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By Indrek Ibrus, Carlos A. Scolari

Crossmedia and transmedia are key terms of accelerating significance for media pros and students alike. even though those phenomena are older than occasionally argued, the affordances of electronic networked media have extensively enriched the character of «crossmedia recommendations» of media industries. As such crossmedia is an emergent perform that arises as one of many middle assets of complexity and innovation for overdue glossy cultures. This edited quantity contains chapters through authors from 3 continents who method the phenomenon from diversified disciplinary angles: semiotics, cultural reviews, media economics, political financial system, innovation stories. the typical curiosity lies within the dynamics that bring about experiments with crossmedia and in how our cultures are innovated via such practices.

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Example text

The Bored Witch arrived in 1985, a central character in the narrative device because she became the main adversary of the three sisters. The narrative scheme of these stories fits perfectly into Vladimir Propp’s traditional folk tale model (Propp 1968 [1928]). The three sisters must always fulfil a task – help a character, build something, etc. – and the Bored Witch appears and attempts to stop them from achieving their objective. Other characters or circumstances act as the three sisters’ helpers.

The great success of The Triplets has led to huge textual production, such as spin-off cartoons like The Bored Witch and Once Upon The Triplets, a work intended to introduce the English language to young audiences. Another production of note is The Baby Triplets (3BB), a spin-off of the original series that targets very small children. The Baby Triplets has 56 episodes and six book collections and many merchandising items, such 2 The Spanish version was broadcast in 1997, first on Canal + and then on La 2 (RTVE: Radio y Televisión de España).

2011). The research was exploratory in nature due to the characteristics of the study object and its relative novelty in the Spanish media landscape. The main objective, in addition to initial recognition of a set of transmedia works, was to test a series of analytical and theoretical tools by applying them to different narratives. While building the corpus of the analysis, and considering the exploratory nature of the study, the decision was made to ‘probe’ Catalan audiovisual production territory and identify a set of texts that, at first glance, appeared to be most interesting from a transmedia perspective.

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