Transmedia Narratives

Category: Discipline
  • Não
  • Curricular Unit dedicated to the creation of transmedia narratives and universes, developing skills in worldbuilding, intellectual property and production of visual and textual content.
  • Semestral

  • This course follows a method of continuous and in-person assessment. Assessment Weighting:
    15% Worldbuilding (template completion)
    15% Design and production of a map of the developed world 15% Description of characters and logline
    15% Production of a character sheet with turnaround
    15% Design of a visual scheme (infographic) or plan (report) for the transmediation of the fictional world and SWOT analysis of the project
    15% Design of a visual scheme (infographic) or plan (report) for the transmedia dissemination of the fictional world and production of a poster in the main narrative
    10% Continuous assessment: punctuality, participation, and attendance


    In accordance with the Assessment Regulations of the Higher Education Institution, it is mandatory for students to meet a minimum attendance requirement for passing the course unit. Failure to comply with this requirement will necessitate taking an examination.
    Resit Exam: The resit exam will be divided into two parts: a practical exam accounting for 50% and the presentation of all work carried out over the semester, which will also weigh 50%.
  • 1. WORLDBUILDING Creation of an expanded fictional world suitable for transmediation . Historical and conceptual notions of worldbuilding and transmedia storytelling; . Basic notions of narrative structures and narrative genres; . Fill in a worldbuilding template; . Production of map. 2. TRANSMEDIA NARRATIVE Creating the foundations of a story within the fictional world . Genres of transmedia storytelling (intracompositional, intercompositional, hybrid); . Conception, creation and description of characters (physical, psychological and social description, character sheet and turnaround); . Production of a logline (protagonist, objective, obstacle). 3. TRANSMEDIATION PROJECT Creation of the structure for the implementation and dissemination of a transmedia franchise . Conception of the appropriate structure for the transmediation of the developed expanded fictional world; . Description of the transmedia dissemination plan for the fictional world.
  • The objectives of this CU are: Acquire technical and artistic knowledge and skills in the production of transmedia franchises focusing on worldbuilding, the development of appealing intellectual properties and their dissemination. Develop specific skills to create stories, characters, maps, and promotional materials for a transmedia intellectual property. Analyze, interpret, and decode transmedia narratives through their components. The exercises proposed in the evaluation allow to continuously stimulate the ability to produce textual and graphic content, as well as the acquisition of skills in the interpretation and exploratory creation of concepts. The approach to the syllabus through the development of exercises allows the continuous mobilization of knowledge and technical skills and facilitates the acquisition of vocabulary and methodological skills leading to an easier integration in the labor market.
  • Optional
  • The teaching-learning process adopts a theoretical-practical approach. Practical examples and real case studies are used to illustrate and contextualize theoretical concepts, thereby facilitating their understanding and application. Direct engagement with current technologies is a key element, providing students with the necessary practical exposure to develop technical skills that are later applicable in a professional context. Work and research methodologies are taught and progressively implemented throughout the semester. Techniques such as brainstorming, bibliographic research, and critical analysis are incorporated to stimulate independent thinking and problem-solving. Critical analysis plays a pivotal role, being integrated into classroom discussions; it fosters a constructive feedback environment, allowing for ongoing reflection and adjustments in the learning process.
  • Português
  • Arnaut, R. (2015). Guia Audiovisual Volume 9: Transmídia. Objetiva. Arnaut, R., e Terra, R. (2015). Guia Bíblia Transmídia. Objetiva. Bernardo, N. (2015, 20 de novembro). How to Build an Exciting and Convincing Transmedia Storyworld. Nuno Bernardo. https://nunobernardo.com/build-exciting-convincing-transmedia-storyworld Bertetti, P. (2014). Toward a Typology of Transmedia Characters. International Journal of Communication, 8, 2344–2361. https://ijoc.org/index.php/ijoc/article/view/2597 Campbell, J. (2004). The Hero with a Thousand Faces. Princeton University Press. Jenkins, H. (2006). Convergence culture: Where old and new media collide. University Press. Mateu-mestre, Marcos (2010). Framed Ink: Drawing and Composition for Visual Storytellers. Design Studio Press. Mckee, R. (1997). Story: Substance, Structure, Style, and the principles of Screenwriting. Methuen. Pratten, R. (2015). Getting Started in Transmedia Storytelling: A Practical Guide for Beginners, (2ª Ed).
  • 4
  • 1262
  • 5
  • 1
  • IPLUSO7066-26054
  • Transmedia Narratives
  • 26054
  • 7066
  • Visual Artes and Digital Media

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