3PMjournal_2010s2

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3pm Journal of Digital Research & Publishing Leslie, J. (ed) (2003) MagCulture: new magazine design. London: Laurence King. Monteyne, J. (2002) ‘Preface’, pp.6-7 in P. Anderson and J. Steedman (eds) Inside magazines: independent pop culture magazines. Corte Madera, Cal.: Gingko Press. Pauwels, L. (2005) ‘Websites as visual and multimodal cultural expressions: opportunities and issues of online hybrid media research’ Media, Culture & Society, 27 (4): 604-613. Piepmeier, A. (2008) ‘Why zines matter: Materiality and the creation of embodies community’, American Periodicals 18(2): 213-238. Jacovides, M. (2003) ‘Love me, hate me…the world of the microzine’. Pp.15-17 in J.Leslie (ed) magCulture. New Magazine design. London: Laurence King. Johnson, S and P. Prijatel (2006) The magazine from cover to cover. New York: oxford University Press. Renard, D. (2006) ‘The last Magazine (in Print)’, pp.14-15 in D. Renard (ed) The Last Magazine . New York: Universe Publishing. Renard, D. (ed) (2006) in The Last Magazine. New York: Universe Publishing Thorburn, D. and H. Jenkins (2003) ‘Introduction: Toward and Aesthetics of Transition’. Pp.1-16 in D. Thorburn and H. Jenkins (eds) Rethinking Media Change. The Aesthetics of Tradition. Cambridge, Mass: The MIT Press. AnOthermag.com Retrieved September 15, 2010, from http://www.anothermag.com COLORS LAB. Retrieved September 15, 2010 from http://www.colorsmagazine.com/ Interviewmagazine.com. Retrieved September 15, 2010 from http://www.interviewmagazine.com/ Code and Theory. Retrieved September 15, 2010 from http://www.codeandtheory.com/ 11
3pm Journal of Digital Research & Publishing The Lord of the Who? By Elise Keeling UNIVERSITY OF SYDNEY Abstract This article seeks to examine the impact that electronic, digital, and interactive technologies have had on the production of literary knowledge and the narrative. The research assignment will further speculate the role of ‘digitally preserving’ narrative literatures through what has been labelled ‘transmedia storytelling’. It is an investigation which assesses the integrity of a great narrative once it has been subject to the inevitable ‘tossing’ and ‘turning’ throughout the vast mediums in this universal ‘media playground’. It will also utilise contemporary media theory to break down and conceptualise transmedia storytelling and further assess the implications of ‘participatory culture’ on the creative industries. Whilst we are only beginning to discover the exciting possibilities and capabilities which technology and digitisation hold, we would not be doing our job as inquisitive human beings if we did not speculate into the role of digitisation of the narrative. The importance of this research is to understand exactly how much one ‘records’ and ‘preserves’ of the original narrative when the various cross-sited narratives are re-fabricated for each media platform they deploy. The article will hopefully address the convergent narratives of our time and therein give us a better understanding of digitisation and the narrative and further the assumptions which surround it. Keywords Digital media • Publishing • New media technology • INTERACTIVE TECHNOLOGIES • Mobile media • LITERARY KNOWLEDGE • NARRATIVE Introduction Convergent literatures or ‘cross-sited narratives’ is the idea of multi-modal stories told across various media channels. As a society we have become dependent on images and representations constantly seeking visual mediums and new ways of receiving information and narrative. J.R.R Tolkien’s novel ‘The Lord of The Rings’ was handed to me when I was eleven years old. My father had treasured the book as a young adolescent and he gave me the same worndown novel which he had treasured in his childhood. I too fell under the powerful realm that this piece of literature had over my dad, taking in new and exciting interpretations of this brilliant world that Tolkien had created. However through the ever-changing media landscape and what has been labelled ‘transmedia storytelling’ it would be fair to say that 12
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