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Show Sold Separately: Promos, Spoilers, and Other Media Paratexts

01 Jan 2010-
TL;DR: In the DNA: Creating Across Paratexts 272 Notes 291 Index 000 About the Author 319 as mentioned in this paper The DNA: creating across parallel text is a theory of parallel text that has been studied extensively in film, television and off-screen studies.
Abstract: Acknowledgments vi Introduction: Film, Television, and Off-Screen Studies 1 1. From Spoilers to Spinoffs: A Theory of Paratexts 39 2. Coming Soon! Hype, Intros, and Textual Beginnings 64 3. Bonus Materials: Digital Auras and Authors 107 4. Under a Long Shadow: Sequels, Prequels, Pre-Texts, and Intertexts 153 5. Spoiled and Mashed Up: Viewer-Created Paratexts 188 6. In the World, Just Off Screen: Toys and Games 230 Conclusion: "In the DNA": Creating Across Paratexts 272 Notes 291 Index 000 About the Author 319
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29 Jan 2015
TL;DR: This book presents an overview of the challenges faced by ethnographers who wish to understand activities that involve the internet, and explores both methodological principles and practical strategies for coming to terms with the definition of field sites, the connections between online and offline and the changing nature of embodied experience.
Abstract: The internet has become embedded into our daily lives, no longer an esoteric phenomenon, but instead an unremarkable way of carrying out our interactions with one another. Online and offline are interwoven in everyday experience. Using the internet has become accepted as a way of being present in the world, rather than a means of accessing some discrete virtual domain. Ethnographers of these contemporary Internet-infused societies consequently find themselves facing serious methodological dilemmas: where should they go, what should they do there and how can they acquire robust knowledge about what people do in, through and with the internet?This book presents an overview of the challenges faced by ethnographers who wish to understand activities that involve the internet. Suitable for both new and experienced ethnographers, it explores both methodological principles and practical strategies for coming to terms with the definition of field sites, the connections between online and offline and the changing nature of embodied experience. Examples are drawn from a wide range of settings, including ethnographies of scientific institutions, television, social media and locally based gift-giving networks. - See more at: http://www.bloomsbury.com/uk/ethnography-for-the-internet-9780857855701/#sthash.6wmdZKzF.dpuf

440 citations


Cites background from "Show Sold Separately: Promos, Spoil..."

  • ...Representations of the lists thus circulate around well beyond the confines of the lists themselves, forming paratexts (Gray 2010) that help to shape expectations of and mediate relationships with the lists themselves....

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Journal ArticleDOI
TL;DR: This paper examined the role of personality factors and paratextual information about the reliability of a story on its persuasiveness and found that participants' need for cognition increased the difference between non-fiction versus a fake story.
Abstract: The present research examined the role of personality factors and paratextual information about the reliability of a story on its persuasiveness. Study 1 (N = 135) was focused on recipients' explicit expectations about the trustworthiness/usefulness and the immersiveness/entertainment value of stories introduced as nonfiction, fiction, or fake. Study 2 (experimental, N = 186) demonstrated that a story was persuasive in all three paratext conditions (nonfiction, fiction, or fake versus belief-unrelated control story) and that its influence increased with the recipients' need for affect. Participants' need for cognition increased the difference in persuasiveness of a nonfictional versus a fake story. Additional mediation analyses suggest that fiction is more persuasive than fake because readers of fiction get more deeply transported into the story world.

89 citations

Journal ArticleDOI
Lucy Bennett1
TL;DR: In this article, the authors examine the responses of fans engaged in this activity, identifying the key themes and patterns apparent within this behaviour, arguing that fans are using social media and mobile technology in an effort to contest and reshape the boundaries of live music concerts.
Abstract: In recent years, the expansion and use of mobile Internet and social media have changed live music engagement and fandom quite considerably. It has not only allowed fans to find and connect with each other at shows, but also to tweet and text concert set-lists and other information as they happen, thereby allowing non-attendees around the world to feel part of the event. This study examines the responses of fans engaged in this activity, identifying the key themes and patterns apparent within this behaviour, arguing that fans are using social media and mobile technology in an effort to contest and reshape the boundaries of live music concerts. It demonstrates how these online tools are involving fans that are not physically present at the show, seemingly incorporating them into the real-time “live” experience. This article explores how fans of prolific touring artists U2 and Tori Amos undertake this, with assigned concert attendees tweeting the set-list to online fans, where they gather to enjoy the show together, from the comfort of their computers.

80 citations


Cites background from "Show Sold Separately: Promos, Spoil..."

  • ...Anticipation has been identified for some fan cultures as delivering a strong element of pleasure (Gray 2010; Harrington and Bielby 1995, 139; Huron 2006)....

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08 Jul 2020
TL;DR: The Routledge Companion to Media and Tourism as mentioned in this paper provides a comprehensive overview of the research into the convergence of media and tourism and specifically investigates the concept of mediatized tourism, focusing on the ways in which different forms of media content and consumption converge and the consequential effects on tourism and tourists.
Abstract: The Routledge Companion to Media and Tourism provides a comprehensive overview of the research into the convergence of media and tourism and specifically investigates the concept of mediatized tourism.This companion offers a holistic look at the relationship between media and tourism by drawing from a global range of contributions by scholars from disciplines across the humanities and social sciences. The book is divided into five parts, covering diverse aspects of mediatization of tourism including place and space, representation, cultural production, and transmedia. It features a comprehensive theoretical introduction and an afterword by leading scholars in this emerging field, delving into the ways in which different forms of media content and consumption converge, and the consequential effects on tourism and tourists.The collection is an invaluable resource for students and scholars of tourism studies, cultural studies, and media and communication, as well as those with a particular interest in mediatization, convergence culture, and contemporary culture. (Less)

77 citations

Journal ArticleDOI
TL;DR: This paper explored the potential and limits of the concept for describing medial change, at a time when both the printed book and the celluloid film are supplemented by new media and delivery technologies.
Abstract: Gérard Genette’s concept of the “paratext,” first introduced in Palimpsestes (1982) and elaborated in Seuils (1987), has enjoyed a tremendously successful career in literary studies over the past two decades. Inquiries into forms and functions of the literary paratext abound, especially since Seuils’ German and English translations in 1989 and 1997, and the distinction between text and paratext is now one of the basic analytical tools taught in textbook introductions to the study of narrative and explicated in handbooks on literary analysis.2 The concept of the paratext has since also been productively applied to other media, especially audiovisual forms, such as film and television—although Genette used a narrow definition of “text,” based his concept of paratext on an analysis of literary narrative materialized in the form of the printed book, and can be said to have consciously avoided the question of other media (Stanitzek, “Texts and Paratexts” 35).3 This cluster of articles explores the potential and limits of the concept for describing medial change, at a time when both the printed book and the celluloid film are supplemented—and maybe even supplanted—by new media and delivery technologies. More specifically, we are interested in the processes of digitization, that is, in the shifts that take place when originally analogue texts are rendered in digital

76 citations