Course ObjectiveI Knowledge and understanding
1. Has demonstrable knowledge of central aspects of and current
developments in the area of complex narratives and transmedia
2. Has a thorough understanding of key terminology, methods and
theories, and their specific relevance for complex narratives and
II Applying knowledge and understanding
3. Has the ability to plan and organize an independent research project,
and to express this in a sound scholarly text.
III Making judgments
4. Has the ability to relate his or her own findings, views and
approaches to current debates within the subject area of complex
narratives and transmedia storytelling.
5. Is able to understand and to evaluate international publications in
6. Is able to communicate research findings in a clear manner and
academic format on a level equal to academic journals such as
Convergence Culture (level 400).
Course ContentWith the rise of convergence culture (Jenkins, 2006) in the last decade
of the 20th Century, narratives began to defy classical Aristotelian
linearity and closure and to challenge the limits of the book, film and
game, resulting in new formal patterns and new aesthetics that surpass
the individual medium (Ndalianis 2005). Purposefully dispersing a
narrative over different media was dubbed transmedia storytelling by
Henri Jenkins in his seminal work Convergence Culture. Such a
polycentric open structure that employs different media was only
possible because at the end of the 20th century a more medium literate
audience emerged, an audience that was not only willing but also capable
of piecing together the different storylines often working as a
collective using the latest online media (ibid.; Jenkins 2006, O’Flynn
2013). Examples of transmedia storytelling are THE MATRIX (TMS, 1999 –
2009), THE WALKING DEAD (TMS, 2003 – present) and ASSASSIN'S CREED (TMS,
2007 – present). In this course, we will examine various theories both
on transmedia storytelling as well as on complex narratives that
underlie these types of intercompositional narrative phenomena.
Note that in this course we will only discuss (mostly non-branding)
transmedial narratives in popular media. It is a theoretical course, not
a hands-on practical course on how to create transmedial stories.
Teaching MethodsThis course uses a combination of lectures, discussions and seminars.
Using various theoretical frameworks, we will compare, discuss and
analyse various forms and approaches of storytelling across media.
Students will also hand in a proposal for and write a short paper (400
level). These papers will be peer reviewed.
Method of AssessmentActive participation in class & discussions (pass). (Group) assignments
(pass). Paper proposal (10%), peer review process (20%), and final paper
(70%). The grade for the final paper should be at least a 6.
Entry RequirementsBachelor's degree in Comparative Arts and Media Studies or comparable
LiteratureSelected (online) articles and selected chapters from various books and
theses, specifically from:
o Dena, Christy, Transmedia Practice: Theorising the Practice of
Expressing a Fictional World across Distinct Media and Environments,
(PhD dissertation) 2009.
o Gray, Jonathan, Show Sold Separately: Promos, Spoilers, and other
Media Paratexts, New York / London (New York University Press) 2010.
o Hutcheon, Linda, A Theory of Adaptation, London / New York (Routledge)
2013 (second edition).
o Jenkins, Henry, Convergence Culture: Where Old and New Media Collide,
New York (New York University Press) 2006.
o Rose, Frank, The Art of Immersion: How the digital generation is
remaking Hollywood, Maddison Avenue, and the way we tell stories, New
York / London (W. W. Norton & Company) 2011.
o Ryan, Marie-Laure and Jan-Noël Thon (eds.) Storyworlds across Media:
Towards a Media-Conscious Narratology, Lincoln / London (University of
Nebraska Press) 2014.
See study manual for specifics.
Target AudienceMaster's students Comparative Arts and Media Studies; other master's
students where the course is an elective. Other master students that
comply with the entry requirements.
Additional InformationThe number of students who can participate in this course is
unfortunately limited. Students who do not study CAMS therefore have a
risk of being turned down, It is appreciated if you only apply for the
course when you really want to participate.
Attendance and punctuality: You may miss 1 class for a valid reason. If
you cannot attend, you always have to notify your lecturer by e-mail at
the latest one hour before the class starts. If you do not have a valid
reason or miss more than one class, you may be expelled from the course.
|Language of Tuition||English|
|Faculty||Faculty of Humanities|
|Course Coordinator||dr. J.I.L. Veugen|
|Examiner||dr. J.I.L. Veugen|
dr. J.I.L. Veugen
You need to register for this course yourself
Last-minute registration is available for this course.
|Teaching Methods||Seminar, Lecture|
This course is also available as: