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  2. Narrativas transmedia
  3. Narrativas Transmedia : cuando todos los medios cuentan
  4. Narrativas Transmedia : cuando todos los medios cuentan (Book, ) []


Applied to our area of knowledge, the case study can facilitate the examination of how a brand uses different platforms in the creation of a transmedia campaign that aims to tell a story and create an experience that affords users varying degrees of involvement. The case study has demonstrated its validity in previous research works with similar objects of study [42]. The campaign chosen from the Heineken brand for this study is the one called Dropped. The fundamental reasons for choosing this campaign for the case study are the following:.

Heineken has developed international transmedia campaigns for some time already, which have earned it recognition at important festivals. This campaign won a total of 17 awards. It links one campaign with the next one and stands out at different levels: In this sense, it offers an opportunity to analyse a transmedia campaign produced by an experienced brand that is continuously renewing itself.

It is precisely the diversity of media, the need to open new communication channels and the changes in the mentality of consumers what makes it necessary to plan campaigns of greater spatial coverage, i. What in Europe are known as transmedia or crossmedia campaigns [43].

In this case study, the analysis will be structured according to the main elements of a transmedia project [44]: Considered by the brand as a social experiment, the campaign aims to take participants out of their comfort zone and find out how they react in unknown situations, in an unknown country, in which they had to fulfil a challenge in order to go back home. The experience is narrated through a web series whose protagonists were selected through a casting-call. The project involves online and offline activities that seek the participation of audiences.

The campaign, which uses a variety of platforms social media, TV spots, social events, etc. These three key-messages are transmitted through different media and platforms throughout the campaign. The campaign, therefore, seeks to associate the brand Heineken with adventure, fun, heroism and ingenuity, through the main stories and experiences of the participants. At the narrative level, the campaign proposes the keys to the journey of the hero, who embarks on an adventure in which he must overcome different obstacles in order to fulfil the challenge. In this case, the fact that these are real heroes, anonymous people, increases the degree of audience identification with the protagonists of the campaign, because many of us dream of travelling to distant countries and becoming the protagonists and heroes of great adventures.

In itself, it is not an archaic story; but rather the result of all initiatory experiences of the literary heroes of all times and all cultures, whose abundance has resulted in a modern structural canon [47]. We all share these needs, but we also share experiences that are universal: They are experiences that we can discover in the myths in which heroes and archetypes are the protagonists [48]. The master plot in which the campaign is centred, and which frames the missions of the hero, is none other than the quest master plot. In this case, the quest to find the way back home, which is a plot that has been already addressed in numerous mythic tales such as that of Ulysses, who struggles to go back to Ithaca.

This is an archetypal mission of literary narrative fiction, since the quest is typical of the hero character [49].

Narrativas transmedia

The quest master plot is a resource that favours the development of transmedia projects because they incite the curiosity of audiences and engage them in the process. Quest plots also involve the evolution of the protagonists throughout their journey, so that at the end of the story they are different than when they started the journey. This is also transmitted by the statements of the protagonists, who claim that they have changed, that they are no longer the same, after living the experience. Everything is different now.

In the nature and then back again the civilization. The initial question is: What are men truly made of when taken out of their daily lives and dropped into the great unknown? Each web series is composed of three episodes. In each of them, the main character, who is not an actor, but a participant chosen to be part of the experience, is dropped in an unknown place from where he must return home. In addition, each one of these seasons has its corresponding trailer.

In the first season, the protagonist, Rikar Gil, a Madrid-based Catalan man, is taken to Alaska, from where he must return to Spain. The first webisode includes the introduction of the protagonist, by himself, his arrival in Alaska, his surprises and two clues left by the production team: In the next webisode, the participant is saved from a blizzard from a villager who invites him to his house.

In the third and final webisode, Rikar combines different means of transport to get to an airport from where he can fly back to Madrid. In the second season the protagonist is a Greek dancer and yoga instructor. Stravos Kottas, who is dropped in Athens to travel to Cambodia. The structure of this and the previous season are the same. The participant introduces himself becomes our guide in this adventure , is dropped in the chosen destination, provided with some clues and instructions, and offers a touch of comedy throughout his adventures.

The episodes always include cliffhanger endings to persuade the audience to watch the next episode.

Narrativas Transmedia : cuando todos los medios cuentan

The third season is set in Morocco. The protagonist, William Englehardt, a New York photographer, must carry a ton-heavy block of ice throughout the desert to a camp and asks for help to the people he finds in his way. His mission is to get to Berlin where he has to put on a circus show. The last season has two protagonists from different countries: Murray from Ireland and Jakob from Poland , who are dropped in the Philippines and must survive together in the island in the Robison Crusoe style.


Each episode has a very short duration, less than five minutes. Following the web series format, each episode includes a summary of the previous episode and a preview of the next. All seasons include product placement. In pseudo-documentary style, the protagonists talk to the camera about their thoughts and experiences during their adventure. Throughout the five seasons, all the selected protagonists are young, male, aged 25 to 40, with liberal professions, with a sense of humour, proficient in the English language, and have travelling experience.

The campaign also uses events in the real world, although it is a game: Another modality of this game is the Departure Roulette En Route , which moves in search of people who twitted that they would participate in the experience without hesitation. In addition, participants are unaware of their destination until they are on board. Participation in social networks was large: On Facebook, the content about the Departure Roulette, posted by 30 September , generated 49, Likes, 9, comments and was shared 4, times. The campaign-related content posted on Facebook was the one that achieved the greatest social impact.

From June to September , the Instagram page of the campaign posted a total of 43 photographs or infographs that obtained between 15 and 99 likes. However, these posts provoked few comments between 0 and 5 each. Twitter played a special role because it could be employed by users to show interest to participate in the En Route version of the Departure Roulette game video available at https: This channels also served to promote the webisodes of the adventures, gave users the opportunity to participate in the casting of participants by uploading videos requesting so.

The YouTube channel was the main platform of the project. These are short videos that introduce the protagonists of the web series: For instance, Swiss candidate, Sylvain Nicolier, introduced himself to be chosen in the following video: Consumers who bought the special Heineken packs obtain a code to play an online game that tests their navigation skills with challenges that have to be achieved the fewest possible number of clicks, etc. Users of this game have the chance to win an exciting experience: This game offers the online experience of the campaign in the real world.

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This online game is carried out in a joint event created for this purpose. The goal was similar to that of the whole campaign: Some users have been critical of the brand and its initiative, for example, with respect to the reality of the country where a chapter of Dropped took place, in this case Cambodia like John traveller https: However, there are other YouTube users who posted content from the campaign in their own channels because they felt identified with them like andreiskisser: Russo, Julie Levin and Francesca Coppa Scolari, Carlos A International Journal of Communication 3: Scolari, Carlos A a.

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Email this article Login required. Email the author Login required. Dimensional expansions and shiftings: A fan fiction also known as fanfic or fic is a piece of writing in which the author recreates the setting, events and characters of a source text or canon. After reviewing fan theories and practices, the article focuses on three examples examples of Fringe fan fiction analysing them with a double-edged methodology that combines narrative semiotics and narratology.

Based on the results we update a set of transmedia narrative strategies by adding dimensional expansion and shifting, and also redefine the different areas of the storyworld where fan fiction is set with special emphasis on alternate universe AU scenarios. Keywords transmedia storytelling; fan fiction; user-generated content; narrative strategies; Fringe.

Narrativas Transmedia : cuando todos los medios cuentan (Book, ) []

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