January 30 - February 1, 2020
The notion that media content can proliferate and that consumption practices converge has given rise to a host of fascinating research projects in and outside of academia in the past years. Next to pedagogy, literary and cultural studies, such disciplines as economics, film and media studies along with legal studies have begun to trace, analyze and interpret various patterns and practices of transmediality. Simultaneously, numerous (globally operating) transmedia consulting companies began to invest in transmediality as a central marketing strategy (M.-L. Ryan 2017). In general, scholarship on transmediality has tended to focus on contemporary participatory media practices and media convergences in a networked culture (e.g. Jenkins, Ford, and Green 2013) along with addressing various principles of storytelling (cf. H. Jenkins 2008; M. Freeman 2017, 2018; M.-L. Ryan & J.-N. Thon 2014; etc.). In the meantime, some efforts have been made to trace historical developments and cultural specificities in transmedia practices (esp. Freeman 2014, 2016), very few of these, however, went beyond the beginnings of the 20th century.
This conference aims to instead focus on the historicity of transmedia practices, with particular focus on the long nineteenth century (roughly from 1780 to 1920), a century that famously saw the birth of the mass media and brought the “frenzy of the visible” (J.-L. Comolli 1980). We understand practices not just as activities or performative acts of an individual, or a human being, but of ‘transpersonal” institutions (such as clubs, libraries, academies, advertising companies, syndicates, etc.). We thus read practices as forms and ways of actions, agency and performance that are discursive and systemic (networked) rather than as isolated acts. Moreover, the conference is interested in how specific content(s) in multiple media that stay recognizably the same dispersed across cultures in a time before digital convergence. Tracing the processes, economics and technologies involved in transmedia practices and the aesthetics of expansion and transgression in the long nineteenth century will allow for an enhanced understanding of specific configurations in the past and reconfigurations in our present moment. We are interested in contributions, both case studies that may act as models for specific developments as well as more theory-driven investigations, that address questions like:
- What sorts of material underwent transmedialization in the long nineteenth century, why, and under what circumstances? And how does a contemporary transmedia reading of this material change its interpretation?
- What types of transmedia practices could be observed, what media platforms were involved and what did this do to a specific text? How did these practices differ from or use (aesthetic) operations of serialisation, adaptation and appropriation?
- What audiences or users were involved in transmedia practices and what were their functions? When and how did they engage with specific artefacts, and how did they help move and expand ‘elements’ through and across different media forms?
- What institutions enabled and engaged in transmedia practices and how did their networks function?
- How did transmedia practices spread beyond national boundaries and what were the similarities and differences among the various transmedia networks?
Please send an abstract (approx. 500 words, including a title) for a 20-minute paper and a short bio blurb (use the reference: Transmedia Practices_Abstract_YourName; TNR, 1.5 space). Abstracts are due November 30, 2019 to both Univ.-Prof. Dr. Monika Pietrzak- Franger (email@example.com) and PD Dr. Christina Meyer (firstname.lastname@example.org).