Transmedia in Asia and the Pacific is a timely exploration of a global media phenomena that offers a unique perspective on the production, consumption and use of transmedia storytelling in the Asia Pacific region. Through close analysis of case studies from Australia, Cambodia, China, Japan, Malaysia, South Korea, and West Papua, the chapters in this book provide insight into the cultural and transcultural contexts against which transmedia storytelling takes place in the region. From community theatre and social media narratives in China; to transcultural consumption of Japanese texts in French, Spanish and English speaking countries; to the use of transmedia for education in Japan and China, examples highlight the diverse ways in which a global and commericalised media phenomenon is appropriated and recontextualised to local circumstances. This volume questions the centre/periphery dichotomy of understanding global media through perspectives that seek to enrich understandingand definitions of transmedia. It is a valuable resource for scholars and students wishing to expand their engagement with the theory and practice of transmedia storytelling.
Chapters “Chapter 1-Introduction to Transmedia in Asia and the Pacific, Chapter 13 -Teaching Transmedia in China: Complexity, Critical Thinking, and Digital Natives and Chapter 14-Conclusions” are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.
Table des matières
Introduction to Transmedia in Asia and Pacific.-
Part 1: Official and Unofficial Narratives: State, Corporate and Grassroots Convergence.- From telling a story to telling an idea: A transmedia narrative of
Amazing China under new propaganda initiatives in China.- The Web of Story across the Multiple Platforms of South Korea’s
Cheese in the Trap.- Bo Boi Boy and The Contextualization of Transmedia Storytelling in Malaysian Animation Industry.- Transmedia Non-Fiction in China: Mapping the Transmedia Story of ‘Yiyi’, the Youngest Survivor of the 2011 Wenzhou Train Crash.- Transmedia Storytelling in Mainland China: Interaction between TV Drama and Fan Narratives in
The Disguiser.-
Part 2: Transcultural Dialogues: Cultural Flows, Appropriation, and Empowerment.- Love and Producer as East Asian Transmedia: Otome Games, Sexless Polyamory, and Neoliberal Choice for Chinese and South Korean Young Women.- Appropriatingthe Shinsengumi. Hakuoki Fan Fiction as Transmedial/Transcultural exploration.-
Part 3: Transmedia Communication: Inclusiveness and Communities.- Intimate Connectivities: local dynamic networks in the Big Stories, Small Towns transmedia documentary.- Transmedia Activism and Future Dreaming: Big h ART’s
Yijala Yala.- The Power of Communication: Intergeneration, Intermediality and Transculturality in Documentary Theatre
About
My Parents and Their Child.- Transmedia Education in a CLIL Paradigm: An Investigation into Bicultural Learning.- Teaching Transmedia in China: Complexity, Critical Thinking, and Digital Natives.- Conclusions.
A propos de l’auteur
Filippo Gilardi is an Associate Professor in creative industries and transmedia, Head of the School of International Communications, and Deputy Director of the Institute of Asia and Pacific Studies (IAPS) at the University of Nottingham Ningbo China. His research interests focus on media convergence, digital copyright and global digital platforms.
Celia Lam is an Assistant Professor in media and cultural studies at the School of International Communications, The University of Nottingham Ningbo China. Her research interests include audience and fan studies. Her latest publications include the co-edited Aussie Fans: Uniquely Places in Global Popular Culture (2019).
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