Follow the Story: Narrative and Immersion

Biggin, Rose

doi:10.1007/978-3-319-62039-8_5

Cited by 2 publications

(3 citation statements)

References 6 publications

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“…My impressions align with Rose Biggin’s argument that “[i]mmersive experience is not guaranteed by certain performance types or atmospheres and an audience member is not automatically active and empowered as soon as they step into an immersive space” (2017: 21; see also Lukas, 2013: 136). The commercial imperatives of activations can compound the tension between immersive environments and immersive experiences.…”

Section: “Welcome To the Nine-nine”: Inside Sdcc Activationssupporting

confidence: 68%

“…I analyze trade press reports, marketing agency websites, Instagram, Twitter, and blog posts, and interviews I conducted with marketers. I incorporate “Spectator-Participation-as-Research” approaches, which theater scholar Rose Biggin (2017: 3) defines as “a methodology in which writers draw on first-person accounts of their own experience as audience members alongside more theoretical writing.” My attendance of SDCC offsites between 2013 and 2019 informs my overall analysis, and specifically my account of the 2019 Brooklyn Nine-Nine activation. I am also inspired by Heather Urbanski’s analysis of Disney Parks, in which she uses “personal reflections [that] are processed through an analytical lens” (Urbanski, 2018).…”

Section: Methodsmentioning

confidence: 99%

“…Immersive theater emerges around the same time as experiential marketing flourishes in the early 2000s. Theater scholar Rose Biggin identifies the following characteristics of immersive theater: the “ability of an audience to wander with apparent freedom through a spatially immersive environment, usually scenographically rich and multi-sensory; a non-chronological and/or impressionistic approach to narrative; and interactive elements or characters, often with an emphasis on empowerment, choice, or freedom for the spectator” (Biggin, 2017: 2). In other words, immersive theater seems to shift the narrative agency from actors to spectators, who move freely through carefully crafted spaces in which encounters with actors lead to a feeling of being immersed in the world of the play.…”

Section: Activations and The Experience Economymentioning

confidence: 99%

See 2 more Smart Citations

The experience economy of TV promotion at San Diego Comic-Con

Kohnen

2020

International Journal of Cultural Studies

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This article analyzes the promotional function of pop-up branded entertainment experiences during San Diego Comic-Con (SDCC). I argue that these activations are part of the experience economy, in which affect-driven branded experiences in physical spaces and their mediation on social media become central elements of consumption. Through an analysis of several case studies, I reveal how three trends – the media industry’s recognition of fans’ importance, the development of experiential marketing, and the rise of immersive theater – crystalize in the form of the SDCC activation, making it a premier site for understanding interactions between Hollywood and fandom in the context of life in brand cultures. Overall, I consider the micro- and macro-levels of activations – moving from parsing entertainment companies’ drive to create immersive, interactive experiences and fans’ engagement with them to the larger context of industry–fan relationships – as significant strands in cultural debates around brands and media consumption.

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Section: “Welcome To the Nine-nine”: Inside Sdcc Activationssupporting

confidence: 68%

Section: Methodsmentioning

confidence: 99%

Section: Activations and The Experience Economymentioning

confidence: 99%

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The experience economy of TV promotion at San Diego Comic-Con

Kohnen

2020

International Journal of Cultural Studies

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Analysis of Ömer Seyfettin's Stories about the Balkans in Terms of Narration Techniques

Aydın

2024

İçtimaiyat

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Narration techniques, which are used to narrate the subject in a text, contribute to the transformation of the narrative into a multi-layered, multi-meaning and connotative structure. In this way, an original story emerges from the narrative. Ömer Seyfettin, one of the founding names of modern Turkish storytelling, produced hundreds of literary works in his short life. The stories of the author, who spent a part of his life in the Balkans, include elements related to the Balkans, such as the Beyaz Lale, Bomba, and Hürriyet Bayrakları. In this study, these stories of the author were examined in terms of narration techniques. In the study, document analysis, one of the qualitative research methods, was used. At the end of the analysis, it is seen that narration, description, dialogue and interior monologue techniques are used intensively in the these stories, and the interior monologue technique is preferred in a story. It has been seen that these techniques are effective in shaping the preparation phase in the stories, summarizing the events spread over a long period of time, creating an atmosphere, directing the development of the events and revealing the personality traits of the heroes. In addition, it was concluded that these techniques were effective in telling the massacres Muslim-Turks were subjected to in a realistic way during and after the Balkan Wars. At the end of the study, it is suggested that Ömer Seyfettin's stories about the Balkans can be used in Turkish and Literature textbooks prepared for primary and secondary school students. Finally, by using the narrative techniques that are widely preferred in today's story, rewriting studies can be made on Ömer Seyfettin's stories about the Balkans.

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Follow the Story: Narrative and Immersion

Cited by 2 publications

References 6 publications

The experience economy of TV promotion at San Diego Comic-Con

The experience economy of TV promotion at San Diego Comic-Con

Analysis of Ömer Seyfettin's Stories about the Balkans in Terms of Narration Techniques

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