Analytical tool for the transmediality of the narrative of a derived piece.
\r\n\t
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In this text we highlight two reasons mainly. On the one hand, the viewer has evolved by demanding personalized and participatory content, and, on the other hand, consumer devices of the moment are mobile and interactive [1]. The consolidation of platforms that offer online content on demand through streaming has displaced the traditional concept of television. From watching television in group in front of the device and in a passive way, now individual consumption is imposed through multiple media and mobile screens that allow interaction with the pieces. Television contents can be viewed on traditional television or by accessing cybermedia or distribution platforms on the Internet from a computer, smart tablet, smart phone, or smart TV.
\nThis technological development has meant an important advance regarding the viewers. They have become users and producers of content that demand to be part of the narrative process. One of the main strategies for creating innovative storytelling is based on devising ways to involve the viewer actively in the development of the story. However, it should be noted that the involvement of the viewer in the creation of the audiovisual story is not a novelty. In 1999, the term spect-acteur [2] was used to refer to an active spectator in the construction of history.
\nThe challenge is to seek and experiment with the way of telling stories so that they break with the linearity of the story and involve the receiver and immerse him in the universe of fiction or nonfiction that is shown to him and he wants to be part of it. Interactivity acquires a fundamental role in this challenge. The interactive narrative offers the user some open contents, audiovisual fragments, that are meant to be reconstructed by the audience [3]. García [4] calls these hypernarrative structures when they are built based on a double layer, the first that affects the interface through which the user accesses to the content and the second that influences the content itself. That is to say, the spectator stops being passive in front of the story and is given the power to select itineraries at certain moments of the storyline, forming his own organization and setting up his own story. The audiences have the possibility to choose their own montage of the narrative from the offers of the field of production, in a (re)personal interpretation of the story [5]. For Manovich [6], the temporary montage can be used to generate a sense of presence in a virtual space, experimenting with the meanings of the individual shots and altering them following the example of Kuleshov or building new meanings from isolated fragments. In this sense, Vertov [7] argues that montage can influence the indexed nature of cinema and can propose pieces that, ordered in another way, offer meanings totally far from reality.
\nThe power to choose which option to follow is controlled by the author of the piece that has previously designed the possible itineraries. In addition, in some cases, without the intervention of the user, the story cannot continue. All this implies a whole lot of work to devise and make a story with several possibilities in its development, in order to offer these alternatives to the user. The intervention of the spectator can be carried out from outside the story, as a reader-author (lectoautor) [8], or from within as a character (avatar or immersion). The term reader-author [9] refers to the interaction of the user with the cultural product, always in a controlled manner by the author of it. The creator gives the reader the power to conduct the text or the audiovisual wherever he wants, but he always marks the route.
\nInteractivity, focused on the active participation of the viewer, has become one of the main resources for developing transmedia narratives. The transmedia narrative focuses on the elaboration of contents that expand the narrative universe of a main piece. Researchers have established that in this narrative extension two agents can participate. Firstly, the producers of the piece, in an organized way, elaborate others that expand the transmedia universe. Secondly, users, spontaneously and unplanned, contribute to this universe by participating, for example, in wikis or fan communities, or, also, generating their own productions as montages from the original material and spreading them on social platforms.
\nBeyond the intervention of the fans and their contributions in social networks, experimental projects such as
On the other hand,
This text analyzes the special episode
The search for strategies applied to fiction and nonfiction content to capture the audience fosters the transmedia message. Transmediality affects the way of narrating, producing, or disseminating a story.
\nJenkins determines that transmedia storytelling occurs when the “Transmedia storytelling represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience. Ideally, each medium makes it own unique contribution to the unfolding of the story” [10]. As a result, an extension of the main piece is expected in other formats. In addition, although each piece must keep narrative independence and complete sense by itself, they are all part of a global story. Each medium does what is best for the storytelling using its own features to have a better product; for instance, a story can be introduced through a film, expanded through television, novels, and comics, and its world can be explored and experienced through a video game [11].
\nJenkins explicitly alludes in these lines to an extension in other media. However, Askwith [1], in his research, gives less prominence to the media and focuses on the new information and additive comprehension, which the pieces offer with respect to the main one. The researcher establishes a classification in terms of the expansion of the television text in which he identifies eight different categories as the possible products related to these texts. Askwith collects points of contact, touchpoints, between the main piece and its derivatives, focusing on the information or innovative content they provide: “any content, activity, or strategic offering that allows the media consumer to engage with a television ‘brand’ in any manner other than watching the core program content through real-time or time-shifted (DVR) viewing” [1].
\nThis classification has been complemented by Ivars-Nicolás and Zaragoza-Fuster [12] resulting in Table 1: tool for analyzing the transmediality of the narrative of a derived piece, which integrates other aspects such as the formats or means in which the pieces are spread, if a centralized control of transmediality is pursued, or the different degrees of interactivity.
\nMedia/platforms | \nNarrative dispersion | \nNarrative expansion: what the piece of added value brings to be considered expansive (additive comprehension), that is, part of the transmedia universe | \n||
---|---|---|---|---|
Type of formats, devices, etc. The qualities of the media are integrated, enhancing the piece | \nFollow a strategic or tactical modality (in any case, indicate if centralized creative control is pursued) Number of pieces made by the official team or by the fans Content type: text/photo/audio/video Order of creation of transmedia parts Autonomy of the piece’s story within its universe | \n(1) Formal program qualities | \n||
(2) Expanded access | \n||||
(3) Repackaged content | \n||||
(4) Ancillary content | \nTextual extensions | \nNarrative extensions | \n||
Diegetic extensions | \n||||
Relevant information | \n||||
Extratextual information: industrial information, celebrity information | \n||||
(5) Branded products | \n||||
(6) Related activities | \nThemed activities | \n|||
Experiential activities | \n(1) Player as themselves or original characters of their own design | \n|||
(2) Player as recognizable characters from the program | \n||||
(3) Player as a new token character | \n||||
(4) Player as an unspecified agent or visitor | \n||||
Productive activities | \n||||
Challenge activities | \n||||
(7) Social interaction | \nHorizontal: audience communities | \n|||
Vertical: celebrity access | \n||||
Diagonal: diegetic interaction | \n||||
(8) Interactivity | \nMechanical interaction | \n|||
Content activation | \n||||
Content interaction | \nAcknowledged contributions | \n|||
Influential interactions | \n||||
Social interaction | \n||||
Degree of interactivity | \nBrowse or activate content | \n|||
Customize content | \n||||
The content is influenced | \n||||
Actors and their relationship with the reader, in the series or in the narrative | \n||||
\n | \n | Immersivity | \n
Returning to the premise of Jenkins that the narrative dispersion should be in different media, the extensions in the organization of Table 1 are contemplated in the same format and medium of those of the main piece. Without leaving the television medium, in the case of a series, they can be sequels, prequels, or spin-offs of the original series. However, this type of productions is not considered transmedia strictly speaking but intramedian, following the explanations of Harvey, that is, when the narration flows between different spaces within the same media [18].
\nIn this state of the question, it is necessary to consider how to name and classify those cases in which, starting from the original piece, the extension of the main narrative core is generated by the audience on it, remaining in the same format and medium, without forgetting that we are facing a growing consumption of content on Internet television, independently of the access device, assuming the hybridization of the two media. It is absurd to distinguish between series and web series, for example, as a differentiator of the medium in which the series is consumed, whether on demand or not. When the medium is the Internet, it is not easy to distinguish between a transmedia and an intramedian product, so, in this text, to address transmediality, the fundamental thing is that each of the stories that make up the universe of a piece tells something different and expands its narrative world, without taking into account the medium.
\nThe interactive chapter
In interactive
In an interview conducted by the magazine
Below we explore the case of
The main piece of the universe is the chapter that the user consumes for the first time. It is necessary to qualify the unique and individual character of each piece, which implies that the main piece is not usually the same for another user. The derived pieces are those generated in subsequent viewings in which different itineraries are chosen.
\nIt follows an expansion strategy planned in advance, both spatially and temporally, which is what Scolari et al. [15] call strategic modality. That is to say, it is a chapter devised and planned by the official producer taking into account the interactivity and the possible itineraries from the beginning, as well as the passivity of the user. He has the freedom to choose but always in a controlled manner between options studied to produce audiovisual products that are organized and with autonomy of the story and its meaning in all cases. There is no specific number of pieces since the resulting chapters are particular experiences that are not published or shared with the audience. As for the order of creation, we can group all the creations of the users on the same level, considering themselves as the first pieces in the transmedia universe. The authorship of these derived pieces will be established later given the involvement of creator and spectator in the realization of it.
\nConcerning the touchpoints, 1, 2, 3, and 5 refer to pieces that are not considered as part of the transmedia universe because there is no narrative expansion. Touchpoint 7 is also not addressed, focused on the pieces produced by fans, users, or other companies than the official one, without any control, as this is not the case.
\nConsidering touchpoint 4, it could be debated whether
Given this peculiarity, it is worth asking if these episodes suppose auxiliary or extended content, introducing new material and/or information which supplements, extends, or expands the consumer’s overall knowledge, being the content similar to that of the main piece in terms of relevance. The first time the chapter is consumed, there is no new information, and this would be the original piece for the viewer, highlighting its unique character. However,
However, there seems to be a clearer point of contact as related activity, touchpoint 6, than ancillary content. Askwith describes related activities as those in which the user is asked to play an active and participatory role, assuming a role related to fictional history (videogames, role-playing games), which recreates a specific event in an episode or set of episodes. It can also be the case that new narrative plots are devised, based on what is already known or supposed, but new in terms of not having been previously presented. The assumed role can be played by a player, by a character in the plot, by a co-protagonist, or by a visiting character without an identity of their own.
\nAs explained in the previous point, in
But in addition to highlighting an experiential activity,
In
Interactivity is designed, so that the viewer activates content triggering a reaction, but, at the same time, interacts with this content because choosing one option or another involves influencing the development of the story in a different way and making this decision depends on the previous events. However, interaction is not an obligatory requirement for the narrative to move forward since, after a defined time, if the user does not interact, it automatically jumps to the option marked as default.
\nThe content interaction can be recognized or influence the story. The recognized contributions do not alter the development of the story and consist of propitiating in a planned way a contribution by the user, and this participation is recognized or rewarded (surveys, tweets that are shown on the screen, gifts or prizes from the official website, etc.). Influential interactions, however, can influence the development of the story, for example, the interactive endings of some fictional products or any creative intervention of a fan that has effects on the narration (in the writing of the scripts to come, the dialogs, in the staging, the attrezzo, etc.).
The piece does not offer the possibility of recognizing or rewarding the user’s activity in a strict sense. An example of recognition could be the possibility of saving the version of the piece concluded with the user’s choices that can be seen later or shared with other viewers. However, Netflix, in addition to the control systems on the consumption habits of its audience, adds the interactivity layer that allows to monitor the activity of the users, focusing on their choices to configure the story and, therefore, recording these montages of the spectators. In this way, data is obtained such as the least-seen end, which could be considered as an anonymous recognition, as well as other temporary metadata, becoming a data mining test [21]. This information is downloaded into social networks to encourage interest or challenge the audience to look for less experienced itineraries. This technique fits with the concept of “contribution” as a type of interaction that Carolyn Handler Miller explains in digital storytelling [22] in which the user can send information that is then assembled or recorded and returned to users, for example, surveys whose results are displayed in text messages on the screen. These contributions can be recognized within a television program or within one of the associated contact points of the program, such as a website. However, a recognized contribution cannot significantly alter or influence the outcome or direction of a program.
\nRegarding the influential interactions [1] that offer viewers the opportunity to exercise some degree of meaning,
Ivars-Nicolás and Zaragoza-Fuster [12] establish three levels of interaction with the narrative that are complementary to those explained by Askwith and applicable in this case: (1) when the possibilities of interaction that are offered to the user are limited to browsing or activating contents that show information, whether in a linear structure or not and intranodal or internodal; (2) when it is allowed to personalize content, leaving some control to the user, but without affecting the narrative; and (3) when strategically designed tools are offered to stimulate an active participation of the spectator to influence the development of the story, giving rise to a co-authorship.
\nThe navigation system, composed of binary choice points, has three different types [20]. In the simple node through its choice, we accede to the continuation of the narrative structure, or we return to restart the discourse. In this first level, the most common is that the choice does not modify the narrative structure. The attribute node, through which we are assigned a quality to continue our navigation throughout history, allows us to access other later options that are shown only if we have received the corresponding quality. Finally, there is the anti-attribute node, which is only displayed while the user has not acquired the specific quality. This definition of nodes contrasts with the low level of interaction, since the user is conscious in choosing his decisions but does not know that depending on the nodes he is choosing, he is granted different attributes or anti-attributes that alter the diegetic path.
\nHowever, a diegetic transposition in the construction of the product itself also appears, because in cases where we decide a wrong choice, we are invited to go back and resume the story from the beginning, which produces a hypertextual palimpsest. The assembly is crucial, especially the production method used, in which the scenes have to be repeated from different angles, to maintain a global continuity to all possible plots of the proposed hypernarrative. This production can be defined as multiperspective, and at the technological level, it evolves on a timeline that offers different options in each of the pre-established nodes and that according to these decisions gives us access to a new scene or sequence of the product, from a different perspective, influenced by the sense of our navigation, built from the technological development of the platform itself, resulting in the diegetic software.
\nPersonalization, another key in
The challenge is clear, and it comes as an encouragement, which is presented to the spectators who seek co-authorship or control over the result. In these cases, the domain of information becomes a conscious pleasure that ends up repeating the experience again and again in search of more clues, more possible itineraries, and more information. This curiosity is enhanced by the novel format that integrates video game techniques with a film.
\nThe
Hearing loss is the most common neurosensory alteration in the human being, due to the loss or alteration of the anatomical and/or physiological function of the auditory system [1]. It is estimated that worldwide 1 out of every 1000 children is born with bilateral hearing loss. To the deep and 5 out of every 1000 with other forms of deafness. In 2012, “WORLD HEALTH ORGANIZATION” estimated that 5.3% of the world’s population had hearing loss, with prevalence in South Asia, Sub-Saharan Africa and Asia Pacific region. In Latin America, the prevalence of 1.6% and specifically in Mexico is estimated that around 10 million people have some type or degree of auditory problem, of which between 200 000 and 400 000 present total deafness. In addition, each year are born between 2000 and 6000 Children with congenital deafness. These numbers show that hearing disorders are an important public health problem around the World [2]. This problem was considered in the National Development plan and in the health Sectoral program 2007–2012, for which the SSA designed the neonatal auditory sieve early intervention program, backed by the standard: NOM-173-SSA1–1998, for comprehensive care for hearing impaired persons [2]. This same recommendation has been Issued by the National Institutes of Health in the USA, in agreement with the American Academy of Pediatrics [3]. The previous documents establish to make the sieve to all the newborns regardless of their state of health before the discharge hospital, if However most of the countries only reports of children with risk factors, with few compared to healthy children. With the neonatal auditory sieve is intended the timely detection of the hearing impairment of the newborn, its objective is to attend In advance these deficiencies in the neonate, since the ideal age to carry out the rehabilitation with the help of an auditory auxiliary and to initiate the therapy of the language, is at the age of six months, since at this age begins the development of the language. Any reduction in hearing can cause communication disturbances that affect the motor, affective and intellectual development of the individual [3]. Neonatal auditory sieve has several advantages over other methods for detecting no time. Auditory sieve, is 60% less expensive study compared to the neonatal metabolic sieve, faster (lasts about two minutes), immediate response, is not painful and can be repeated as many times as necessary to confirm the outcome [4]. In auditory screening studies a prevalence of permanent congenital hearing loss of 112 by 100,000 infants has been found, with a higher proportion in those who have risk factors (62 by 100,000) than in those who do not have them (54 per 100,000) [5]. There are many different equipment in the market, the most common used in our country is the Portable Interacoustics® OtoRead™ For Sieve Addictive. Provided of a Probe Of 30 Cm o 100 cm, soft latex olives of different calibers. Otoacoustic emissions of distortion products were performed at frequencies 2–5 KHz in four bands with intense. From 40 to 70 db [6]. This is a test that consists in collecting the response of the external hair cells by a receiver placed in the ear canal (CAE), after the sound stimulation by a click, emitted by a microphone in CAE, this technique simple and fast, reproducible, objective, innocuous and reliable: sensitivity: 80–100% and specificity: 90%. It was carried out as recommended by the Commission for the early detection of hearing loss in Spain (COPEDEH).
Phase 1: At birth or before discharge hospital, criterion of the step is the obtaining of the Wave V with PPATC to 40 db or the emission of emissions otoacoustic auditory bilateral.
Phase 2: Newborns who do not exceed this phase are re-explored between the first week and the month of age.
Phase 3: Newborns who do not exceed the second phase are assessed by the audiology service for definitive diagnosis and treatment.
Peripheral hearing is the starting point for structuring expressive language. It is the basis for the comprehension, decoding and central auditory perception to be achieved after reception. These two great phenomena, peripheral sensation and cortical perception, allow the development of the oral language, characteristic and specific quality of the human [7, 8]. The sensations with which the afferent processes begin in the organ of Corti and the babbling with which the first manifesto begins efferent linguistics, are functions that are closely linked to the evolution of Abstract thinking [9]. When hearing does not exist, decreases or is lost, one, several or all psychoacoustic levels are rendered inoperative [10]. We need to be aware that there is a possibility to know if the hearing conditions of newborns are deficit from the first hours after childbirth, which is why it is imperative to act in the stages in which the unstructured as cortical are maturing and can be modeled, as the base as the basis for defining the future of more than 4000 to 6000 babies born deaf or deep hearing problems every year in most of the third world countries [11].
The audiology has its fields of action delimited with great precision, and although many of them correlate with other disciplines, it is the secondary prevention where we can focus the position of our document on the transcendence of sieve Neonatal auditory sieve [12]. The issue that concerns us, the deep hearing loss or total deafness, in many cases with primary prevention measures, it is possible to avoid the damage to the structures of the auditory system and the concomitant Sensoperceptiva dysfunction [13]. In a percentage these measures cannot be applied, so it is essential to act in the field of secondary prevention to identify a possible problem from the time after birth, so that, continuing with the Diagnosis of certainty and early intervention, the auditory canal is enabled and the cerebral plasticity that will produce the most precious fruit of the audition, which is the language [14], is harnessed. The literature indicates that 0.1% of children are born with some type of congenital deafness [15], according to the results, the prevalence of problems Auditory in healthy newborns of our hospital was 0.3%, i.e. 3 times higher than the reported in the literature (3% reported) [16, 17].
The importance of conducting auditory screening at birth is in the timely detection, establishing early rehabilitation, lowering the cost of care for the institution and the health system in general [18, 19] in a systematic review on the prevalence of alterations in neurodevelopment in Mexico, it was identified that reports on the frequency of hearing loss, passed with methodological differences that do not allow the generalization of their results. In addition, The reports in our country are very scarce with high variability of auditory disturbances through auditory screening. However, it should be noted the findings of two studies conducted, one in low-risk population and one with high risk for Auditory problems. In the first group was observed prevalence of 0.65 for every 1000 live births, the second study estimated 2.6% of 6000 children who merited care in a neonatal intensive care unit [20, 21].
In the United States and European countries has prevalence at 5 years of age of 0.5% with estimated people of 800,000, compared to 2.6 million patients in Latin America, the big difference could be given by the prevention and identification of these alterations in Early stages of life. Unattended cases of hearing loss represent an annual global cost of 750 billion. Interventions aimed at preventing, detecting and treating hearing loss are not expensive and may result Very beneficial to the stakeholders. The greatest importance of timely detection is based in the times and degrees in the what the plasticity cerebral and the potential for linguistic development decreases in relation to the age of intervention [22]. The more time it takes for the proper intervention to begin, the more difficult it is for a good development of the oral language to be achieved, which is the basis for the integral development of the individual, which of course includes the mechanisms of written linguistic communication, with the acquisition of reading and writing as starting points of cognitive and cultural development. The critical period for that the intervention is successful is to the 18 months old. Then the potential and plasticity of the brain for the development of the language, until reaching the point where the late intervention becomes almost useless [23, 24], quickly decreases.
The benefits of early detection of various medical conditions have long been found; Such is the case of auditory alterations in newborns, an entity that by its very nature is not evident until it is presented retro in neurodevelopment, mainly speech. Unfortunately the ideal age to perform rehabilitation with the help of an auditory assistant and language therapy is at six months of age. Contreras and col. (2018) determined that the prevalence of congenital deafness in children without apparent (healthy) risk factors, was three times greater than that reported in the world literature, coupled with this, it is likely that in preterm infants or with various morbidities the prevalence will increase. (23) Therefore, It is essential to educate health providers at all levels of care for the newborn, and the high relevance of hearing screening with an early detection of hearing loss, as well as send it in a timely manner and To receive multidisciplinary management involving specialist in language, audiology, rehabilitation, otolaryngology, neonatology and psychology in order to promote the increase in the quality of life of these patients, increase the Possi to integrate in a successful and productive way in the society, reduce the costs of care and the socioeconomic cost that causes the country to maintain a problem like the Deafness.
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\\n\\nAs a gold Open Access publisher, an Open Access Publishing Fee is payable on acceptance following peer review of the manuscript. In return, we provide high quality publishing services and exclusive benefits for all contributors. IntechOpen is the trusted publishing partner of over 128,000 international scientists and researchers.
\n\nThe Open Access Publishing Fee (OAPF) is payable only after your full chapter, monograph or Compacts monograph is accepted for publication.
\n\nOAPF Publishing Options
\n\n*These prices do not include Value-Added Tax (VAT). Residents of European Union countries need to add VAT based on the specific rate in their country of residence. Institutions and companies registered as VAT taxable entities in their own EU member state will not pay VAT as long as provision of the VAT registration number is made during the application process. This is made possible by the EU reverse charge method.
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\n\nTo explore funding opportunities and learn more about how you can finance your IntechOpen publication, go to our Open Access Funding page. IntechOpen offers expert assistance to all of its Authors. We can support you in approaching funding bodies and institutions in relation to publishing fees by providing information about compliance with the Open Access policies of your funder or institution. We can also assist with communicating the benefits of Open Access in order to support and strengthen your funding request and provide personal guidance through your application process. You can contact us at oapf@intechopen.com for further details or assistance.
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