The course will enable students to understand the phenomenon of transmediality from a critical and theoretical perspective, also through the concrete analysis of exemplary cases such as literary texts, films, TV series, and other media (music, play, video games, pop objects, etc.), each of which is governed by its own operational rules and codes, as well as by a recognizable structural narrativity and shared cultural relevance.
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Teaching will be delivered through lectures, strongly dialogic in nature, involving students in an active process of theoretical reflection and critical analysis of the materials. In addition to appropriate critical literature, films, photographies, art, music, and pop culture materials will be used.
Written exam consisting of open questions (generally, five questions to be answered in 150 minutes). Some questions verify the actual assimilation of the study materials. Other questions address the ability to articulate and connect critical issues emerging from the course as a whole. The logical, linguistic and rhetorical quality of the answers contribute to the final evaluation.
More specifically, evaluations will fall into 5 bands (out of 30 points):
A: Excellent (30 e lode): excellent knowledge of course contents. Presentation is accurate, correct, andappropriate.
B: Very good (30-27): very good knowledge of course contents. Presentation is correct.
C: Good (26-24): good knowledge of course contents. Presentation is mostly correct.
D: Sufficient (23-18): acceptable knowledge of course contents. Occasional mistakes are made.
E: Insufficient (less than 18): knowledge of course contents is partial and superficial; presentation is hampered by numerous mistakes
The course examines the phenomenon of contemporary transmediality on multiple levels:
1) theory - by presenting the narrative, expansive, participatory, deconstructive, and regenerative strategies of transmediality, and by highlighting the mechanisms through which the creative industries fuel narrative imaginaries
2) analysis - by analyzing paradigmatic cases and genres, we will construct a small "encyclopedia of transmediality" with a number of examples drawn from the history of literature (modern and contemporary novels), cinema, TV series, play and video games, and other forms of entertainment
3) history - by shedding light on the interconnections between historical periods, as well as texts, codes and genres that form the cultural, semiotic, and narratological frameworks of transmediality
