By Jan-Noël Thon
Transmedial Narratology and modern Media Culture makes a speciality of the intersubjective building of storyworlds in addition to on prototypical sorts of narratorial and subjective illustration. It presents not just a mode for the research of salient transmedial suggestions of narrative illustration in modern movies, comics, and games but additionally a theoretical body in which medium-specific techniques from literary and movie narratology, from comics reports and online game reports, and from quite a few different strands of media and cultural reports can be hired to extra our figuring out of narratives throughout media.
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Extra resources for Transmedial Narratology and Contemporary Media Culture
Example text
6 Yet most if not all of these narrative works are part of an intramedial series, an intermedial adaptation process, and/or a transmedial entertainment franchise. Hence, after I have developed the foundation of a genuinely transmedial narratology by primarily treating the narrative works that I have chosen as examples as if they were “single works,” I conclude by briefly revisiting the broader questions and fields of inquiry sketched above and, once more, underscoring transmedial narratology’s potential for being contextualized, historicized, and practicabilized.
Metaleptically hesitant expression of the experiencing I in Fight Club 14. The narrating I telling an extradiegetic narratee “a little bit about Tyler Durden” in Fight 15. Tyler Durden pointing at the “cigarette burn” on the film picture in Fight 16. Tyler Durden inserting a pornographic picture into a family film in Fight Club 17. The diegetic Charlie Kaufman dictating parts of his scriptin Adaptation. 18. The diegetic Charlie Kaufman typing parts of his script in Adaptation. 19. Subjective narration boxes in Batman: The Dark Knight Returns 20.
While narratology as a theory of narrative primarily aims at the universal characteristics of narrative in general or narrative media and narrative genres in particular, narratology as a method is concerned with the development of terms and concepts for the analysis of a wide variety of different strategies of narrative representation. At least in the context of this book, then, I am neither exclusively interested in “doing theory” nor in attempting to resolve the “vexed issues” (Kindt and Müller, “Narrative Theory” 210) that writers of literary and media history have to face.