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Media franchise

April 08, 2023

A media franchise, also known as a multimedia franchise, is a collection of related media in which several derivative works have been produced from an original creative work of fiction, such as a film, a work of literature, a television program or a video game. Bob Iger, chief executive of the Walt Disney Company, defined the word franchise as "something that creates value across multiple businesses and across multiple territories over a long period of time".[1]

Map of Oz within the surrounding deserts

Transmedia franchise

A media franchise often consists of cross-marketing across more than one medium. For the owners, the goal of increasing profit through diversity can extend the commercial profitability of the franchise and create strong feelings of identity and ownership in its consumers.[2] Those large groups of dedicated consumers create the franchise's fandom, which is the community of fans that indulge in many of its mediums and are committed to interacting with and keeping up with other consumers.[3] Large franchise-based fandoms have grown to be even more popular in recent years with the rise of social media platforms, as many fans seek to interact with one another for discussion, debate and even to create their own fan-made pieces of media revolving around the franchise, on websites like tumblr, Reddit and the self-titled "wiki" site, Fandom.[4] In the case of successful transmedia franchises, each different medium should expand the target demographic and fandom, build the interest of the consumers and add to the overarching story and narrative of the franchise itself.[5] A connection between the characters, settings, and other elements of the media franchise do still exist within the different mediums, regardless of the fact that they are being presented in sometimes completely different ways,[6] such as the shared, interweaving storylines and elements of the Spider-Man films, television shows, comics and video games. Espen Aarseth describes the financial logic of cost-recovery for expensive productions by identifying that a single medium launch is a lost opportunity, the timeliness of the production and release is more important than its integrity, the releases should raise brand awareness and the cross-ability of the work is critical for its success.[7]

American Idol was a transmedia franchise from its beginnings, with the first season winner Kelly Clarkson signing with RCA Records and having the release of A Moment Like This becoming a #1 hit on Billboard Hot 100.[8] The success resulted in a nationwide concert tour, an American Idol book that made the bestseller list and the film From Justin to Kelly.[8] A transmedia franchise however is often referred to by the simpler term "media franchise." The term media franchise is often used to describe the popular adaptation of a work into films, like the popular Twilight book series that was adapted into the five films of The Twilight Saga.[9] Other neologisms exist to describe various franchise types including metaseries, which can be used to describe works such as Isaac Asimov's Foundation series.[clarification needed][10]

Multimedia franchises usually develop through a character or fictional world becoming popular in one medium, and then expanding to others through licensing agreements, with respect to intellectual property in the franchise's characters and settings. As one author explains, "For the studios, a home-run is a film from which a multimedia 'franchise' can be generated; the colossally expensive creation of cross-media conglomerates predicated on synergistic rewards provides an obvious imperative to develop such products."[11] The trend later developed wherein franchises would be launched in multiple forms of media simultaneously; for instance, the film The Matrix Reloaded and the video game Enter the Matrix were produced at the same time, using the same actors on the same sets, and released on the same day. The other members of the DC, Marvel and Star Wars universe original characters such as Superman, Batman, Wonder Woman, Spider-Man, Hulk, Marvel superheroes and Darth Vader, and the other members of the Disney, Warner Bros., Pixar, and Hanna-Barbera universe original characters such as Mickey Mouse, Winnie the Pooh, Looney Tunes, Tom and Jerry, The Flintstones and Scooby-Doo.[clarification needed] Several other franchises throughout the 2000s had films and games release within days of each other, including King Kong, Star Wars, Harry Potter, DC Comics, Marvel Comics, The Lord of the Rings, The Chronicles of Narnia, Pirates of the Caribbean, and Transformers.[12]

Canon Content

Transmedia franchises occasionally release content through certain mediums that is not canon to the main or greater story that the franchise is built around, meaning that the elements of said content do not truly exist in the main timeline of the franchise.[13] Canon content often times breaks continuity, leading fans to speculate or seek to confirm which mediums are canon and which are not, which can get confusing if the franchise does not provide an answer themselves since entire mediums can be non-canon to the greater story, with a popular example occurring within the Doctor Who franchise, where the released audio series is considered non-canon in the greater context of the TV show.[13] On the other hand, specific episodes, volumes or parts of a series can be canon while others in the same medium are not, such as the fact that only some of the Battlestar Galactica comics are canon, with a large amount of them breaking the continuity of the main story.[14]

Japan

In Japanese culture and entertainment, media mix (wasei-eigo: メディアミックス, mediamikkusu) is a strategy to disperse content across multiple representations: different broadcast media, gaming technologies, cell phones, toys, amusement parks, and other methods.[15] It is the Japanese term for a transmedia franchise.[16][17]

The term media mix gained its circulation in late 1980s and is first used to describe adaptations of Sakyo Komatsu's Japan Sinks,[clarification needed] but the origins of the strategy can be traced back to the 1960s with the proliferation of anime, with its interconnection of media and commodity goods.[18] Some of the earlier popular Japanese franchises such as Vampire Hunter D in the 1980s and Pokémon in the late 1990's, acted as benchmarks in the country's transmedia dominance.[19][20] The latter in particular began as a video game available on Nintendo's Game Boy, and crossed through the mediums of television, film, news, and other non-media related realms, such trading cards, merchandise, and more.[20] A number of Japanese media franchises have gained considerable global popularity, and are among the world's highest-grossing media franchises. For example, Pokémon's penetration into the American market of the franchise along with others of Japanese origin, such as Yu-Gi-Oh!,[15] gave rise to the recognition of what is variously called transmedia storytelling, crossmedia, transmediation, media synergy, etc.[18]

Researchers argue that the 1963 Tetsuwan Atomu marked a shift in Japanese marketing: from the focus on the content of the commodity to "overlapping the commodity image with the character image".[16]

The book Anime's Media Mix: Franchising Toys and Characters in Japan by Marc Steinberg details the evolution of the media mix in Japan.

Japanese terminology

  • anime-ka (アニメ化), recast as anime
  • dorama-ka (ドラマ化), recast as drama
  • gēmu-ka (ゲーム化), recast as computer game
  • noberaizu (ノベライズ, "novelize") recast as novel
  • komikaraizu (コミカライズ, "comicalize") or manga-ka (漫画化), recast as manga
  • eiga-ka (映画化) recast as movie

Development to other forms

Fiction

Long-running franchises were common in the early studio era, when Hollywood studios had actors and directors under long-term contract. Examples include Andy Hardy, Ma and Pa Kettle, Mickey Mouse, Bugs Bunny, Daffy Duck, Bulldog Drummond, Superman, Wonder Woman, Spider-Man, Hulk, X-Men, Tarzan, and Batman. The longest-running modern film franchises include James Bond, Godzilla and King Kong, Friday the 13th, A Nightmare on Elm Street, Universal Monsters, and Star Trek. In such cases, even lead actors are often replaced as they age, lose interest, or their characters are killed. Spin-offs and adaptations of popular pieces of media within a franchise can even be created, which ultimately leads to the creation of brand worlds.[21]

Since the creation of Disneyland in 1955, bringing fictional media franchises to life through the theme parks is slowly became increasingly popular as the way to perfectly blend tourism and real-life involvement with media itself.[22] Similar to transmedia, the concept of bringing fictional media into a non-fictional space where fans can immerse themselves in real-life versions of elements from the fictional worlds they love, adds to the overall narrative the franchise creates through its other mediums.[23] Marvel's Avenger's Campus park is one of the many franchise-based theme parks created in recent times, following the creation of The Wizarding World of Harry Potter at Universal Studio's Islands of Adventure and Star Wars' Galaxy's Edge at Disneyland and Disney World.

Media franchises tend to cross over from their original media to other forms. Literary franchises are often transported to film, such as Nancy Drew, Miss Marple, and other popular detectives, as well as popular comic book superheroes. Television and film franchises are often expanded upon in novels, particularly those in the fantasy and science fiction genres, such as The Twilight Zone, Star Trek, Doctor Who and Star Wars. Similarly, fantasy, science fiction films and television shows are frequently adapted into animated television series, video games, or both.

A media franchise does not have to include the same characters or theme, as the brand identity can be the franchise, like Square Enix's Final Fantasy or the National Lampoon series, and can suffer from critical failures even if the media fictional material is unrelated.[24]

Non-fiction

Non-fiction literary franchises include the ...For Dummies and The Complete Idiot's Guide to... reference books. An enduring and comprehensive example of a media franchise is Playboy Enterprises, which began expanding well beyond its successful magazine, Playboy, within a few years after its first publication, into such enterprises as a modeling agency, several television shows (Playboy's Penthouse, in 1959), and even its own television channel. Twenty-five years later, Playboy released private clubs and restaurants, movie theaters, a radio show, direct to video films, music and book publishing (including original works in addition to its anthologies of cartoons, photographs, recipes, advice, articles or fiction that had originally appeared in the magazine), footwear, clothing of every kind, jewelry, housewares (lamps, clocks, bedding, glassware), guitars and gambling, playing cards, pinball machines and pet accessories, billiard balls, bedroom appurtenances, enhancements, plus countless other items of merchandise.

Non-fiction media franchises also exist in the television and film mediums, with reality TV being one of the most well-known examples; ranging from competition shows like The Amazing Race to the day-in-the-life episodes of the many different Real Housewives series.[25] Documentaries and docuseries are other highlights of the non-fiction branch of media franchises,[25] such as the popular Planet Earth series, which serves as both a film and television transmedia franchise.

See also

References

  1. ^ Keiles, Jamie Lauren (December 1, 2022). "'Avatar' and the Mystery of the Vanishing Blockbuster - It was the highest-grossing film in history, but for years it was remembered mainly for having been forgotten. Why?". The New York Times Magazine. Retrieved December 3, 2022.
  2. ^ Lemke, Jay (2004). "Critical Analysis across Media: Games, Franchises, and the New Cultural Order" (PDF). First International Conference on CDA. (PDF) from the original on 19 October 2013. Retrieved 16 September 2013.
  3. ^ Fuschillo, Gregorio (2018-05-04). "Fans, fandoms, or fanaticism?". Journal of Consumer Culture. 20 (3): 347–365. doi:10.1177/1469540518773822. ISSN 1469-5405. S2CID 150052589.
  4. ^ Wilkins, Kim (2019-07-11). Young Adult Fantasy Fiction. Cambridge University Press. doi:10.1017/9781108551137. ISBN 978-1-108-55113-7. S2CID 199244984.
  5. ^ Jenkins, Henry (December 2010). "Transmedia Storytelling and Entertainment: An annotated syllabus". Continuum. 24 (6): 943–958. doi:10.1080/10304312.2010.510599. ISSN 1030-4312. S2CID 143801652.
  6. ^ McErlean, Kelly (2018-03-05). Interactive Narratives and Transmedia Storytelling. doi:10.4324/9781315637570. ISBN 9781315637570.
  7. ^ Aarseth, Espen (2006). "The Culture and Business of Cross-Media Productions". Popular Communication. 4 (3): 203–211. doi:10.1207/s15405710pc0403_4. S2CID 46602603.
  8. ^ a b Jenkins, Henry (2006). Convergence Culture: Where Old and New Media Collide. NYU Press. p. 61. ISBN 9780814742815.
  9. ^ Click, Melissa (2010). Bitten by Twilight: Youth Culture, Media, and the Vampire Franchise. Peter Lang Publishing. p. 12. ISBN 978-1433108945.
  10. ^ Palumbo, Donald (1998). "Asimov's Crusade Against Bigotry: The Persistence Of Prejudice as a Fractal Motif in the Robot/Empire Foundation Metaseries". Journal of the Fantastic in the Arts. 10: 43–63.
  11. ^ Barry Langford, Post-classical Hollywood: Film Industry, Style and Ideology Since 1945, p. 207, ISBN 074863858X.
  12. ^ Harry J. Brown, Videogames and Education (2008), p. 41, ISBN 0765629496.
  13. ^ a b Harvey, Colin B. (2015), "Transmedia Memory", Fantastic Transmedia, London: Palgrave Macmillan UK, pp. 182–202, doi:10.1057/9781137306043_9, ISBN 978-1-349-45500-3, retrieved 2022-11-23
  14. ^ Bourdaa, Mélanie (2018-03-14). "From One Medium to the Next: How Comic Books Create Richer Storylines". M/C Journal. 21 (1). doi:10.5204/mcj.1355. ISSN 1441-2616.
  15. ^ a b Henry Jenkins, Convergence Culture: Where Old and New Media Collide, p. 110
  16. ^ a b Steinberg
  17. ^ Denison, Rayna. "Manga Movies Project Report 1 - Transmedia Japanese Franchising". Academia.edu. Retrieved 2015-07-31.
  18. ^ a b Steinberg, p. vi
  19. ^ SAITO, SATOMI (2015-12-20), "Beyond the Horizon of the Possible Worlds", Mechademia 10, University of Minnesota Press, pp. 143–161, doi:10.5749/j.ctv1rdv223.14, ISBN 9781452949833, retrieved 2022-11-23
  20. ^ a b Bainbridge, Jason (2013-10-25). "'It is a Pokémon world': The Pokémon franchise and the environment". International Journal of Cultural Studies. 17 (4): 399–414. doi:10.1177/1367877913501240. ISSN 1367-8779. S2CID 144360372.
  21. ^ Marazi, Katerina (2014-12-01). "Brand Identity, Adaptation, and Media Franchise Culture". Acta Universitatis Sapientiae, Film and Media Studies. 9 (1): 229–242. doi:10.1515/ausfm-2015-0012. S2CID 56267324.
  22. ^ Månsson, Maria; Buchmann, Annæ; Cassinger, Cecilia; Eskilsson, Lena, eds. (2020-07-07). The Routledge Companion to Media and Tourism. doi:10.4324/9780429430398. ISBN 9780429430398. S2CID 213642766.
  23. ^ Mayer, Hervé (2020-03-20). "Disney's Star Wars: Forces of Production, Promotion, and Reception. William Proctor and Richard McCulloch (eds.). Iowa City: University of I". Caliban (63). doi:10.4000/caliban.8195. ISSN 2425-6250. S2CID 251029975.
  24. ^ Bernstein, Joseph (12 August 2013). "How To Kill A Major Media Franchise In A Decade". Buzzfeed. Retrieved 16 September 2013.
  25. ^ a b Kackman, Michael; Kearney, Mary Celeste, eds. (2018-06-22). The Craft of Criticism. doi:10.4324/9781315879970. ISBN 9781315879970.

Bibliography

  • Marc Steinberg, Anime's Media Mix: Franchising Toys and Characters in Japan.

Further reading

  • Mizuko Ito:
    • "The Gender Dynamics of the Japanese Media Mix"
    • "Mobilizing the Imagination in Everyday Play: The Case of Japanese Media Mixes"
    • "Technologies of the Childhood Imagination: Yugioh, Media Mixes, and Everyday Cultural Production"

External links

  • Slate: "The Midas Formula (How to create a billion-dollar movie franchise)"
  • Box Office Mojo: Film franchise earning comparison

April 08, 2023
media, franchise, media, franchise, also, known, multimedia, franchise, collection, related, media, which, several, derivative, works, have, been, produced, from, original, creative, work, fiction, such, film, work, literature, television, program, video, game. A media franchise also known as a multimedia franchise is a collection of related media in which several derivative works have been produced from an original creative work of fiction such as a film a work of literature a television program or a video game Bob Iger chief executive of the Walt Disney Company defined the word franchise as something that creates value across multiple businesses and across multiple territories over a long period of time 1 Map of Oz within the surrounding deserts Contents 1 Transmedia franchise 1 1 Canon Content 1 2 Japan 1 3 Japanese terminology 2 Development to other forms 2 1 Fiction 2 2 Non fiction 3 See also 4 References 4 1 Bibliography 5 Further reading 6 External linksTransmedia franchise EditA media franchise often consists of cross marketing across more than one medium For the owners the goal of increasing profit through diversity can extend the commercial profitability of the franchise and create strong feelings of identity and ownership in its consumers 2 Those large groups of dedicated consumers create the franchise s fandom which is the community of fans that indulge in many of its mediums and are committed to interacting with and keeping up with other consumers 3 Large franchise based fandoms have grown to be even more popular in recent years with the rise of social media platforms as many fans seek to interact with one another for discussion debate and even to create their own fan made pieces of media revolving around the franchise on websites like tumblr Reddit and the self titled wiki site Fandom 4 In the case of successful transmedia franchises each different medium should expand the target demographic and fandom build the interest of the consumers and add to the overarching story and narrative of the franchise itself 5 A connection between the characters settings and other elements of the media franchise do still exist within the different mediums regardless of the fact that they are being presented in sometimes completely different ways 6 such as the shared interweaving storylines and elements of the Spider Man films television shows comics and video games Espen Aarseth describes the financial logic of cost recovery for expensive productions by identifying that a single medium launch is a lost opportunity the timeliness of the production and release is more important than its integrity the releases should raise brand awareness and the cross ability of the work is critical for its success 7 American Idol was a transmedia franchise from its beginnings with the first season winner Kelly Clarkson signing with RCA Records and having the release of A Moment Like This becoming a 1 hit on Billboard Hot 100 8 The success resulted in a nationwide concert tour an American Idol book that made the bestseller list and the film From Justin to Kelly 8 A transmedia franchise however is often referred to by the simpler term media franchise The term media franchise is often used to describe the popular adaptation of a work into films like the popular Twilight book series that was adapted into the five films of The Twilight Saga 9 Other neologisms exist to describe various franchise types including metaseries which can be used to describe works such as Isaac Asimov s Foundation series clarification needed 10 Multimedia franchises usually develop through a character or fictional world becoming popular in one medium and then expanding to others through licensing agreements with respect to intellectual property in the franchise s characters and settings As one author explains For the studios a home run is a film from which a multimedia franchise can be generated the colossally expensive creation of cross media conglomerates predicated on synergistic rewards provides an obvious imperative to develop such products 11 The trend later developed wherein franchises would be launched in multiple forms of media simultaneously for instance the film The Matrix Reloaded and the video game Enter the Matrix were produced at the same time using the same actors on the same sets and released on the same day The other members of the DC Marvel and Star Wars universe original characters such as Superman Batman Wonder Woman Spider Man Hulk Marvel superheroes and Darth Vader and the other members of the Disney Warner Bros Pixar and Hanna Barbera universe original characters such as Mickey Mouse Winnie the Pooh Looney Tunes Tom and Jerry The Flintstones and Scooby Doo clarification needed Several other franchises throughout the 2000s had films and games release within days of each other including King Kong Star Wars Harry Potter DC Comics Marvel Comics The Lord of the Rings The Chronicles of Narnia Pirates of the Caribbean and Transformers 12 Canon Content Edit Transmedia franchises occasionally release content through certain mediums that is not canon to the main or greater story that the franchise is built around meaning that the elements of said content do not truly exist in the main timeline of the franchise 13 Canon content often times breaks continuity leading fans to speculate or seek to confirm which mediums are canon and which are not which can get confusing if the franchise does not provide an answer themselves since entire mediums can be non canon to the greater story with a popular example occurring within the Doctor Who franchise where the released audio series is considered non canon in the greater context of the TV show 13 On the other hand specific episodes volumes or parts of a series can be canon while others in the same medium are not such as the fact that only some of the Battlestar Galactica comics are canon with a large amount of them breaking the continuity of the main story 14 Japan Edit In Japanese culture and entertainment media mix wasei eigo メディアミックス mediamikkusu is a strategy to disperse content across multiple representations different broadcast media gaming technologies cell phones toys amusement parks and other methods 15 It is the Japanese term for a transmedia franchise 16 17 The term media mix gained its circulation in late 1980s and is first used to describe adaptations of Sakyo Komatsu s Japan Sinks clarification needed but the origins of the strategy can be traced back to the 1960s with the proliferation of anime with its interconnection of media and commodity goods 18 Some of the earlier popular Japanese franchises such as Vampire Hunter D in the 1980s and Pokemon in the late 1990 s acted as benchmarks in the country s transmedia dominance 19 20 The latter in particular began as a video game available on Nintendo s Game Boy and crossed through the mediums of television film news and other non media related realms such trading cards merchandise and more 20 A number of Japanese media franchises have gained considerable global popularity and are among the world s highest grossing media franchises For example Pokemon s penetration into the American market of the franchise along with others of Japanese origin such as Yu Gi Oh 15 gave rise to the recognition of what is variously called transmedia storytelling crossmedia transmediation media synergy etc 18 Researchers argue that the 1963 Tetsuwan Atomu marked a shift in Japanese marketing from the focus on the content of the commodity to overlapping the commodity image with the character image 16 The book Anime s Media Mix Franchising Toys and Characters in Japan by Marc Steinberg details the evolution of the media mix in Japan Japanese terminology Edit anime ka アニメ化 recast as anime dorama ka ドラマ化 recast as drama gemu ka ゲーム化 recast as computer game noberaizu ノベライズ novelize recast as novel komikaraizu コミカライズ comicalize or manga ka 漫画化 recast as manga eiga ka 映画化 recast as movieDevelopment to other forms EditFiction Edit Long running franchises were common in the early studio era when Hollywood studios had actors and directors under long term contract Examples include Andy Hardy Ma and Pa Kettle Mickey Mouse Bugs Bunny Daffy Duck Bulldog Drummond Superman Wonder Woman Spider Man Hulk X Men Tarzan and Batman The longest running modern film franchises include James Bond Godzilla and King Kong Friday the 13th A Nightmare on Elm Street Universal Monsters and Star Trek In such cases even lead actors are often replaced as they age lose interest or their characters are killed Spin offs and adaptations of popular pieces of media within a franchise can even be created which ultimately leads to the creation of brand worlds 21 Since the creation of Disneyland in 1955 bringing fictional media franchises to life through the theme parks is slowly became increasingly popular as the way to perfectly blend tourism and real life involvement with media itself 22 Similar to transmedia the concept of bringing fictional media into a non fictional space where fans can immerse themselves in real life versions of elements from the fictional worlds they love adds to the overall narrative the franchise creates through its other mediums 23 Marvel s Avenger s Campus park is one of the many franchise based theme parks created in recent times following the creation of The Wizarding World of Harry Potter at Universal Studio s Islands of Adventure and Star Wars Galaxy s Edge at Disneyland and Disney World Media franchises tend to cross over from their original media to other forms Literary franchises are often transported to film such as Nancy Drew Miss Marple and other popular detectives as well as popular comic book superheroes Television and film franchises are often expanded upon in novels particularly those in the fantasy and science fiction genres such as The Twilight Zone Star Trek Doctor Who and Star Wars Similarly fantasy science fiction films and television shows are frequently adapted into animated television series video games or both A media franchise does not have to include the same characters or theme as the brand identity can be the franchise like Square Enix s Final Fantasy or the National Lampoon series and can suffer from critical failures even if the media fictional material is unrelated 24 Non fiction Edit Non fiction literary franchises include the For Dummies and The Complete Idiot s Guide to reference books An enduring and comprehensive example of a media franchise is Playboy Enterprises which began expanding well beyond its successful magazine Playboy within a few years after its first publication into such enterprises as a modeling agency several television shows Playboy s Penthouse in 1959 and even its own television channel Twenty five years later Playboy released private clubs and restaurants movie theaters a radio show direct to video films music and book publishing including original works in addition to its anthologies of cartoons photographs recipes advice articles or fiction that had originally appeared in the magazine footwear clothing of every kind jewelry housewares lamps clocks bedding glassware guitars and gambling playing cards pinball machines and pet accessories billiard balls bedroom appurtenances enhancements plus countless other items of merchandise Non fiction media franchises also exist in the television and film mediums with reality TV being one of the most well known examples ranging from competition shows like The Amazing Race to the day in the life episodes of the many different Real Housewives series 25 Documentaries and docuseries are other highlights of the non fiction branch of media franchises 25 such as the popular Planet Earth series which serves as both a film and television transmedia franchise See also EditLists of multimedia franchises List of highest grossing media franchises Media convergence Media multiplier Narrative consumption Film series List of highest grossing films Prequel Sequel Spin off media Spiritual sequel Standalone film List of television show franchises Tie in Transmedia storytelling Transmediation Trilogy List of video game franchises List of best selling video game franchises List of longest running video game franchises List of space science fiction franchisesReferences Edit Keiles Jamie Lauren December 1 2022 Avatar and the Mystery of the Vanishing Blockbuster It was the highest grossing film in history but for years it was remembered mainly for having been forgotten Why The New York Times Magazine Retrieved December 3 2022 Lemke Jay 2004 Critical Analysis across Media Games Franchises and the New Cultural Order PDF First International Conference on CDA Archived PDF from the original on 19 October 2013 Retrieved 16 September 2013 Fuschillo Gregorio 2018 05 04 Fans fandoms or fanaticism Journal of Consumer Culture 20 3 347 365 doi 10 1177 1469540518773822 ISSN 1469 5405 S2CID 150052589 Wilkins Kim 2019 07 11 Young Adult Fantasy Fiction Cambridge University Press doi 10 1017 9781108551137 ISBN 978 1 108 55113 7 S2CID 199244984 Jenkins Henry December 2010 Transmedia Storytelling and Entertainment An annotated syllabus Continuum 24 6 943 958 doi 10 1080 10304312 2010 510599 ISSN 1030 4312 S2CID 143801652 McErlean Kelly 2018 03 05 Interactive Narratives and Transmedia Storytelling doi 10 4324 9781315637570 ISBN 9781315637570 Aarseth Espen 2006 The Culture and Business of Cross Media Productions Popular Communication 4 3 203 211 doi 10 1207 s15405710pc0403 4 S2CID 46602603 a b Jenkins Henry 2006 Convergence Culture Where Old and New Media Collide NYU Press p 61 ISBN 9780814742815 Click Melissa 2010 Bitten by Twilight Youth Culture Media and the Vampire Franchise Peter Lang Publishing p 12 ISBN 978 1433108945 Palumbo Donald 1998 Asimov s Crusade Against Bigotry The Persistence Of Prejudice as a Fractal Motif in the Robot Empire Foundation Metaseries Journal of the Fantastic in the Arts 10 43 63 Barry Langford Post classical Hollywood Film Industry Style and Ideology Since 1945 p 207 ISBN 074863858X Harry J Brown Videogames and Education 2008 p 41 ISBN 0765629496 a b Harvey Colin B 2015 Transmedia Memory Fantastic Transmedia London Palgrave Macmillan UK pp 182 202 doi 10 1057 9781137306043 9 ISBN 978 1 349 45500 3 retrieved 2022 11 23 Bourdaa Melanie 2018 03 14 From One Medium to the Next How Comic Books Create Richer Storylines M C Journal 21 1 doi 10 5204 mcj 1355 ISSN 1441 2616 a b Henry Jenkins Convergence Culture Where Old and New Media Collide p 110 a b Steinberg Denison Rayna Manga Movies Project Report 1 Transmedia Japanese Franchising Academia edu Retrieved 2015 07 31 a b Steinberg p vi SAITO SATOMI 2015 12 20 Beyond the Horizon of the Possible Worlds Mechademia 10 University of Minnesota Press pp 143 161 doi 10 5749 j ctv1rdv223 14 ISBN 9781452949833 retrieved 2022 11 23 a b Bainbridge Jason 2013 10 25 It is a Pokemon world The Pokemon franchise and the environment International Journal of Cultural Studies 17 4 399 414 doi 10 1177 1367877913501240 ISSN 1367 8779 S2CID 144360372 Marazi Katerina 2014 12 01 Brand Identity Adaptation and Media Franchise Culture Acta Universitatis Sapientiae Film and Media Studies 9 1 229 242 doi 10 1515 ausfm 2015 0012 S2CID 56267324 Mansson Maria Buchmann Annae Cassinger Cecilia Eskilsson Lena eds 2020 07 07 The Routledge Companion to Media and Tourism doi 10 4324 9780429430398 ISBN 9780429430398 S2CID 213642766 Mayer Herve 2020 03 20 Disney s Star Wars Forces of Production Promotion and Reception William Proctor and Richard McCulloch eds Iowa City University of I Caliban 63 doi 10 4000 caliban 8195 ISSN 2425 6250 S2CID 251029975 Bernstein Joseph 12 August 2013 How To Kill A Major Media Franchise In A Decade Buzzfeed Retrieved 16 September 2013 a b Kackman Michael Kearney Mary Celeste eds 2018 06 22 The Craft of Criticism doi 10 4324 9781315879970 ISBN 9781315879970 Bibliography Edit Marc Steinberg Anime s Media Mix Franchising Toys and Characters in Japan Further reading EditMizuko Ito The Gender Dynamics of the Japanese Media Mix Mobilizing the Imagination in Everyday Play The Case of Japanese Media Mixes Technologies of the Childhood Imagination Yugioh Media Mixes and Everyday Cultural Production External links EditSlate The Midas Formula How to create a billion dollar movie franchise Box Office Mojo Film franchise earning comparison Retrieved from https en wikipedia org w index php title Media franchise amp oldid 1147110211, wikipedia, wiki, book, books, library,

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