely on them to create theretofore unimaginable spectacle
What are the connotations of the model of world building as a metaphor for our current engagement with media? What are the consequences for our relationship to fiction?
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
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
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.
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.
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.
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.