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TRANSMEDYA HİKAYECİLİĞİ VE BİLİŞSEL KAPİTALİZM İLİŞKİSİ ÜZERİNE BİR DEĞERLENDİRME

Year 2023, Volume: 13 Issue: 2, 483 - 500, 01.04.2023
https://doi.org/10.7456/tojdac.1254472

Abstract

Dijitalleşen ve genişleyen iletişim ortamları ile birlikte, medyalararası bir dünyanın içine hapsolan insanlar, aynı anda çok hızlı ve esnek bir şekilde farklı medyalar arasında yaşamaya başlamışlardır. Bu hızlı akışkanlıktan en iyi yararlanan ve bir hikayenin farklı bölümlerini birden fazla medyaya yayarak, izleyicinin parçaları bütünleştirmede katılımcı olmasına izin veren, yeni bir medya formatı olarak ‘transmedya’ karşımıza çıkmaktadır. Süreklilik ve çeşitlilik gösteren içerikleri sadece tüketmeyip aynı zamanda üreten günümüzün etken izleyicisi, doğrudan veya dolaylı olarak inşa edilen bu dünyanın içine dahil olmakta, fikir ve tecrübeleriyle birer meta haline dönüşmektedir. Transmedya, hikayenin devamlılığı için tüketicinin sadece maddi değil aynı zamanda bilişsel sermayesini kullanmaktadır. Kaynağını bilişsel sermayeden alan bilişsel kapitalizm, üreten tüketicinin bilgi, duygu, tecrübe gibi entelektüel sermayesini sömürü düzenidir. Çalışmanın temel tezi de transmedya, yaratılan tüm medya ortamları ve kullanım biçimleriyle gücünü, ana kaynağını maddi olmayan emekten alan bilişsel kapitalizmin destekçisi rolündedir. Buradan yola çıkarak bu makale ile transmedya ve transmedya hikayelerinin bilişsel kapitalizmle ilişkisini ortaya koymak ve bu ilişkiyi tartışmaya açmak amaçlanmaktadır. Literatür taraması ile hazırlanan çalışmada ayrıca transmedyanın üreten tüketicisi, bilişsel kapitalizmin nasıl bir aracı haline gelmektedir sorusuna cevap aranmaya çalışılmıştır.

Supporting Institution

Bu çalışma her hangi bir kurumdan destek almamıştır.

References

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  • Akgül, M. & Toprak, H. H. (2021). Yakınsama kültürü ve transmedya hikâye anlatıcılığı üzerine, Aksaray İletişim Dergisi, 3 (1), 43-61.
  • Andrejevic, M. (2009). Exploiting Youtube: contradictions of user-generated labor. (Eds) Pelle Snickars ve Patrick Vonderau. In The Youtube Reader (s. 406-423). Mediehistoriskt.
  • Arvidsson, A. (2005). Brands: A critical perspective, Journal of Consumer Culture, 5 (2), 235-258.
  • Bazarcı, S. (2019). Transmedya uygulamalarında yayılma kanalları: küresel örnekler üzerine bir inceleme, Akdeniz İletişim Dergisi, 31, 560-576.
  • Bengtsson, R. vd. (2017). Share! Like! Create! How fan labor is cultivated and practiced in the contemporary music industry. AoIR Selected Papers of Internet Research.
  • Beil, B. & Schimdt, H. C. (2015). The world of the walking dead-transmediality and transmedial intermediality, Acta Univ. Sapientiae Film and Media Studies, 10 (1), 73-88.
  • Bhattacharya, S. (2018). Transmedia branding: how consuming dispersed brand information ınfluences consumers' attitude and purchase intention (Thesis No. 328006961), Unpublished Master Thesis, University of Leicester.
  • Brown, B. A. & Haase, A. Q. (2012). A workers’ inquiry 2.0: an ethnographic method for the study of produsage in social media contexts”, TripleC, 10 (2), 488-508.
  • Buluş, B. & Buluş, G. C. (2020). Kültür endüstrisi ürünü olarak dijital oyunlar ve dijital ekonomi, Aksaray Üniversitesi İktisadi ve İdari Bilimler Fakültesi Dergisi, 2 (2), 1-6.
  • Coombs, W. T. & Holladay, S. J. (2018). Innovation in public relations theory and practice: a transmedia narrative transportation (tnt) approach, Journal of Communication Management, 22 (4), 382-396.
  • Çalık, M. ve Nizam, F. (2020). Pazarlama halkla ilişkilerinde transmedya hikayeciliği uygulamaları: Turkcell emocanlar kampanyası örneği, Anemon Muş Alparslan Üniversitesi Sosyal Bilimler Dergisi, 8, 9-21.
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  • Dena, C. (2008). Emerging participatory culture practices, Convergence, 14 (1), 41-57.
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  • Dönmez, M. & Güler, Ş. (2016). Transmedya hikayeciliği: doritos akademi örneği incelemesi, Süleyman Demirel Üniversitesi Vizyoner Dergisi, 7 (16), 155-175.
  • Ebner, M. (2007). E-learning 2.0 = E-learning 1.0 + Web 2.0?, The 2nd International Conference on Availability, Reliability and Security, 1235-1239.
  • Erzurum, F. (2019). Does transmedia started with film? Dördüncü Kuvvet. 2 (1). 32-42Freeman, M. (2015). Branding consumerism: crossmedia characters and storyworlds at the turn of the 20th century, International Journal of Cultural Studies, 18 (6), 629-644.
  • Fuchs, C. (2010). Labor in ınformational capitalism and on the internet, The Information Society, 26 (3), 179-196.
  • Fuchs, C. (2014). Digital prosumption labour on social media in the context of the capitalist regime of time, Time and Society, 23 (1), 97-123.
  • Gambarato, R. R. (2013). Transmedia project design: theoretical and analytical considerations, Baltic Screen Media Review, 1, 81-100.
  • Grandio, M. M. & Bonaut, J. (2012). Transmedia audiences and television fiction: A comparative approach between Skins (UK) and El Barco (Spain), Participations Journal of Audience and Reception Studies, 9 (2), 558-574.
  • Granitz, N. & Forman, H. (2015). Building self-brand connections: exploring brand stories through a transmedia perspective, Journal of Brand Management, 22 (1), 38-59.
  • Guerrero, P. M. & Scolari, C. A. (2016). Transmedia storytelling and user generated content, Cuadernos, 38, 183-200.
  • Hayes, G. P. (2011). How to write a transmedia production bible, Screen Australia.
  • Hardt, M. & Negri, A. (2005). Multitude: war and democracy in the age of empire. Penguin Books
  • Hardt, M. (1999). Affective labor, Boundary 2, 26 (2), 89-100.
  • İlhan, B. (2011). Transmedia consumption experiences: consuming and co-creating ınterrelated stories across media, Unpublished Doktorate Thesis (Thesis No 3496326), University of Illinois.
  • İspir, N. ve Kucur, A. B. (2019). Yakınsama kültürü ve transmedya hikâye anlatıcılığı, Anadolu Üniversitesi İletişim Bilimleri Fakültesi Uluslararası Hakemli Dergisi, 27 (2), 161-171.
  • İspir, N. & Kucur, A. B (2021). Yakınsama kültürü, transmedya hikâye anlatıcılığı: Angry birds kurgusal evreni. Atatürk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 25 (1) , 37-54.
  • Jakus, D. & Zubcic, K. (2016). Transmedia marketing and re-invention of public relations. Minib, 22 (4), 91-102.
  • Jeon, H (2014). Cognitive capitalism or cognition in capitalism? A critique of cognitive capitalism theory. Spectrum: Journal of Global Studies, 2(3), 89-116.
  • Jenkins, H. (2006). Convergence culture: where old and new media collide. New York University Press.
  • Jenkins, H. (2022, 18 Aralık). Transmedia Storytelling 101. http://henryjenkins.org/blog/2007/03/transmedia_storytelling_101.html
  • Jenkins, H. (2023, 25 Ocak). The revenge of the origami unicorn: Seven principles of transmedia storytelling. http://henryjenkins.org/blog/2009/12/the_revenge_of_the_origami_uni.html
  • Jenkins, H. (2010). Transmedia storytelling and entertainment: an annotated syllabus, Journal of Media & Cultural Studies, 24 (6), 943-958.
  • Jenkins, H. & Deuze, M. (2008). Convergence culture. Convergence, 14 (1), 5-12.
  • Jenkins, H. & Forest, H. D. (2018). I have a bad feeling about this: A conversation about star wars and the history of transmedia. Star Wars and the History of Storytelling. Amsterdam University Press.
  • Jenkins, H. vd. (2017). Voices for a new vernacular: a forum on digital storytelling interview with Henry Jenkins, International Journal of Communication, 11, 1061-1068.
  • Karakılıç, E. (2019). Rethinking intellectual property rights in the cognitive and digital age of capitalism: An autonomist Marxist reading, Technological Forecasting & Social Change, 147, 1-9.
  • Karlı, H. D. (2018). Markalaşma ve transmedya hikayeciliği: bir uygulama örneği, Yayımlanmamış Doktora Tezi (Tez No 504485), Selçuk Üniversitesi.
  • Kerchy, A. (2018). Transmedia Commodification: Disneyfication, Magical Objects, and Beauty and the Beast. Routledge.
  • Kılıç, M. C. (2019). Transmedya markalama kampanyalarının marka farkındalığı oluşturmadaki rolü, Yayımlanmamış Yüksek Lisans Tezi (Tez No 572240), Marmara Üniversitesi.
  • Kim, S., vd. (2017). The influence of transmedia experience on brand image, preference and purchase intention, The Journal of the Korea Contents Association, 17 (3), 643-653.
  • Long, G. A. (2007). Transmedia storytelling business, aesthetics and production at the jim henson company, Unpublished Master Thesis, Massachusetts Institute Of Technology.
  • Nam, S. (2020) Cognitive capitalism, free labor, and financial communication: A critical discourse analysis of social media IPO registration statements, Information, Communication & Society, 23 (3), 420-436.
  • Parlak, M. O. (2020). Dijital dünyada emek-sermaye ilişkisi ve kullanıcı metasının oluşumu, Ufuk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 8 (18), 127-147.
  • Plessis, C. (2019). Prosumer engagement through story-making ın transmedia branding, International Journal of Cultural Studies, 22 (1), 175-192.
  • Pratten, R. (2015). Getting Started with Transmedia Storytelling: A Practical Guide For Beginners, Kindle Edition.
  • Price, L. (2017). Serious leisure ın the digital world: exploring the ınformation behaviour of fan communities, Doctoral dissertation, University of London.
  • Roos, C. (2012). Transmedia stories – a Study of producers, ınteractivity and prosumption, Unpublished Master Thesis, Malmö University.
  • Sanchez, C. C. (2014). Transmedia storytelling, an ally of corporate communication: #dropped by heineken case study, Communication and Society, 27 (3), 127-150.
  • Schiller, M. (2018). Stories: Transmedia Storytelling: New Practices and Audiences. Amsterdam University Press.
  • Scolari, A. C. (2009). Transmedia storytelling: ımplicit consumers, narrative worlds, and branding in contemporary media production, International Journal of Communication, 3, 586-606.
  • Scolari, A. C. (2013). Lostology: Transmedia storytelling and expansion/compression strategies, Semiotica, 195, ss. 45-68.
  • Scolari, A. C. (2014). Don Quixote of La mancha: transmedia storytelling in the grey zone, International Journal of Communication, 8, 2382-2405
  • Scolari, A. C. (2018). Transmedia branding: brands, narrative worlds, and the mcwhopper peace agreement, Semiotica, 224, 1-17.
  • Silva, S. D. (2020). How the transmedia narrative approach ınfluences ındividuals ın brand loyalty, Unpublished Master Thesis, National College of Ireland.
  • Siuda, P. & Troszynski, M. (2017). Natives and tourists of prosumer capitalism: on the varied pro-prosumer activities of producers exemplified in the polish pop culture ındustry, International Journal of Cultural Studies, 20 (5), 545-563.
  • Selçuk, B. G. (2021). Transmedya hikâye anlatılarında hedef kitle etkileşimi: Assassin’s Creed örneği, Sanat ve Tasarım Dergisi, Cilt 29, 265-288.
  • Sokolova, N. (2012). Co-opting transmedia consumers: user content as entertainment or 'free labour'? the cases of S.T.A.L.K.E.R. and Metro 2033, Europe-Asia Studies, 64 (8), 1565-1583.
  • Şahin, E. & Kara, S. N. (2020). Dijital pazarlamada transmedya hikayeciliği kapsamında Garanti BBVA markası incelemesi, Erciyes Üniversitesi İktisadi ve İdari Bilimler Fakültesi Dergisi, 1, 55-80.
  • Vercellone, C. (2013). From the mass-worker to cognitive labour: historical and theoretical considerations. Eds. M Linder ve KH Roth, In Beyond Marx: Theorising the Global Labour Relations of the Twenty-First Century, 417–445.
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AN ASSESSMENT ON THE RELATIONSHIP OF TRANSMEDIA STORY AND COGNITIVE CAPITALISM

Year 2023, Volume: 13 Issue: 2, 483 - 500, 01.04.2023
https://doi.org/10.7456/tojdac.1254472

Abstract

With the digitization and expansion of communication media, people trapped in an inter-media world have started to live within different media at the same time very quickly and flexibly. Transmedia, which benefits most from this fast fluidity, emerges as a new media format, that disseminates different parts of a story across multiple media, allowing the audience to be a participant in integrating the parts. Today's active audience, who not only consumes but also produces continuing and diverse content, is directly or indirectly involved in this constructed world and becomes a meta with his/her ideas and experiences. Transmedia uses cognitive capital of the consumer besides his/her tangible capital, for the continuity of the story. Cognitive capitalism, which derives its source from cognitive capital, is a system of exploiting the prosumer's intellectual capital such as his/her knowledge, emotion and experience. The main thesis of the study is that transmedia, with all its created media and usage patterns, is in the role of supporter of cognitive capitalism, which draws its power and main source from immaterial labor. In this sense, the aim of this article is to reveal the relationship of transmedia and transmedia stories with cognitive capitalism and to bring this relationship up for discussion. Furthermore, in the study, which was prepared with a literature review, the answer to the question of “How does the prosumer of transmedia become a tool of cognitive capitalism?” has been tried to be sought.

References

  • Akçoraoğlu, A. (2019). Yeni kapitalizm teorileri, dijital devrim ve Türkiye kapitalizmi, Mülkiye Dergisi, 43 (3), 525-575.
  • Akgül, M. & Toprak, H. H. (2021). Yakınsama kültürü ve transmedya hikâye anlatıcılığı üzerine, Aksaray İletişim Dergisi, 3 (1), 43-61.
  • Andrejevic, M. (2009). Exploiting Youtube: contradictions of user-generated labor. (Eds) Pelle Snickars ve Patrick Vonderau. In The Youtube Reader (s. 406-423). Mediehistoriskt.
  • Arvidsson, A. (2005). Brands: A critical perspective, Journal of Consumer Culture, 5 (2), 235-258.
  • Bazarcı, S. (2019). Transmedya uygulamalarında yayılma kanalları: küresel örnekler üzerine bir inceleme, Akdeniz İletişim Dergisi, 31, 560-576.
  • Bengtsson, R. vd. (2017). Share! Like! Create! How fan labor is cultivated and practiced in the contemporary music industry. AoIR Selected Papers of Internet Research.
  • Beil, B. & Schimdt, H. C. (2015). The world of the walking dead-transmediality and transmedial intermediality, Acta Univ. Sapientiae Film and Media Studies, 10 (1), 73-88.
  • Bhattacharya, S. (2018). Transmedia branding: how consuming dispersed brand information ınfluences consumers' attitude and purchase intention (Thesis No. 328006961), Unpublished Master Thesis, University of Leicester.
  • Brown, B. A. & Haase, A. Q. (2012). A workers’ inquiry 2.0: an ethnographic method for the study of produsage in social media contexts”, TripleC, 10 (2), 488-508.
  • Buluş, B. & Buluş, G. C. (2020). Kültür endüstrisi ürünü olarak dijital oyunlar ve dijital ekonomi, Aksaray Üniversitesi İktisadi ve İdari Bilimler Fakültesi Dergisi, 2 (2), 1-6.
  • Coombs, W. T. & Holladay, S. J. (2018). Innovation in public relations theory and practice: a transmedia narrative transportation (tnt) approach, Journal of Communication Management, 22 (4), 382-396.
  • Çalık, M. ve Nizam, F. (2020). Pazarlama halkla ilişkilerinde transmedya hikayeciliği uygulamaları: Turkcell emocanlar kampanyası örneği, Anemon Muş Alparslan Üniversitesi Sosyal Bilimler Dergisi, 8, 9-21.
  • Çetinkaya, A. (2017). Marka sadakati oluşturma aracı olarak transmedya hikâye anlatımının yeri ve değeri, Manas Sosyal Araştırmalar Dergisi, 6 (4), 559-576.
  • Dena, C. (2008). Emerging participatory culture practices, Convergence, 14 (1), 41-57.
  • Demir, T. (2018). Sosyal medya ekonomisi bağlamında dijital kullanıcı emeği, 16. Uluslararası Milenyumda İletişim Sempozyumu.
  • Davis, C. H. (2013). Audience value and transmedia products, Editörler: T. Storsul ve A. Krumsvik, In Media Innovations (s. 175-190). Nordicom.
  • Deuze, M. (2007). Convergence culture in the creative industries, International Journal of Cultural Studies, 10 (2), 243-263.
  • Dönmez, M. & Güler, Ş. (2016). Transmedya hikayeciliği: doritos akademi örneği incelemesi, Süleyman Demirel Üniversitesi Vizyoner Dergisi, 7 (16), 155-175.
  • Ebner, M. (2007). E-learning 2.0 = E-learning 1.0 + Web 2.0?, The 2nd International Conference on Availability, Reliability and Security, 1235-1239.
  • Erzurum, F. (2019). Does transmedia started with film? Dördüncü Kuvvet. 2 (1). 32-42Freeman, M. (2015). Branding consumerism: crossmedia characters and storyworlds at the turn of the 20th century, International Journal of Cultural Studies, 18 (6), 629-644.
  • Fuchs, C. (2010). Labor in ınformational capitalism and on the internet, The Information Society, 26 (3), 179-196.
  • Fuchs, C. (2014). Digital prosumption labour on social media in the context of the capitalist regime of time, Time and Society, 23 (1), 97-123.
  • Gambarato, R. R. (2013). Transmedia project design: theoretical and analytical considerations, Baltic Screen Media Review, 1, 81-100.
  • Grandio, M. M. & Bonaut, J. (2012). Transmedia audiences and television fiction: A comparative approach between Skins (UK) and El Barco (Spain), Participations Journal of Audience and Reception Studies, 9 (2), 558-574.
  • Granitz, N. & Forman, H. (2015). Building self-brand connections: exploring brand stories through a transmedia perspective, Journal of Brand Management, 22 (1), 38-59.
  • Guerrero, P. M. & Scolari, C. A. (2016). Transmedia storytelling and user generated content, Cuadernos, 38, 183-200.
  • Hayes, G. P. (2011). How to write a transmedia production bible, Screen Australia.
  • Hardt, M. & Negri, A. (2005). Multitude: war and democracy in the age of empire. Penguin Books
  • Hardt, M. (1999). Affective labor, Boundary 2, 26 (2), 89-100.
  • İlhan, B. (2011). Transmedia consumption experiences: consuming and co-creating ınterrelated stories across media, Unpublished Doktorate Thesis (Thesis No 3496326), University of Illinois.
  • İspir, N. ve Kucur, A. B. (2019). Yakınsama kültürü ve transmedya hikâye anlatıcılığı, Anadolu Üniversitesi İletişim Bilimleri Fakültesi Uluslararası Hakemli Dergisi, 27 (2), 161-171.
  • İspir, N. & Kucur, A. B (2021). Yakınsama kültürü, transmedya hikâye anlatıcılığı: Angry birds kurgusal evreni. Atatürk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 25 (1) , 37-54.
  • Jakus, D. & Zubcic, K. (2016). Transmedia marketing and re-invention of public relations. Minib, 22 (4), 91-102.
  • Jeon, H (2014). Cognitive capitalism or cognition in capitalism? A critique of cognitive capitalism theory. Spectrum: Journal of Global Studies, 2(3), 89-116.
  • Jenkins, H. (2006). Convergence culture: where old and new media collide. New York University Press.
  • Jenkins, H. (2022, 18 Aralık). Transmedia Storytelling 101. http://henryjenkins.org/blog/2007/03/transmedia_storytelling_101.html
  • Jenkins, H. (2023, 25 Ocak). The revenge of the origami unicorn: Seven principles of transmedia storytelling. http://henryjenkins.org/blog/2009/12/the_revenge_of_the_origami_uni.html
  • Jenkins, H. (2010). Transmedia storytelling and entertainment: an annotated syllabus, Journal of Media & Cultural Studies, 24 (6), 943-958.
  • Jenkins, H. & Deuze, M. (2008). Convergence culture. Convergence, 14 (1), 5-12.
  • Jenkins, H. & Forest, H. D. (2018). I have a bad feeling about this: A conversation about star wars and the history of transmedia. Star Wars and the History of Storytelling. Amsterdam University Press.
  • Jenkins, H. vd. (2017). Voices for a new vernacular: a forum on digital storytelling interview with Henry Jenkins, International Journal of Communication, 11, 1061-1068.
  • Karakılıç, E. (2019). Rethinking intellectual property rights in the cognitive and digital age of capitalism: An autonomist Marxist reading, Technological Forecasting & Social Change, 147, 1-9.
  • Karlı, H. D. (2018). Markalaşma ve transmedya hikayeciliği: bir uygulama örneği, Yayımlanmamış Doktora Tezi (Tez No 504485), Selçuk Üniversitesi.
  • Kerchy, A. (2018). Transmedia Commodification: Disneyfication, Magical Objects, and Beauty and the Beast. Routledge.
  • Kılıç, M. C. (2019). Transmedya markalama kampanyalarının marka farkındalığı oluşturmadaki rolü, Yayımlanmamış Yüksek Lisans Tezi (Tez No 572240), Marmara Üniversitesi.
  • Kim, S., vd. (2017). The influence of transmedia experience on brand image, preference and purchase intention, The Journal of the Korea Contents Association, 17 (3), 643-653.
  • Long, G. A. (2007). Transmedia storytelling business, aesthetics and production at the jim henson company, Unpublished Master Thesis, Massachusetts Institute Of Technology.
  • Nam, S. (2020) Cognitive capitalism, free labor, and financial communication: A critical discourse analysis of social media IPO registration statements, Information, Communication & Society, 23 (3), 420-436.
  • Parlak, M. O. (2020). Dijital dünyada emek-sermaye ilişkisi ve kullanıcı metasının oluşumu, Ufuk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 8 (18), 127-147.
  • Plessis, C. (2019). Prosumer engagement through story-making ın transmedia branding, International Journal of Cultural Studies, 22 (1), 175-192.
  • Pratten, R. (2015). Getting Started with Transmedia Storytelling: A Practical Guide For Beginners, Kindle Edition.
  • Price, L. (2017). Serious leisure ın the digital world: exploring the ınformation behaviour of fan communities, Doctoral dissertation, University of London.
  • Roos, C. (2012). Transmedia stories – a Study of producers, ınteractivity and prosumption, Unpublished Master Thesis, Malmö University.
  • Sanchez, C. C. (2014). Transmedia storytelling, an ally of corporate communication: #dropped by heineken case study, Communication and Society, 27 (3), 127-150.
  • Schiller, M. (2018). Stories: Transmedia Storytelling: New Practices and Audiences. Amsterdam University Press.
  • Scolari, A. C. (2009). Transmedia storytelling: ımplicit consumers, narrative worlds, and branding in contemporary media production, International Journal of Communication, 3, 586-606.
  • Scolari, A. C. (2013). Lostology: Transmedia storytelling and expansion/compression strategies, Semiotica, 195, ss. 45-68.
  • Scolari, A. C. (2014). Don Quixote of La mancha: transmedia storytelling in the grey zone, International Journal of Communication, 8, 2382-2405
  • Scolari, A. C. (2018). Transmedia branding: brands, narrative worlds, and the mcwhopper peace agreement, Semiotica, 224, 1-17.
  • Silva, S. D. (2020). How the transmedia narrative approach ınfluences ındividuals ın brand loyalty, Unpublished Master Thesis, National College of Ireland.
  • Siuda, P. & Troszynski, M. (2017). Natives and tourists of prosumer capitalism: on the varied pro-prosumer activities of producers exemplified in the polish pop culture ındustry, International Journal of Cultural Studies, 20 (5), 545-563.
  • Selçuk, B. G. (2021). Transmedya hikâye anlatılarında hedef kitle etkileşimi: Assassin’s Creed örneği, Sanat ve Tasarım Dergisi, Cilt 29, 265-288.
  • Sokolova, N. (2012). Co-opting transmedia consumers: user content as entertainment or 'free labour'? the cases of S.T.A.L.K.E.R. and Metro 2033, Europe-Asia Studies, 64 (8), 1565-1583.
  • Şahin, E. & Kara, S. N. (2020). Dijital pazarlamada transmedya hikayeciliği kapsamında Garanti BBVA markası incelemesi, Erciyes Üniversitesi İktisadi ve İdari Bilimler Fakültesi Dergisi, 1, 55-80.
  • Vercellone, C. (2013). From the mass-worker to cognitive labour: historical and theoretical considerations. Eds. M Linder ve KH Roth, In Beyond Marx: Theorising the Global Labour Relations of the Twenty-First Century, 417–445.
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Details

Primary Language Turkish
Subjects Communication and Media Studies
Journal Section Makaleler
Authors

Meltem Koç 0000-0002-0247-0140

Gonca Yıldırım 0000-0002-7433-0841

Publication Date April 1, 2023
Submission Date February 21, 2023
Acceptance Date March 28, 2023
Published in Issue Year 2023 Volume: 13 Issue: 2

Cite

APA Koç, M., & Yıldırım, G. (2023). TRANSMEDYA HİKAYECİLİĞİ VE BİLİŞSEL KAPİTALİZM İLİŞKİSİ ÜZERİNE BİR DEĞERLENDİRME. Turkish Online Journal of Design Art and Communication, 13(2), 483-500. https://doi.org/10.7456/tojdac.1254472


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