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Alice in Wonderland and its contribution to transmedia storytelling

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Alessandro Nanì

on 28 August 2013

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Transcript of Alice in Wonderland and its contribution to transmedia storytelling




The original work
Novel written in 1865 by Lewis Carroll tells the story of a girl called Alice who runs after a rabbit and falling down his hole ends up in fantasy world Wonderland. She meets there many peculiar creatures and fights for her life with the Queen of Hearts that commanded to chop off her head.
Can a novel contribute to Transmedia storytelling?
“The study of transmedia [...] is the study of a storyworld unfolding across media platforms”
Dena, 2009
Is so Alice in Wonderland
only a novel or a universe?
Check list in the analysis of the contribution to Transmedia stoytelling
Comic books
Parks & events
Are they all?
Films about/inspired/referring to



Video Games

Role played games

Litterary retelling and sequels



Turist attractions
and many others..........
Spreadability is an ability to spread the story content across different social media platforms to expand its economic and cultural value

Several animated movies, live performances, comic books, flash games, web pages dedicated to Alice in Wonderland, music video and many many others.
Forums and pages about The hidden math behind Alice in Wonderland where scholars try to prove that the story is based on a symbolic algebra
Multiplicity allows fans to retell the story in their own ways, it is also called fan fiction that creates unauthorized extensions of the original story from the fresh perspective which may nevertheless enhance fan engagement and expand our understanding of the original

.Multiplicity of UGC is enormous: essays about Alice’s adventures starting from the time when the book ends,
Songs by Wynter Gordon or Neil Sedaka about Alice, her feelings and dreams, presenting her as a real girl etc...
Continuity vs Multiplicity
Spredability vs Drillability
each piece of content should be able to stand alone, but provide a richer story experience.
audience is transported into a world that is larger than a single story;
opportunity for collective action rather than passive consumption;
multiple entry points to the storyworld;
key story information over a variety of platforms, each used for what it does best;
and its contribution to Transmedia Storytelling
Immersion Vs Extractability
Immersion is a possibility for the consumer to enter the storyworld and take part in the story.
The fan extract elements of the story to deploy them in their life (e.g. merchandising)
Transmedia extensions that give a richer experience of the storyworld, franchising may exploit both digital- and real-world that often lead to cataloging and capturing many different elements by fans.
World Building
Breaking up the story or idea into multiple installments across multiple media.
The central narrative is explored by secondary characters and through new eyes; different perspective gives clarity of who is speaking and who they are speaking for- POV. (backstories, mobisodes,webisodes)
Extensions made by fans can become a part of the narrative itself; some of them are invited by the creator himself; fans search for sites of potential performance. (cultural attractors, cultural activators)
continuity of the story world in transmedia franchises contributes to ‘coherence’ and ‘plausibility’ of the plot and which is appreciated by hardcore fans that collect bits of information to have a whole picture of the story

coherence of the universe in franchises (books, movies, performances, etc.)
contributes to the plausibility of the story.
Negative Capability
According to J. Keats it is building strategic gaps in the story which empowers audiences to fill those in their own imagination. I Creating negative capability gives a chance to unfold those mysteries in other works and keep the story going.
Migratory cues
notion created by M. Ruppel that refers to hints made for viewers to look for some more information, however, the story is clear without that additional knowledge; it’s made to provide better understanding and to make it more enjoyable for the audience.

Carroll embeded a number of references to mathematics as well as social and musical references.
“Retelling a story in a different media type is adaptation,
while using multiple media types to craft a single story is transmediation.”
Long 2007
Alice contribution to Transmedia Storytelling is of great scope.

It still attracts audiences, the book is renewed all the time, it’s one of the most popular stories with children and adults, the Alice motive in culture remained and is a starting point for new ventures, it consists of migratory cues and narration is led with negative capability that allows to create new content by fans but which remains in the storyworld, there are many examples of merchandising and franchising and people can take part in the story.

The universe itself is so wide and complex that it could have been used as a Transmedia project if it was possible 100 years ago.
Drillability is an encouragement for fans to dig deeper into the storyworld to discover its complexity, second meanings, cultural references, etc.
Academic sources
CADDELL, Bud (2009). Core principles of transmedia storytelling.
<http://whatconsumesme.com/2009/posts-ive-written/core-principles-of- transmedia-storytelling/> Access 15/08/2011.

DENA, Christy (2009). Transmedia Practice: Theorising the Practice of Expressing a Fictional World across Distinct Media
and Environments. PhD Dissertation. University of Sydney.

JENKINS, Henry (2009). The Revenge of the Origami Unicorn: Seven Principles of Transmedia Storytelling

JENKINS, Henry (2009). Revenge of the Origami Unicorn: The Remaining Four Principles
of Transmedia Storytelling. <http://henryjenkins.org/2009/12/revenge _of_the_origami_unicorn.html> Access 15/08/2011

Rampazzo Gambarato, renira (2011) Transmedia Storytelling lecture.
Kamińska, Barbara & Nanì Alessandro 2011
Full transcript