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The syntagmatic axis refers to the causal chain of events constituted by individual episodes in serial instalments, an aspect of seriality rarely demonstrated in Nintendo games.
In this respect, the suggestion he makes at the very end of the chapter about ‘operational allegiance’, which he defines as the viewer’s engagement ‘with the character’s construction, attuned to how the performance is presented’ (p.
91), appears to be little different from what Murray Smith has previously called ‘recognition’, and therefore it requires more elaboration.In contrast, Gloria Dagnino’s chapter discusses a genuinely interesting legal and economic framework behind Italian television productions, where commercial companies are financially encouraged to invest into media narratives for product placement and receive tax credit on part of their investment.
In one of the longer chapters in the anthology Jason Mittell examines the nature of anti-heroes in contemporary American television serials and questions the reasons behind audience engagement and allegiance to such morally-ambiguous characters, tracking the complex ways in which the protagonists of (2008-2013) are constructed.
Mittell has published some of the most valuable scholarly work on American television in recent years, and here too one can see the breadth of knowledge and insight he can bring to the analysis of narrative and emotional strategies employed by television producers.
Following this crucial distinction Smith provides snippets of critical reviews of Nintendo games which demonstrate both a sense of affinity and delight by experienced players.
Panel Discussion Essay - Essay On Media Convergence
This attention to critical reception is balanced later in the chapter by an overview of Nintendo marketing strategies and a consideration of how developments in gaming technology have helped Nintendo retain the paradigmatic serial connections.Smith, is a welcome contribution to this important scholarly debate.In this new era of ‘radically reconfigured mediascape’, the editors argue, ‘the field of media studies and the subfield of media narratology can only progress by fully embracing transmedial and transnational perspectives’ (p. The sensitivity toward the transmedial and the transnational is reflected in the variety of case studies offered within the anthology.4) and convincingly demonstrate the persistence of medium, national, institutional, and technological specificities in the age of convergence.Their introduction is succinct and nuanced, offering enough food for thought on convergence culture for both the expert and the uninitiated.In a frequently cited passage, Henry Jenkins defined convergence as ‘the flow of content across multiple media platforms, cooperation between multiple media industries, and the migratory behavior of media audiences who will go almost anywhere in search of the kinds of entertainment experiences they want’. In this respect, subsequent studies focused on understanding how these shifts in media technologies and industries brought forward further changes in consumer culture and suggested the blurring of traditional boundaries between different media and nations.(Basingstoke: Palgrave Macmillan, 2014), a new anthology of essays edited by Roberta Pearson and Anthony N.In many ways this testifies to the applicability and usefulness of historical poetics in understanding aesthetic strategies, audience responses, and industrial trends across a range of art forms and cultural practices. Smith’s chapter examining the innovative audience-targeting strategies the Kyoto-based video gaming company Nintendo employs in order to reach two distinct segments.Smith argues that the distinctive storytelling strategies and treatment of well-known narrative formulas in serial game franchises such as produce ‘storyworlds’ that are simultaneously appealing to new gamers (as the basic narrative formula ‘offers a discrete and coherent narrative experience’) as well as ‘hardcore’ gamers familiar with the preceding episodes (for the variations’ ‘potential to surprise and delight dedicated players’) (p. Smith’s work represents a unique type of inquiry into game studies, as it goes beyond standardised accounts of narrative analysis of games based on their interactivity and provides evidence from Nintendo’s production strategies and the games’ critical reception Smith begins his analysis by distinguishing Nintendo games against differences in syntagmatic and paradigmatic axes in serial texts.Individual chapters discuss a variety of topics (ranging from U. television to animation, from video games to European art cinema) and are divided into two parts titled ‘Production’ and ‘Circulation and Reception’.The remarkable diversity of the topics covered in the anthology also benefit from an overarching methodology: David Bordwell’s historical poetics, which goes beyond ordinary textual analysis to link ‘screen narratives to their national, institutional and technological contexts of production, circulation and consumption’ (p. Although the editors do not offer further commentary on Bordwell’s definition they nevertheless envision historical poetics not simply as a methodology characteristic of film and media studies but more as an interdisciplinary framework that can be applied to other media.