2026-09-19T14:22:05Zhttps://dspace.mit.edu/server/oai/requestoai:dspace.mit.edu:1721.1/391522026-06-11T15:22:21Zcom_1721.1_7582com_1721.1_7581col_1721.1_131023
Henry Jenkins.
Long, Geoffrey A
Massachusetts Institute of Technology. Dept. of Comparative Media Studies.
Massachusetts Institute of Technology. Program in Comparative Media Studies/Writing
2009-01-30T18:33:16Z
2009-01-30T18:33:16Z
2007
2007
http://hdl.handle.net/1721.1/39152
166227980
Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2007.
Includes bibliographical references (p. 177-181) and index.
Transmedia narratives use a combination of Barthesian hermeneutic codes, negative capability and migratory cues to guide audiences across multiple media platforms. This thesis examines complex narratives from comics, novels, films and video games, but draws upon the transmedia franchises built around Jim Henson's Labyrinth and The Dark Crystal to provide two primary case studies in how these techniques can be deployed with varying results. By paying close attention to staying in canon, building an open world, maintaining a consistent tone across extensions, carefully deciding when to begin building a transmedia franchise, addressing open questions while posing new ones, and looking for ways to help audiences keep track of how each extension relates to each other, transmedia storytellers can weave complex narratives that will prove rewarding to audiences, academics and producers alike.
by Geoffrey A. Long.
S.M.
185 p.
eng
Massachusetts Institute of Technology
M.I.T. theses are protected by
copyright. They may be viewed from this source for any purpose, but
reproduction or distribution in any format is prohibited without written
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http://dspace.mit.edu/handle/1721.1/7582
Comparative Media Studies.
Transmedia storytelling : business, aesthetics and production at the Jim Henson Company
Business, aesthetics and production at the Jim Henson Company
Thesis
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