Element contents
Young Adult Literature
Transmedia Transformations
Published online by Cambridge University Press: 24 November 2023
Summary
Young adult literature is often referred to as the originating source for film adaptations that turn into large transmedia storyworlds and franchises. This is, however, only one of the transmedia interactions involving young adult literature in modern culture. This Element unfolds these relations focusing on transmedia practices that bridge the dominant public discursive split between print based and digital media. Today print and digital products work together as well as independently in interconnected networks and these practices puncture ideas of a media hierarchy. Specifically, it is demonstrated how literature for young people take part in transmedia storytelling on a macro level but also in so-called cluster works that work as transmedia storytelling on a micro level.
Information
- Type
- Element
- Information
- Online ISBN: 9781108567145Publisher: Cambridge University PressPrint publication: 21 December 2023
Bibliography
Andersen, T. R. (2015). ‘Black Box’ in Flux: Locating the Literary Work between Media. Northern Lights, 13(1), 121–36.Google Scholar
Andersen, T. R., & Linkis, S. T. (2019). As We Speak: Concurrent Narration and Participation in the Serial Narratives ‘@I-Bombadil’ and Skam. Narrative, 27(1), 83–106.CrossRefGoogle Scholar
Anderson, P. (2021). APA Cites 12-Percent 2020 US Audiobook Revenue Growth. Publishing Perspectives, https://publishingperspectives.com/2021/06/audio-publishers-association-12-percent-audiobook-revenue-growth-in-2020-covid19/ (Accessed 16 May 2022).Google Scholar
Anelli, M. (2008). Harry, a History: The True Story of a Boy Wizard, His Fans, and Life inside the Harry Potter Phenomenon. New York: Pocket Books.Google Scholar
Askwith, I. D. (2007). Television 2.0: Reconceptualizing TV as an Engagement Medium, Unpublished Master’s Thesis, Massachusetts Institute of Technology.Google Scholar
Ayna. (2019). Review: Skam Sesong 3: Isak. Goodreads, www.goodreads.com/review/show/2709311687?book_show_action=true&from_review_page=1 (Accessed 27 May 2022).Google Scholar
Beckett, S. L. (2008). Crossover Fiction: Global and Historical Perspectives. New York: Routledge.Google Scholar
Bell, C. E. (2019). Transmedia Harry Potter: Essays on Storytelling across Platforms. Jefferson: McFarland & Company.Google Scholar
Bengtsson, E., Källquist, R., & Sveningsson, M. (2018). Combining New and Old Viewing Practices: Uses and Experiences of the Transmedia Series ‘Skam’. Nordicom Review, 39(2), 63–77.CrossRefGoogle Scholar
Bhaskar, M. (2017). Curation: The Power of Selection in a World of Excess. London: Piatkus.Google Scholar
Bloomsbury (2015). Jim Kay on Illustrating the World of Harry Potter [Video]. Youtube, www.youtube.com/watch?v=GmhDRHIix48.Google Scholar
Bogpanelet, (2021). Bogen og litteraturens vilkår 2021: Bogpanelets årsrapport. https://kum.dk/fileadmin/_kum/5_Publikationer/2021/KUM_Bogpanelets_aarsrapport_NOV_05.pdf (Accessed 27 May 2022).Google Scholar
Bourdieu, P. (1998). Distinction: A Social Critique of the Judgement of Taste. London: Routledge.Google Scholar
Brummitt, C. (2016). Pottermore: Transmedia Storytelling and Authorship in Harry Potter. The Midwest Quarterly, 58(1), 112–32.Google Scholar
Bryant, J. (2002). The Fluid Text: A Theory of Revision and Editing for Book and Screen. Ann Arbor: University of Michigan Press.CrossRefGoogle Scholar
Bryant, J. (2013). Textual Identity and Adaptive Revision: Editing Adaptation as a Fluid Text. In Bruhn, J., Gjelsvik, A., & Hanssen, E. F. (eds.), Adaptation Studies: New Challenges, New Directions. London: Bloomsbury Academic, pp. 47–67.Google Scholar
Burgess, J. (2017). Convergence. In Gray, J., & Ouellette, L. (eds.), Keywords for Media Studies. New York: New York University Press, pp. 47–9.Google Scholar
Camacci, L. (2016). What Counts as Harry Potter Canon? Media Res: A Media Commons Project. http://mediacommons.org/imr/2016/11/10/what-counts-harry-potter-canon.Google Scholar
Cart, M. (2016). Young Adult Literature: From Romance to Realism, 3rd ed. Chicago: Neal-Schuman.Google Scholar
Christensen, N. (2016). Overgange: Børne- og ungdomslitteratur og barndomsopfattelser i bevægelse. Passage – Tidsskrift for litteratur og kritik, 75, 7–20.Google Scholar
Ciolfi, L. & O’Brien, G. (eds.) (2013). Magic is Might 2012: Proceedings of the International Conference. University of Limerick, Limerick, Ireland Sheffield: Sheffield Hallam University.Google Scholar
Clark, L., & Kay, J. [creepy_scrawlers]. (2021). This Just Arrived. Bloomsbury Kindly Compiled a Book out of Bits and Bobs from the Previous Potter Volumes, while I [Photograph]. Instagram, www.instagram.com/p/CTHy8lLjaLk/.Google Scholar
Cole, S. (2020). In the Studio with Jarrett J. Krosoczka and Odyssey Award Winner HEY, KIDDO. Audiofile Magazine, www.audiofilemagazine.com/articles/in-the-studio-with-jarrett-j-krosoczka-and-odyssey-award-winner-hey-kiddo/ (Accessed 23 May 2022).Google Scholar
Dena, C. (2009). Transmedia Practice: Theorising the Practice of Expressing a Fictional World across Distinct Media and Environments, Unpublished PhD Thesis, University of Sydney.Google Scholar
Dena, C. (2014). Transmedia as ‘Unmixed Media’ Aesthetics. In Polson, D., Cook, A., Velikovsky, J. T., & Brackin, A. L. (eds.), Transmedia Practice: A Collective Approach. Oxford: Inter-Disciplinary Press, pp. 3–16.Google Scholar
Dena, C. (2019). Transmedia Adaptation: Revisiting the No-Adaptation Rule. In Freeman, M., & Gambarato, R. R. (eds.), The Routledge Companion to Transmedia Studies. Milton: Routledge, pp. 195–206.Google Scholar
Eisenstein, E. (1979). The Printing Press as an Agent of Change: Communications and Cultural Transformations in Early-Modern Europe. Cambridge: Cambridge University Press.Google Scholar
El Refaie, E. (2012). Autobiographical Comics: Life Writing in Pictures. Jackson: University Press of Mississippi.CrossRefGoogle Scholar
Endahl, S. R. [sofieriisendahl]. (2018). Vil du indtale Sindstequila som lydbog? [Photo of announcement attached]. Facebook Post, www.facebook.com/sofieriisendahl/photos/a.170462633513116/212077309351648/.Google Scholar
Endahl, S. R. [sofieriisendahl]. (2019). I går blev jeg interviewet af en forsker i børne- og ungdomslitteratur til et treårig forskningsprojekt om bl.a. lydbøger [Photograph]. Instagram, www.instagram.com/p/B1yHD8mBUVm/.Google Scholar
Engberg, M. (2014). Polyaesthetic Sights and Sounds: Media Aesthetics in the Fantastic Flying Books of Mr. Morris Lessmore, Upgrade Soul and the Vampyre of Time and Memory. SoundEffects, 4(1), 21–40.CrossRefGoogle Scholar
Eriksen, D. (2018). Nå kommer Skam-bøkene: – Noen ting er flaut. NRK, www.nrk.no/kultur/na-kommer-skam-bokene_-_-noen-ting-er-flaut-1.14191284 (Accessed 27 May 2022).Google Scholar
Evans, E. (2011). Transmedia Television: Audiences, New Media, and Daily Life. London: Routledge.CrossRefGoogle Scholar
Falconer, R. (2009). The Crossover Novel: Contemporary Children’s Fiction and Its Adult Readership. London: Routledge.Google Scholar
Faldalen, J. I. (2016). Nerven i ‘Skam’ skal være sterk og relevant. Rushprint, https://rushprint.no/2016/04/nerven-i-skam-skal-vaere-sterk-og-relevant/ (Accessed 27 May 2021).Google Scholar
Fitzsimmons, R., & Wilson, C. A. (eds.) (2020). Beyond the Blockbusters: Themes and Trends in Contemporary Young Adult Fiction. Jackson: University Press of Mississippi.CrossRefGoogle Scholar
Forbes (2020). Profile: J. K. Rowling. www.forbes.com/profile/jk-rowling/?sh=be63b263aeb0 (Accessed 27 May 2022).Google Scholar
Freeman, M. (2014). Advertising the Yellow Brick Road: Historicizing the Industrial Emergence of Transmedia Storytelling. International Journal of Communication, 8(1), 2362–2381.Google Scholar
Freeman, M. (2017). A World of Disney: Building a Transmedia Storyworld for Mickey and His Friends. In Boni, M., ed., World Building: Transmedia, Fans, Industries. Amsterdam: Amsterdam University Press, pp. 93–108.Google Scholar
Freeman, M. (2017). Historicising Transmedia Storytelling: Early Twentieth-Century Transmedia Story Worlds. New York: Routledge.Google Scholar
Freeman, M. (2019). The World of the Walking Dead: Imaginary Worlds. New York: Routledge.Google Scholar
Freeman, M., & Gambarato, R. R. (eds.) (2019). The Routledge Companion to Transmedia Studies. Milton: Routledge.Google Scholar
Genette, G. (1997). Paratexts: Thresholds of Textuality of Interpretation. Cambridge: Cambridge University Press.Google Scholar
Gray, J. (2010). Show Sold Separately: Promos, Spoilers, and Other Media Paratexts. New York: New York University Press.Google Scholar
Green, J. (2014). Can You Get Too Old for YA Novels? Cosmopolitan, www.cosmopolitan.com/sex-love/advice/a6686/too-old-for-young-adult-fiction/ (Accessed 27 May 2022).Google Scholar
Gudmundsson, J. B. (2022). Time of Turmoil: Reading and Media Combination in the American Young Adult Novels Cathy’s Book, Skeleton Creek, and Endgame, Unpublished PhD Thesis, Uppsala University.Google Scholar
Hallberg, K. (1982). Litteraturvetenskapen och bilderboksforskningen. Tidskrift för litteraturvetenskap, 3–4, 163–9.Google Scholar
Hancox, D. (2017). From Subject to Collaborator: Transmedia Storytelling and Social Research. Convergence, 23(1), 49–60.CrossRefGoogle Scholar
Harvey, C. (2015). Fantastic Transmedia: Narrative, Play and Memory across Science Fiction and Fantasy Storyworlds. New York: Palgrave Macmillan.CrossRefGoogle Scholar
Have, I., & Pedersen, B. S. (2015). Digital Audiobooks: New Media, Users, and Experiences. Milton: Routledge.CrossRefGoogle Scholar
Have, I., & Pedersen, B. S. (2020). The Audiobook Circuit in Digital Publishing: Voicing the Silent Revolution. New Media & Society, 22(3), 409–28.CrossRefGoogle Scholar
Hjarvard, S. (2016). Medialisering: Mediernes rolle i social og kultural forandring. Copenhagen: Hans Reitzel.Google Scholar
Hughes, S. (2016). Shame: A Scandi TV Sensation for the Social Media Generation. The Guardian, www.theguardian.com/tv-and-radio/2016/dec/04/shame-skam-norway-teen-tv-drama-social-media-sensation (Accessed 27 May 2022).Google Scholar
Jenkins, H. (2003). Transmedia Storytelling. MIT Technology Review, www.technologyreview.com/2003/01/15/234540/transmedia-storytelling/ (Accessed 27 May 2022).Google Scholar
Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. New York: New York University Press.Google Scholar
Jenkins, H. (2007). Transmedia Storytelling 101. Henry Jenkins – Confessions of an Aca-Fan, http://henryjenkins.org/blog/2007/03/transmedia_storytelling_101.html (Accessed 27 May 2022).Google Scholar
Jenkins, H. (2009). Revenge of the Origami Unicorn: The Remaining Four Principles of Transmedia Storytelling. Henry Jenkins – Confessions of an Aca-Fan, http://henryjenkins.org/blog/2009/12/revenge_of_the_origami_unicorn.html (Accessed 27 May 2022).Google Scholar
Jenkins, H. (2009). The Aesthetics of Transmedia: In Response to David Bordwell (Part One). Henry Jenkins – Confessions of an Aca-Fan, http://henryjenkins.org/blog/2009/09/the_aesthetics_of_transmedia_i.html (Accessed 27 May 2022).Google Scholar
Jenkins, H. (2011). Transmedia 202: Further Reflections. Henry Jenkins – Confessions of an Aca-Fan, http://henryjenkins.org/blog/2011/08/defining_transmedia_further_re.html (Accessed 27 May 2022).Google Scholar
Jenkins, H. (2012). ‘Cultural Acupuncture’: Fan Activism and the Harry Potter Alliance. Transformative Works and Cultures, 10, 59.CrossRefGoogle Scholar
Jenkins, H. (2014). Rethinking the ‘Value’ of Entertainment Franchises: An Interview with Derek Johnson (Part Three). Henry Jenkins – Confessions of an Aca-Fan, http://henryjenkins.org/blog/2014/01/rethinking-the-value-of-entertainment-franchises-an-interview-with-derek-johnson-part-three.html (Accessed 9 September 2022).Google Scholar
Jenkins, H. (2017). Adaptation, Extension, Transmedia. Literature/ Film Quarterly, 45(2), www.salisbury.edu/ lfq/ issues/ first/ adaptation_ extension_ transmedia.html (Accessed 12 September 2022).Google Scholar
Johnson, D. (2013). Media Franchising: Creative License and Collaboration in the Culture Industries. New York: New York University Press.Google Scholar
Johnson, D. A History of Transmedia Entertainment. Spreadable Media, https://spreadablemedia.org/essays/johnson/index.html#.YpEeyJNBw-R (Accessed 27 May 2022).Google Scholar
Kay, J. (n.d.). Harry Potter. Jim Kay: Home of Illustrator Jim Kay. www.jimkay.co.uk/home/harry-potter/ (Accessed 27 May 2022).Google Scholar
Kérchy, A. (2016). Alice in Transmedia Wonderland: Curiouser and Curiouser New Forms of a Children’s Classic. Jefferson: McFarland & Company.Google Scholar
Kinder, M. (1991). Playing with Power in Movies, Television, and Video Games: From Muppet Babies to Teenage Mutant Ninja Turtles. Berkeley: University of California Press.CrossRefGoogle Scholar
Klastrup, L., & Tosca, S. (2004). Transmedial Worlds: Rethinking Cyberworld Design [Paper Presentation]. 2004 International Conference on Cyberworlds, Tokyo, Japan.Google Scholar
Klastrup, L., & Tosca, S. (2020). Transmedial Worlds in Everyday Life: Networked Reception, Social Media, and Fictional Worlds. New York: Routledge.Google Scholar
Kohlert, F. B. (2015). Working It through: Trauma and Autobiography in Phoebe Gloeckner’s ‘A Child’s Life’ and ‘The Diary of a Teenage Girl’. South Central Review, 32(3), 124–42.CrossRefGoogle Scholar
Körte, B., & Schneider, R. (2000). The Published Screenplay: A New ‘Literary’ Genre? Arbeiten aus Anglistik und Amerikanistik, 25(1), 89–105.Google Scholar
Kozloff, S. (1995). Audiobooks in a Visual Culture. Journal of American Culture, 18(4), 83–95.CrossRefGoogle Scholar
Krosoczka, J. J. (2018). Hey, Kiddo: How I Lost My Mother, Found My Father, and Dealt with Family Addiction. New York: Graphix Scholastic.Google Scholar
Krosoczka, J. J. [@studiojjk]. (2022). #answer to studiojjk Grandmas, amiright?! My Grandmother Did Not Mince Words. #HeyKiddobook #grandmas #grandparentsoftiktok #saltygrandma #saltygrams #growthmindset [Animation Video]. TikTok, www.tiktok.com/@studiojjk/video/7090168825206934826?is_from_webapp=1&sender_device=pc&web_id=7100575492626007558.Google Scholar
Krosoczka, J. J. (n.d.). Young Adult: Graphic Memoir. Jarrett J. Krosoczka, www.studiojjk.com/young-adult-graphic-memoir (Accessed 27 May 2022).Google Scholar
Krüger, S., & Rustad, G. C. (2019). Coping with Shame in a Media-Saturated Society: Norwegian Web-Series Skam as Transitional Object. Television & New Media, 20(1), 72–95.CrossRefGoogle Scholar
Lefebvre, B. (2013). Textual Transformations in Children’s Literature: Adaptations, Translations, Reconsiderations. New York: Routledge.CrossRefGoogle Scholar
Leitch, T. (2016). Adaptable Alice. In Helff, S., & Butt, N. (eds.), ‘Tantalizing Alice’: Approaches, Concepts and Case-Studies in Adaptations of a Classic. Trier: WVT Wissenschaftlicher Verlag Trier, pp. 11–28.Google Scholar
Linkis, S. T., & Pennlert, J. (2020). Episodic Listening: Analyzing the Content and Usage of Born-Audio Serial Narratives. The Journal of Electronic Publishing, 23(1).Google Scholar
Lo, E. Y. (2020). How Social Media, Movies, and TV Shows Interacts with Young Adult Literature from 2015 to 2019. Publishing Research Quarterly, 36(4), 611–8.CrossRefGoogle Scholar
Lockwood, E. (2017). Peter Pan Has a Blog and Jane Eyre Has Twitter: Applying Adaptation Theory to Transmedia Adaptations of Classic Literature, Unpublished Master’s Thesis, Ball State University.Google Scholar
Long, G. (2007). Transmedia Storytelling: Business, Aesthetics and Production at the Jim Henson Company, Unpublished Master’s Thesis, Massachusetts Institute of Technology.Google Scholar
Mackey, M. (2010). Media Adaptations. In Rudd, D., ed., The Routledge Companion to Children’s Literature. London: Routledge, pp. 112–24.Google Scholar
Mackey, M. (2011). Spinning Off: Toys, Television, Tie-Ins, and Technology. In Wolf, S., Coats, K., Enciso, P., & Jenkins, C. (eds.), Handbook of Research in Children’s and Young Adult Literature. New York: Routledge, pp. 495–507.Google Scholar
Malin, (2019). Review: Skam Sesong 3: Isak. Goodreads, www.goodreads.com/review/show/2638474828?book_show_action=true&from_review_page=1 (Accessed 27 May 2022).Google Scholar
Malin, (2019). Review: Skam Sesong 4: Sana. Goodreads, www.goodreads.com/review/show/2638474896?book_show_action=true&from_review_page=1 (Accessed 27 May 2022).Google Scholar
Maras, S. (2009). Screenwriting: History, Theory and Practice. London: Wallflower Press.Google Scholar
Martens, M. (2016). Publishers, Readers, and Digital Engagement. London: Palgrave Macmillan UK.CrossRefGoogle Scholar
Martens, M. (2019). The Forever Fandom of Harry Potter: Balancing Fan Agency and Corporate Control. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
McCloud, S. (1994). Understanding Comics: The Invisible Art. New York: Harper Perennial.Google Scholar
McGann, J. J. (1991). The Textual Condition. Princeton, NJ: Princeton University Press.Google Scholar
McLuhan, M. (2013). Understanding Media: The Extensions of Man (Critical Ed.). Corte Madera: Gingko Press.Google Scholar
Murray, P. R., & Squires, C. (2013). The Digital Publishing Communications Circuit. Book 2.0, 3(1), 3–23.CrossRefGoogle Scholar
Murray, S. (2012). The Adaptation Industry: The Cultural Economy of Contemporary Literary Adaptation. New York: Routledge.CrossRefGoogle Scholar
Mygind, S. (2016). Børnelitteratur i udbrud. Transmediale bevægelser i nutidig børnelitteratur. Passage – Tidsskrift for litteratur og kritik, 75, 93–114.Google Scholar
Mygind, S. (2017). A Chinese Cluster: Danish Born-Digital Comic as Source for Transmedia Design and Innovation. In Swanstrom, L., Ensslin, A., & Frelik, P. (eds.), Small Screen Fictions. Vashon Island, WA: Paradoxa, pp. 65–88.Google Scholar
Mygind, S. (2023). #forfatterliv #skriveliv: Den danske forfatter Sofie Riis Endahls brug af Instagram. Passage – Tidsskrift for litteratur og kritik, 89, 77–98Google Scholar
Nannicelli, T. (2012). A Philosophy of the Screenplay. London: Taylor & Francis Group.Google Scholar
Newbery, J. (1966). A Little Pretty Pocket-Book: A Facsimile Edition / with an Introductionary Essay and Bibliography. Thwaite, M. F.. ed. London: Oxford University Press.Google Scholar
Newell, K. (2017). Adaptation and Illustration: A Cross-Disciplinary Approach. In Leitch, T., ed., The Oxford Handbook of Adaptation Studies. New York: Oxford University Press, pp. 477–493.Google Scholar
Newell, K. (2017). Expanding Adaptation Networks: From Illustration to Novelization. London: Palgrave Macmillan UK.CrossRefGoogle Scholar
NRK (2010). Bylaws for NRK AS, www.nrk.no/about/bylaws-for-nrk-as-1.4029867 (Accessed 27 May 2022).Google Scholar
NRK (2016). Tenke det du føler [Webseries Episode]. Skam, https://skam.p3.no/2016/11/26/tenke-det-du-foler/.Google Scholar
O’Flynn, S. (2013). Epilogue. In Hutcheon, L., ed., A Theory of Adaptation, 2nd ed. Oxon: Routledge, pp. 179–206.Google Scholar
Omdia (2021). Global Audiobook Revenues Set to Eclipse $4.8bn in 2021. Omdia, https://omdia.tech.informa.com/pr/2021-jul/global-audiobook-revenues-set-to-eclipse-4bn-in-2021 (Accessed 27 May 2022).Google Scholar
Ommundsen, Å. M. (2016). Billedbøger mellem læsere. Kontroversielle billedbøger i Norge og Danmark. Passage – Tidsskrift for litteratur og kritik, 75, 29–48.Google Scholar
Pasolini, P. (1986). The Screenplay as a ‘Structure That Wants to Be Another Structure’. American journal of semiotics. 4(1-2), 53–72.CrossRefGoogle Scholar
Pedersen, B. S. (2020). At skrive gennem lyd: Om Audible Originals. Passage – Tidsskrift for litteratur og kritik, 83, 85–99.CrossRefGoogle Scholar
Pemberly Digital (n.d.). The Lizzie Bennet Diaries [Video channel]. YouTube, www.youtube.com/user/LizzieBennet/featured.Google Scholar
Phillips, A. (2012). A Creator’s Guide to Transmedia Storytelling: How to Captivate and Engage Audiences across Multiple Platforms. New York: McGraw-Hill.Google Scholar
Phillips, A., & Kovač, M. (2022). Is This a Book? Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Plaetner, S. H. (2017). Del 1: Til Livet Os Skiller [Audio podcast episode]. Noget Om Emma. https://podcasts.apple.com/us/podcast/del-1-til-livet-os-skiller/id1208174970?i=1000381998828.Google Scholar
Pottermore (2017). What We Learned about Professor Dumbledore from the Mirror of Erised. Pottermore, www.wizardingworld.com/features/what-we-learned-about-professor-dumbledore-from-the-mirror-of-erised (Accessed 27 May 2022).Google Scholar
Pottermore (2018). Cover for the Fantastic Beasts: The Crimes of Grindelwald Screenplay Revealed. Pottermore, www.wizardingworld.com/news/cover-for-the-fantastic-beasts-the-crimes-of-grindelwald-screenplay-revealed (Accessed 27 May 2022).Google Scholar
Publishers Association (2018). Publishing’s Contribution to the Wider Creative Industries. https://www.creativeindustriesfederation.com/index.php/callajax?action=download_pdf&document=2669&downurl=https://www.creativeindustriesfederation.com/sites/default/files/2018-07/Publishing%27s%20contribution%20to%20the%20wider%20creative%20industries.pdf (Accessed 27 May 2022).Google Scholar
Rebellino, R. L. R. (2020). Oversharing on and off the Internet: Crossing from Digital to Print (and Back) in Young Adult Works Authored by YouTube Stars. In Fitzsimmons, R., & Wilson, C. A (eds.), Beyond the Blockbusters: Themes and Trends in Contemporary Young Adult Fiction. Jackson: University Press of Mississippi, pp. 20–32.CrossRefGoogle Scholar
Reid, C. (2010). Enriched E-Books: Multimedia, Mystery, and ‘Cathy’s Book’. Publishers Weekly, www.publishersweekly.com/pw/by-topic/digital/content-and-e-books/article/43030-enriched-e-books-multimedia-mystery-and-cathy-s-book.html (Accessed 27 May 2022).Google Scholar
Rettberg, J. W. (2021). ‘Nobody Is Ever Alone’: The Use of Social Media Narrative to Include the Viewer in SKAM. Journal of Popular Culture, 54(2), 232–56.CrossRefGoogle Scholar
Rowling, J. K. (2015). Today Everyone Will Be Able to See Harry Potter through Jim Kay’s Extraordinary Eyes! The Man’s a Genius. #harrypotterillustrated [Tweet]. Twitter, https://twitter.com/jk_rowling/status/651351727841615872.Google Scholar
Rowling, J. K. (2018). Fantastic Beasts: The Crimes of Grindelwald: The Original Screenplay. London: Little, Brown.Google Scholar
Rowling, J. K., & Kay, J. (2015). Harry Potter and the Philosopher’s Stone: Illustrated Edition. London: Bloomsbury.Google Scholar
Rowling, J. K., & Kay, J. (2016). Harry Potter and the Chamber of Secrets: Illustrated Edition. London: BloomsburyGoogle Scholar
Rowling, J. K., & Kay, J. (2017). Harry Potter and the Prisoner of Azkaban: Illustrated Edition. London: Bloomsbury.Google Scholar
Rowling, J. K., & Kay, J. (2022). Harry Potter and the Order of the Phoenix: Illustrated Edition. London: Bloomsbury.Google Scholar
Rubery, M. (2011). Audiobooks, Literature, and Sound Studies. Florence: Routledge.CrossRefGoogle Scholar
Russell, J. (2012). Authorship, Commerce, and Harry Potter. In Cartmell, D., ed., A Companion to Literature, Film, and Adaptation. Chichester: John Wiley, pp. 391–407.CrossRefGoogle Scholar
Scholastic (n.d.). Scholastic Releases Exclusive Cover of Upcoming Illustrated Edition of J.K Rowling’s Harry Potter and the Sorcerer’s Stone. Scholastic: News Room, http://mediaroom.scholastic.com/press-release/scholastic-releases-exclusive-cover-upcoming-illustrated-edition-jk-rowling-s-harry-p-1 (Accessed 27 May 2022).Google Scholar
Scolari, C. A. (2009). Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production. International Journal of Communication, 3, 586–606.Google Scholar
Sekeres, D. C. (2009). The Market Child and Branded Fiction: A Synergism of Children’s Literature, Consumer Culture, and New Literacies. Reading Research Quarterly, 44(4), p. 399–414.CrossRefGoogle Scholar
Simanowski, R., Schäfer, J., & Gendolla, P. (2010). Reading Moving Letters: Digital Literature in Research and Teaching: A Handbook. Bielefeld: Transcript Verlag.Google Scholar
Steiner, A., & Berglund, K. (2022). Barnlitterära strömningar: Om ljudböcker för barn. Svenska Förläggareföreningen, https://forlaggare.se/rapporter/barnlitterara-stromningar-om-ljudbocker-for-barn/.Google Scholar
Sundet, V. S. (2020). From ‘Secret’ Online Teen Drama to International Cult Phenomenon: The Global Expansion of SKAM and its Public Service Mission. Critical Studies in Television, 15(1), 69–90.CrossRefGoogle Scholar
Sundet, V. S. (2021). Television Drama in the Age of Streaming: Transnational Strategies and Digital Production Cultures at the NRK. Cham: Springer International Publishing AG.CrossRefGoogle Scholar
The Wizarding World Team (2019). Introducting Wizarding World Gold. Wizarding World, www.wizardingworld.com/news/introducing-wizarding-world-gold (Accessed 27 May 2022).Google Scholar
The Wizarding World Team (2021). Introducing Harry Potter: Reading Magic. Wizarding World, www.wizardingworld.com/news/introducing-harry-potter-reading-magic (Accessed 27 May 2022).Google Scholar
The Wizarding World Team (2022). An Exclusive First Look at Images from the Illustrated Edition of Harry Potter and the Order of the Phoenix. Wizarding World, www.wizardingworld.com/news/exclusive-first-look-at-the-illustrated-order-of-the-phoenix (Accessed 27 May 2022).Google Scholar
Therealsanabakkoush (2017). Los loser’s main bitch @stas_a_vaere_chris og resten av loserne @ellevillevillde @loglady99 @evamohn2 er serr mine favoritt mennesker of all time [Photograph]. Instagram, www.instagram.com/p/BVDGE5JAA52/.Google Scholar
Thompson, J. B. (2011). Merchants of Culture: The Publishing Business in the Twenty-First Century. Cambridge: Polity.Google Scholar
Waade, A. M., & Toft-Nielsen, C. (2015). Harry Potter Som Transmedia Storytelling: Franchise, Fantasy og Fans. In Lauridsen, P. S., & Svendsen, E. (eds.), Medieanalyse. Frederiksberg: Samfundslitteratur, pp. 60–82.Google Scholar
Welsh, C. (2010). Bookseller of the Last Century. Cambridge: Cambridge University Press.Google Scholar
Wilkins, K. (2019). Young Adult Fantasy Fiction: Conventions, Originality, Reproducibility. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Wizarding World (2019). Illustrating Harry Potter and the Goblet of Fire | Wizarding World [Video]. YouTube, www.youtube.com/watch?v=DfjO2hA5b24&ab_channel=WizardingWorld.Google Scholar
Wolf, M. J. P. (2012). Building Imaginary Worlds: The Theory and History of Subcreation. New York: Routledge.Google Scholar
Accessibility standard: Unknown
Why this information is here
This section outlines the accessibility features of this content - including support for screen readers, full keyboard navigation and high-contrast display options. This may not be relevant for you.Accessibility Information
Accessibility compliance for the HTML of this Element is currently unknown
and may be updated in the future.
- 7
- Cited by