Interactivité, resémantisation, et plaisirs de la primauté ontologique : les œuvres de fans comme centre du récit

Transmediating difference: Fictional filter bubbles and transmedia storytelling

“…Exemplified by properties like Lost and The Matrix, top-down transmedia storytelling relies on a strong central author (or proxy-author) who designs the entire storyworld to ensure the coherency of the overall narrative across media, and takes advantage of the unique storytelling affordances of each medium. Top-down transmedia properties may invite audience participation, including the creation of user generated content like fan fiction, art, and video, but they also must retain firm boundaries between legitimate story extensions authorized by the creator, and illegitimate, unauthorized extensions (Kustritz, 2014(Kustritz, , 2017.…”

“…For example, many fans of the Lord of the Rings books had already seen drawings of the characters and read story extensions that fleshed out the lives and thoughts of secondary characters, before the Lord of the Rings films were made. Although the books and movies certainly reached more people than any one amateur extension, I have argued elsewhere that many fans still developed very strong feelings about particular characters' appearance and inner lives based on experience with unauthorized transmedia (Kustritz, 2017). For them, canon, or what "really happened," is not necessarily based on the vision of the original creator but instead develops in unpredictable patterns as they navigate the larger snowball transmedia structure, which includes both official and unofficial extensions (Kustritz, 2017).…”

“…Although the books and movies certainly reached more people than any one amateur extension, I have argued elsewhere that many fans still developed very strong feelings about particular characters' appearance and inner lives based on experience with unauthorized transmedia (Kustritz, 2017). For them, canon, or what "really happened," is not necessarily based on the vision of the original creator but instead develops in unpredictable patterns as they navigate the larger snowball transmedia structure, which includes both official and unofficial extensions (Kustritz, 2017). Likewise, although Star Trek has a clear TV and film canon, the characters, stories, and icons of the Star Trek storyworld circulate widely throughout popular culture in allusions, parodies, and references, and take on a collective life of their own.…”