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Transmedia Storytelling and Media Literacy: Learning Through Hybrid

Experiences

Conference Paper · November 2020

DOI: 10.21125/iceri.2020.1527

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 TRANSMEDIA STORYTELLING AND MEDIA LITERACY: LEARNING
THROUGH HYBRID EXPERIENCES
I. Amaral, R. Basílio Simões, S. Santos
University of Coimbra, Faculty of Arts and Humanities (PORTUGAL)

Abstract
The recent wave of disinformation has been posing enormous challenges to an already complex
information ecosystem. People feel overwhelmed by the amount of information that is consumed every
day. It is increasingly harder to navigate the sea of information in empowering forms. That is why digital
and media literacies have been emphasized as key tools for making sense of this information disorder.
Transmedia storytelling is a competence that reflects the multiplicity of platforms, apps and screens that
sprinkle everyday life. It is a new way of conceiving and delivering narratives in multiple paths and
platforms. This paper recurs to document analysis to reflect on the characteristics of transmedia
storytelling as a way to promote media literacy. The results of the analysis made to 10 transmedia
projects contribute to deepen our knowledge on the use of digital and transmedia storytelling for the
promotion of media literacy.
Keywords: Storytelling, media literacy, transmedia.

1 INTRODUCTION
The media ecosystem was transformed by the rise of new players and practices. New mechanisms of
participation and production are now part of a fluid, collective, and complex process of creation. In this
hybrid and complex media landscape, the culture of convergence promotes new ways of telling stories
that represent an evolution from the traditional approaches in terms of narrative and production [1]. The
culture of convergence is precisely the context for renewed forms of telling stories seamlessly through
various platforms that promote a unique experience ([2], [3]).
The digital age is characterized by a transversal familiarity with technology. However, being able to
conceive and to produce narratives that spread through diverse platforms in non-linear ways is a highly
complex competence. Hence, the centrality of ‘hypermediation’ processes implies the development of
complex transmedia skills. Considering the dimensions of digital literacy and media literacy postulated
by Renée Hobbs [4], i.e., access, analysis, creation, reflection and acting, transmedia narratives and
digital storytelling can be essential instruments for the promotion of media literacy in the classroom.
Transmedia narratives can open new opportunities for formal learning environments, but they can also
be combined with informal and non-formal learning contexts, as they foster new pedagogic approaches
through the interaction with students and throughout the promotion of activities outside the classroom,
in a logic of mobility and interconnectedness (Amaral, 2019).
This paper aims to reflect on transmedia narratives as specific instruments for the promotion of media
literacy. Based on extensive documental analysis, we describe and analyze transmedia projects that
focus on media education. This study deepens our knowledge of possible uses of transmedia and digital
storytelling as tools for the promotion of media literacy.

1.1 Transmedia Storytelling and Media Literacy

The new media ecosystem is hybrid and supported by technological infrastructures where public and
media cohabit [5]. In this context, and expanding the concept of digital storytelling to a logic of
appropriation of the affordances of different media and platforms, transmedia storytelling emerges.
Transmedia storytelling can be defined as a process in which narrative elements are dispersed by
multiple means or platforms (distribution channels) to create a unique and coordinated experience ([2],
[3]). In this sense, transmedia storytelling refers to media experiences uniquely spread across multiple
platforms.
The concept of transmedia incorporates broad and technical-focused definitions such as “cross-media”,
“multiplatform”, “transmedia interactions”, “intermedia”, “multimodality”, “transmedia narrative,” and
“hybrid media” ([6], [7]). It is a conceptual field not yet stabilized, referring to a “semantic galaxy” [3].

Proceedings of ICERI2020 Conference ISBN: 978-84-09-24232-0

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However, each of the concepts summarizes the same type of experience: “a practice of meaning and
interpretative production based on stories that are expressed through a combination of languages,
media and platforms” [3]. Transmedia narratives create particular narratives that develop in different
systems of meaning and media platforms [3].
Initially, transmedia narratives were anchored to entertainment and commercial purposes, and
traditional strategies sought to develop the same story in different media or languages [3]. Take the Star
Wars saga as an example. In recent years, the transmedia narrative has come to be used by other non-
fictional and non-commercial fields, such as journalism [1] and education [8].
The framework of transmedia literacy is distinct from media literacy. Media supports move from the
press, audiovisual and digital to digital networks and interactive media that make up the transmedia
universe. The objectives also differ: in media literacy, critical consumers and producers are sought to
be promoted; in transmedia media literacy, the purpose is to foster prosumers' critical thinking [9].
The “New Media Literacies” project points out eight competencies: playing, performance, simulation,
appropriation, multitasking, distributed cognition, collective intelligence, critical capacity, transmedia
navigation, networking, negotiation, and visualization. In the “Transmedia Literacy” project, nine
dimensions of transmedia capabilities are considered: production, risk prevention, performance,
individual and social content management, media and technology, ideology and ethics, narrative, and
aesthetics.
Jover, Martín, and Fuentes [8] warn that digital competences must be associated with civic
competencies, articulating digital literacy with media and citizen participation. In this line of reasoning,
Mihailidis and Thevenin [10] argue that “by learning how to read media messages critically, citizens are
developing skills to manage relevant information about their societies and to question authority (textual,
and by implication, institutional)”.
Collaborative learning processes are crucial concerning critical thinking [11]. Considering the
dimensions of digital literacy and the media postulated by Renée Hobbs [4], i.e., access, analysis,
creation, reflection and acting, transmedia narratives, and digital storytelling can be essential tools for
the promotion of media literacy in the classroom. Participatory learning environments in a digital context
can allow the development of critical literacy [5], which “gives individuals the power over their cultures
and thus allows people to create their senses and identities and to design and transform the material
and cultural conditions of their societies” [12].

2 METHODOLOGY
This paper aims to reflect on transmedia narratives as specific instruments for the promotion of media
literacy. The main goal is to identify a sample of 10 transmedia projects that focus on media education.
The methodological approach adopted was document analysis [13]. We analyzed and categorised the
projects into four models of pedagogical practices: transmedia play; connected learning; gamification;
location-based learning.
The transmedia play approach refers to creating student-centered learning environments, drawing on
their knowledge about playing, telling stories, and sharing them in digital media [14]. The connected
learning model [15] aims to articulate formal and informal learning environments based on three learning
principles: pedagogical practices driven by student interest, the collaboration between peers in building
learning processes, self-orientation academic path. Gamification is one of the best known pedagogical
models, allowing to introduce a playful character in the learning process to explore cognitive skills,
motivation, assessment, and collaboration [16]. Location-based learning focuses on mobile technology,
which offers contextual support through geolocation, object recognition, and automatic image
interpretation [16] and enhancing the use of augmented reality in an articulated logic of formal and
informal learning.

3 RESULTS
Transmedia storytelling can promote digital literacy, technological literacy, visual literacy, information
literacy [17], as shown in Table 1.

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 Table 1. Transmedia projects focused on media education.

Project Description Model

Connecting The project is an immersive experience anchored to a transmedia universe that Transmedia
Cat uses different platforms to promote skills within a curricular unit of English (10th play
grade) and media literacy. Following a multimodal narrative for educational and
entertainment purposes, this project aims to create an educational community
that streamlines an ecosystem of formal and informal learning.
Weaving a Transmedia narrative experience that is positioned within an educational Transmedia
StoryWorld context. The objective was to create a platform to support teachers and play
Web students in learning using transmedia, projecting multimodal online stories.
Moonbeam MoonBeam combines traditional storytelling with interactive elements such as Connected
touch-screen, sound effects, animation and music. learning
#Orson80 #Orson80’s educational transmedia proposal is to problematize and teach Transmedia
critical reading skills in the context of information overload. play
Source An interactive game to test the ability to discern between reliable and unreliable Gamification
checker sources of information. The aim is to promote media literacy and the accuracy
of information presented and its purpose.
The Dragon A transmedia education project is supported in a three-part alternate reality Connected
Collective game designed to teach students age 10-14 the foundational linguistics to learn learning
Trilogy the Chinese language through storytelling and media education.
Games for the Inclusive electronic games that can be played by blind children promoting Gamification
Blind learning through digital literacy.
Tower of The project allows exploring the chronology of the Tower of London's history in Transmedia
London 2D and 3D support. The backdrop is a current photograph where a timeline runs play
with various events presented as an interactive card. The 3D perspective
enhances a sense of immersion anchored to elements focused on media
education.
Short stories An app that promotes reading among students age 4-12 within a digital Connected
by Hans storytelling logic by using text, audio, and image. The app presents 15 short learning
Christian stories adapted from the author in an interactive logic and improves digital
Andersen literacy.
Hora do A transmedia project to prepare Brazilian students for applying to university. Connected
Enem The methodological approach is based on critical and civic literacies. learning

Considering the elements of digital storytelling and its appropriateness to formal and non-formal learning
in the context of approaches and pedagogical models previously explained, the set of projects analyzed
summarizes participatory experiences and educational resources of digital storytelling and transmedia
in learning environments.
The results show that student-centered learning environments are central in formal learning contexts,
while the connected learning model is essentially used in informal learning environments. We found that
gamification is mainly used in a "play to learn" approach and for a target audience of children and
adolescents. In the sample analyzed, there is no location-based learning project. In this regard, we must
emphasize that all multi-screen projects do not promote mobile logic.

4 CONCLUSIONS
Collaborative learning processes are crucial concerning critical thinking [11]. Considering the
dimensions of digital literacy and the media postulated by [4], i.e., access, analysis, creation, reflection
and acting, results show that transmedia narratives and digital storytelling can be essential tools for the
promotion of media literacy formal and informal learning contexts. Participatory learning environments
in a digital context can allow the development of critical literacy [5], which “gives individuals the power
over their cultures and thus allows people to create their senses and identities and to design and
transform the material and cultural conditions of their societies” [12].

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