Transmedia Storytelling Panorama in the Russian Media Landscape
The main research question of the article is what specificity Russian transmedia storytelling initiatives present. The goal of the research is to underline the social and cultural contexts in which transmedia storytelling is inserted in the country, reconstructing the panorama of Russian transmedia landscape. In addition, the rationale for the research is to investigate implications of transmedia tools in different spheres, including Entertainment & Gaming, Political Movements, Social Change, Activism, Journalism, and Branding as the main directions of transmedia strategies in Russia. The article highlights the specificities of civic engagement and participatory culture in contemporary Russia and emphasizes transmedia storytelling as implying grassroots initiatives.
In this article, we discuss the pragmatic relationship between semiosis and communication in order to characterize transmedia dynamics as a pragmatic offshoot of semiosis in media, a perspective that accounts for the incompleteness of the interpretant in its meditated actions. The theoretical approach is based on the communication perspective of the sign developed by Charles Sanders Peirce and his contemporary commentators, such as Parmentier (1985), Colapietro (1995, 2004), Santaella (1992, 1995, 2003, 2004), and Bergman (2000, 2003, 2007). In addition, transmedia dynamics are explored according to Jenkins (2001, 2006, 2013), Göran (2012), and Jansson (2013). We discuss the notion of media as sign mediation and transmedia dynamics as an improvement of semiosis, based on the pragmatic approach to the latter. Transmedia narratives refer to integrated media experiences that unfold across a variety of platforms, attracting audience engagement and offering new and pertinent content. Moreover, the productive incompleteness of the interpretant is taken as a conceptual parameter for understanding the way in which media consumption regulates habits and delineates the transmedia narrative in the sign process of network associations. In conclusion, we stress how the semiotic operation of representation, associating new signs and collateral experience, without losing the narrative reference (semiotic operation of determination), emerged in transmedia environments.
This book provides a comprehensive analysis of the ways in which new media technologies have shaped language and communication in contemporary Russia. It traces the development of the Russian-language internet (Runet) from late-Soviet cybernetics to the advent of Twitter and explores the evolution of web-based communication practices, showing how they have both shaped and been shaped by social, political, linguistic and literary realities. Throughout the volume, leading Runet scholars draw attention to features and trends that are characteristic of global new media, as well as those that are more specific to Russian media culture.
This chapter discusses the impact of transmedia campaigns aimed at achieving a certain level of government policy change. Transmedia campaigns comprise a series of coordinated activities and organized efforts designed to achieve a social, political, or commercial goal by means of multiple media platforms. The Great British Property Scandal and Food, Inc. transmedia campaigns are considered to introduce the argument that this kind of multiplatform campaigning can actually produce concrete results in the political sphere. Moreover, this chapter focuses on the in-depth analysis of the transmedia strategies of the Fish Fight campaign to demonstrate how exactly transmedia strategies collaborate to influence policy change. The research findings point to the effective role of transmedia storytelling strategies in raising awareness in the political sphere through public participation in supporting relevant issues, influencing policy change.
This is a compilation of all presentations given at the 14th Central Asia Media Confirence, organized by the Representativ’s office, which brought together international and local experts from five Central Asia participating States of the OBSE. This publication is designed to serve as a record of the events of that conference and is intended for journalists, government and regulatory officials and students.
This is a compilation of all presentations given at the 9th South Caucasus Media Confirence, organized by the Representativ’s office, which brought together international and local experts from three South Caucasus participating States of the OBSE. This publication is designed to serve as a record of the events of that conference and is intended for journalists, government and regulatory officials and students.
Theoretical and analytical considerations around the development of transmedia projects are evolving, but are still widely open probably because transmedia storytelling is a relatively new subject that does not have yet its own specific methods and methodology of analysis. Moreover, transmedia projects are complex phenomena involving multiple dimensions, such as narrative, cultural context, marketing, business models, and legal framework. Currently, the usual approach gives place to methodologically separate analytical perspectives related to some of these dimensions. This article firstly discusses the elusive concept of transmedia storytelling and later presents analytical considerations outlining relevant aspects that can contribute to perceive the process of developing transmedia projects. The significance of these discussions is to address essential features of the design process behind transmedia projects and contribute to support the analytic needs of transmedia designers and the applied research in the interest of the media industry.
The paper is focused on the study of reaction of italian literature critics on the publication of the Boris Pasternak's novel "Doctor Jivago". The analysys of the book ""Doctor Jivago", Pasternak, 1958, Italy" (published in Russian language in "Reka vremen", 2012, in Moscow) is given. The papers of italian writers, critics and historians of literature, who reacted immediately upon the publication of the novel (A. Moravia, I. Calvino, F.Fortini, C. Cassola, C. Salinari ecc.) are studied and analised.
In the article the patterns of the realization of emotional utterances in dialogic and monologic speech are described. The author pays special attention to the characteristic features of the speech of a speaker feeling psychic tension and to the compositional-pragmatic peculiarities of dialogic and monologic text.