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A Theory of the Transmedia Franchise Character A Theory of the Transmedia Franchise Character Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor in Philosophy by Clare Elizabeth Parody September 2011 Abstract In contemporary media landscapes characterised by technological, industrial, and cultural convergence, transmedia fictional practice, that is, the generation of multiple texts, products and experiences across multiple media outlets cohered by a common narrative reality, cast of characters, or entertainment brand, is in the ascendancy. This thesis begins from the observation that although transmedia practice is coterminously beginning to receive more and more critical attention, there remains much work to be done theorising the “total entertainment” experiences (Grainge, 2008: 11) it produces in fictional terms. It identifies a particular need for further critical investigation of how transmedia fictional practice interacts with the design, development, and representation of character. It takes as its fundamental starting principle the assumption that transmediality can be defined and operationalised as a particular modality of fiction, producing particular orientations and operations of meaning and representation, and that the trans-textual, trans-medial extension of a fiction can be identified and delineated as a fictional practice. In dialogue with existing critical work organised by the concept of transmedia storytelling, and industrial discourses and practices of cross-platform production, I conceptualise and define the object of study of this thesis as the practice of transmedia franchising, of which transmedia storytelling is positioned as a sub-genre. The thesis comprises an original theory of the transmedia franchise character as a fictional object, situated in a poetics of transmedia franchising as a fictional practice. It proposes conceptual tools, theoretical frameworks, and critical positions for understanding and analysing the processes of meaning and representation that build up a picture of a character as it is franchised across texts and media, and how they are shaped and influenced by key contextual factors. The six chapters map six core features of the transmedia franchise character as a fictional object, each then providing a granular elaboration of some of the formal, operational, functional, and critical implications of these features. Chapter One engages the problem of the instability of “the text” as critical concept and material artefact relative to transmedia franchise fiction; Chapter Two theorises the franchise character as extensible, designed to anticipate, sustain and generate serial development and representation across multiple texts; Chapter Three presents transmedia franchising as an art of multiplicity, and explores how it builds up a picture of character through setting in play dialogues between rewrites, reimaginings, and alternate versions; Chapter Four focuses on the multimediality of the franchise character specifically; Chapter Five discusses how paratextual material interpolates into and contributes to the actualisation of the franchise character; and Chapter Six explores the franchise character as site and technology of participation, interactivity, and immersion in the franchise world. ii Acknowledgements I would like to express my gratitude to all those people who have supported and encouraged me in my doctoral study, but especially: First and foremost, to my supervisors: to Andy, both for the many hours of support, inspiration, and feedback over the course of my PhD, and for his teaching on the Science Fiction Studies MA, which first opened my eyes to new ways of thinking about what it means to study fiction; to Claire, for consistently going above and beyond the call of duty for a secondary supervisor; and to both of them, for making it possible for me to undertake these studies at the University of Liverpool in the first place. To the University of Liverpool’s School of English, for seeing in my work sufficient value to merit AHRC funding, for offering me invaluable teaching and presenting opportunities, and for providing a supportive and stimulating research environment. To Kat, who has throughout understood, commiserated, and cheered me up. To Ruth, who remains my best friend and a constant source of encouragement, intellectual challenge, and entertainment, even three hours’ train journey away. To my sister, who believes in me, makes me laugh, and manages not to rub her gainful employment in my face too much. To Hazel, who has somehow put up with me through these three years, and given me more support, encouragement and happiness than I can say. Finally, to my parents, who have given me unwavering support, financial, practical, and emotional, over twenty-one years of education, without which I would not be where I am or who I am today. iii Contents Abstract ........................................................................................................................... ii Acknowledgements ..................................................................................................... iii Introduction: Welcome to Convergence Culture ................................................. 1 Critical Landscapes of Media Convergence .............................................................. 5 Cultural Icons ........................................................................................................... 12 Theorising the Transmedia Character ..................................................................... 16 Transmedia Franchising .......................................................................................... 22 Chapter One: Beyond “the Text” .......................................................................... 35 Worldmaking ............................................................................................................ 40 Brand Management .................................................................................................. 51 Popular Heroes ........................................................................................................ 60 Archontic Fiction...................................................................................................... 66 Chapter Two: Extensible Characters .................................................................... 69 Long-form Entertainment ......................................................................................... 74 Transmedia Labyrinths ............................................................................................ 75 Matrices and Databases ........................................................................................... 82 Repetition and Variation .......................................................................................... 84 Kaleidoscopic Storytelling ....................................................................................... 90 Chapter Three: An Art of Multiplicity................................................................. 91 From Hyperdiegesis to Multiverse ........................................................................... 94 Licensed Parody ....................................................................................................... 99 Multiple Authorship................................................................................................ 103 Rebooting ............................................................................................................... 107 An Art of Multimediality ......................................................................................... 110 iv Chapter Four: Transliteracy and Beyond .......................................................... 111 Windows and Layers .............................................................................................. 113 Medium Specificity ................................................................................................. 116 Intermediality ......................................................................................................... 125 Franchise Adaptation ............................................................................................. 129 Cross-Platform Promotion ..................................................................................... 137 Chapter Five: Thresholds of Interpretation ....................................................... 138 Horizons of Expectation ......................................................................................... 145 Inflecting Meaning ................................................................................................. 150 An Effect of Aura .................................................................................................... 157 Circulation ............................................................................................................. 161 Paratextual Fictionality ......................................................................................... 163 Beyond the Archive................................................................................................. 175 Chapter Six: Producerly Characters .................................................................... 176 Modalities of Participation .................................................................................... 181 Illusions of Intimacy...................................................................................... 186 Simulation
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