Augmented Storytelling and Netflix Series ...
Type de document :
Partie d'ouvrage
Titre :
Augmented Storytelling and Netflix Series Promotion Strategy
Auteur(s) :
Aubrun, Frédéric [Auteur]
MARGE
Institut des hautes études économiques et commerciales | School of Business and Economics [INSEEC]
Bihay, Thomas [Auteur]
Groupe d'Études et de Recherche Interdisciplinaire en Information et COmmunication - ULR 4073 [GERIICO ]
MARGE
Institut des hautes études économiques et commerciales | School of Business and Economics [INSEEC]
Bihay, Thomas [Auteur]

Groupe d'Études et de Recherche Interdisciplinaire en Information et COmmunication - ULR 4073 [GERIICO ]
Éditeur(s) ou directeur(s) scientifique(s) :
ISTE
Titre de l’ouvrage :
Digital Presences of Organizations
Éditeur :
ISTE
Date de publication :
2024-08-30
ISBN :
9781789451047
Résumé en anglais : [en]
The study focuses on two cases: Stranger Things, a science fiction series released in 2016, and 13 Reasons Why, which deals with a number of issues related to adolescence, including suicide, broadcast from 2017 to 2020. ...
Lire la suite >The study focuses on two cases: Stranger Things, a science fiction series released in 2016, and 13 Reasons Why, which deals with a number of issues related to adolescence, including suicide, broadcast from 2017 to 2020. In other words, we are examining how Netflix promotes its series through transmedia storytelling strategies. Jenkins (2006) defines transmedia storytelling as “a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience”. The main hypothesis guiding this research is as follows: Netflix’s original series are fictional universes, in other words, imaginary worlds based on real potentialities (Dolezel 1998). They are therefore reserves of stories from which the platform draws its marketing sources. Each fictional universe thus serves as a pretext to extend or prolong the storytelling in transmedia promotion strategies based on one central story, which Jenkins (2006) calls “mothership”.Lire moins >
Lire la suite >The study focuses on two cases: Stranger Things, a science fiction series released in 2016, and 13 Reasons Why, which deals with a number of issues related to adolescence, including suicide, broadcast from 2017 to 2020. In other words, we are examining how Netflix promotes its series through transmedia storytelling strategies. Jenkins (2006) defines transmedia storytelling as “a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience”. The main hypothesis guiding this research is as follows: Netflix’s original series are fictional universes, in other words, imaginary worlds based on real potentialities (Dolezel 1998). They are therefore reserves of stories from which the platform draws its marketing sources. Each fictional universe thus serves as a pretext to extend or prolong the storytelling in transmedia promotion strategies based on one central story, which Jenkins (2006) calls “mothership”.Lire moins >
Langue :
Anglais
Audience :
Internationale
Vulgarisation :
Non
Collections :
Source :