Research On The Transmedia Storytelling Construction Of Film And Television Intellectual Property Text

With the great success of "Marvel Universe" and "Chinatown investigation" series,Transmedia Storytelling,as a new content production mode and narrative strategy arising from Media Convergence,has attracted wide attention from all walks of life.From the release of five films and six TV series in the "Marvel Phase IV",the creation of an animated work called "Chinatown investigation","New Gods: Ne zha Reborn",and "New God List: Yang Jian".The cross-media development of a large number of popular IP’s such as "Arcane" can also be seen that the current film and television IP,as a representative of the rapidly developing fusion culture under the background of media fusion,presents a shift from story to the Transmedia storytelling strategy of "Storyworld".However,when Transmedia Storytelling began to become a popular film and television cultural phenomenon with certain influence,a large number of creators,due to the lack of systematic understanding of Transmedia Storytelling,gradually equated it with Transmedia Storytelling text adaptation and only knew how to transplant cases,thus lacking systematic Transmedia Storytelling strategies in text creation.As a result,a large number of film and television IP works present problems such as insufficient force after continuous development and miscellaneous narrative content.In the context of media convergence,this study analyzes the development status,text changes and narrative characteristics of film and television IP,and finds that film and television IP,as a representative of fusion culture,has gradually derived two completely different "cross-media" text types under the influence of current media convergence.Among them,film and television IP Transmedia Storytelling,as a new narrative strategy in line with the current development trend of media integration,has shown obvious expansion significance in narrative construction and text space.Therefore,in the first chapter,this paper distinguishes the cross-media text types of film and television IP,and defines the concept of its background and text characteristics.It is proposed that film and television IP cross-media narration no longer takes story continuation and adaptation as the main creation direction,but takes text narration as a continuous and dynamic construction process,from shaping IP "story" to shaping IP "Storyworld",and pays more attention to the extension of text framework.In view of this text change,in the second chapter,combining the theories of media convergence,media field,participatory culture and so on,the Transmedia Storytelling motivation of film and television IP text is studied.It is believed that the fundamental reason for the current film and television IP text to gradually move from one-way adaptation to Transmedia Storytelling is the fundamental reason.It is closely related to the integrated development of industrial model under the influence of media convergence,audience’s cross-media behavior,new media platforms and the rapid development of big data.Specifically speaking,on the one hand,the integrated development of film and television industry and production mode provides narrative possibilities for film and television IP Transmedia Storytelling to some extent;on the other hand,The "non-linear" viewing mode,cross-media practice behavior and "participatory culture" presented by audiences under media integration also form an effective driving force for the continuous cross-media development of film and television IP to a certain extent.Then,based on narratology,the third chapter adopts the methods of case analysis and text research to conduct an in-depth study on the text space-time construction,text structure,narrative setting and narrative symbols of typical film and television IP Transmedia Storytelling cases such as "Detective Chinatown","Marvel Universe" and "Ghost Blows Out the Light".It is found that although the Transmedia Storytelling development of film and television IP text depends on the new media technology and the integration industry mode to some extent,its essence is still a text creation mode with "narrative" as the core in the final analysis.In order to build a truly popular cross-media "Storyworld" for film and television IP,it is necessary to have a macro narrative strategy—whether it is space-time construction,text structure,or character setting and narrative setting should be extended based on the story framework of IP Transmedia Storytelling text space.This kind of narrative technique and strategy is also the key to promote the audience to cross media text wandering.To sum up,IP cross-media narration for film and television is a new narrative strategy that is in line with the current development trend of media integration,gradually moving from shaping "stories" to constructing "Storyworld".It can not only carry out continuous development of excellent IP and shape IP brand value,but also effectively deal with the consumption of text value caused by the homogeneity of traditional IP narration for film and television.However,most of the current IP Transmedia Storytelling works of film and television still stay in the multi-media narrative supplement based on a certain IP,without establishing a real cross-media "Storyworld".Therefore,under the observation of Transmedia Storytelling,narrageology,semiotics and other theories,based on the current development status of film and television IP,this study analyzes the influence of media fusion on the production and creation of film and television IP,narrative construction and cultural phenomenon,and explores its narrative path,which will help to provide an ideal path for the Transmedia Storytelling construction of film and television IP text in the future.Promote its long-term development.