Austen Approved: Pemberley Digital and the Transmedia Commodification of Jane Austen

Russo, Stephanie

doi:10.1080/09699082.2018.1510884

Cited by 3 publications

(2 citation statements)

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“…The majority of existing work in online transmedia stories focuses on interactivity afforded to audience members, and the way producers handle the impact interactivity has on storytelling (Bakioğlu 2014; Jandl 2015; Seymour et al 2015; Russo 2018). The influence of the platform is certainly an interesting aspect to consider when analysing transmedia texts, as developing texts to capitalise on affordances of platforms and media is one key element of good transmedia stories.…”

Section: Narrative Theory and Transmedia Storiesmentioning

confidence: 99%

Transmedia storytelling, diegetic paratexts, and the limits of real time

Adams

Barbour

2022

Convergence: The International Journal of Research into New Med

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The category of ‘transmedia story’ is generally assumed to be static. That is, once a multi-platform story world has been classified as transmedia, it is assumed that this classification applies on an ongoing basis. However, these classifications may in fact need to be revisited, particularly when a story is told in ‘real time’ across social platforms that privilege immediacy. In this paper, we examine the relationship between diegetic social media paratexts and the core text they connect to, using the example of in online transmedia story The Lizzie Bennet Diaries. We argue that once the narrative has concluded, the transmedia status of the story becomes problematic, given the effort required to stitch together the different transmedial components. Utilising qualitative and quantitative content analysis, the show is analysed to determine the relationship between the different elements of the text as presented on YouTube and Twitter. The diegetic paratexts distributed through social media site Twitter contribute to the narrative by expanding upon the events of the core text conveyed on YouTube, and providing context – but never resolution – to the plot. The Twitter paratexts are inherently dependent on the core text but are also directional in that audience members must move from one platform to another in order to engage with the full story. Additionally, the temporal model of release for the core text changes the impact of the diegetic paratexts, while limiting the longevity of the transmedia aspects to the text as a result of dispersed narrative and dependency created by the relationship between textual elements. This analysis helps to extend understandings of transmedia storytelling as we propose the concept of ‘transmedia artefacts’, a category for narratives that transform once they are no longer able to be engaged with as live online objects.

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Section: Narrative Theory and Transmedia Storiesmentioning

confidence: 99%

Transmedia storytelling, diegetic paratexts, and the limits of real time

Adams

Barbour

2022

Convergence: The International Journal of Research into New Med

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“…Khelman (2012) analyses the concept of ethos in Emma written by Austen. Other studies such as Medalie's (2013), Russo's (2018, and Kica's (2017) do not investigate the superiority complex in Austen's Emma. The last study about the superiority complex in Austen's Emma is in 2001 by Minma. This study aims at analyzing the concept of superiority complex in Austen's Emma by using the newest theories to update the knowledge of superiority complex as portrayed in a literary work, Emma.…”

Section: Introductionmentioning

confidence: 99%

Superiority Complex in Jane Austen’s Emma

Mila,

Maru,

Kumayas

2023

SoCul : IJRCCSSCLI

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The aim of this research is to reveal Emma’s superiority complex in Jane Austen’s Emma. In conducting this research, the method used is qualitative. The main source of this research is the novel itself. The second sources are based on books, the internet, and articles to support the writers in conducting this study. In analyzing the data, the researchers use psychoanalysis theory. The result shows that the superiority complex is the one psychological disorder where the main character, Emma, feels superior compared to other characters. This attitude should not be allowed to develop because it can break other people's character. There is nothing indication of psychological or social changed. Emma is lavishly praised by her father and governess, that prevent her from realizing her flaws and ill prepared her for life in the real world. Emma's background is unclear, and she doesn't learn anything about herself. Emma's marriage is not a true match founded only on shared sentiments of love.

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The Literary-Inspired Web Series, Dickens and LGBTQIA+ Representation:Public History—A David Copperfield Web Series(2019–20)

Louttit

2023

Adaptation

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Web series adaptations of the classics have been a familiar part of digital popular culture since the watershed appearance of The Lizzie Bennet Diaries (2012–13). Adaptation critics, including Douglas M. Lanier, Jennifer Camden, and Kate Faber Oestrich, have tended to focus on relatively high-profile Austen and Shakespeare vlog adaptations, especially those produced by Pemberley Digital. In this article, I update the genre’s genealogy by turning instead to later waves of low-budget creativity that have taken this transmedia form in new directions since the peak years of the literary-inspired web series in the mid-2010s. I pay particular attention to Quip Modest’s Public History–A David Copperfield Web Series (2019–20), a relatively rare example of a Dickens adaptation in the web series format which remoulds the multi-generational three-decker saga into an LGBTQIA+ positive coming-of-age narrative for the Generation Z audience. My contextualised close reading of the adaptation simultaneously reframes our understanding of Dickens’s digital canonicity and helps us better grasp the cultural logic of the literary web series adaptation community.

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Austen Approved: Pemberley Digital and the Transmedia Commodification of Jane Austen

Cited by 3 publications

References 0 publications

Transmedia storytelling, diegetic paratexts, and the limits of real time

Transmedia storytelling, diegetic paratexts, and the limits of real time

Superiority Complex in Jane Austen’s Emma

The Literary-Inspired Web Series, Dickens and LGBTQIA+ Representation:Public History—A David Copperfield Web Series(2019–20)

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